Tuesday, December 11, 2007

High School Lesson Plans

Student Chapter Members! This is your place to post all of the wonderful ideas and lesson plans you are working with in your student teaching experience and as early professionals. Absorb a few ideas and leave a few for others to consider. We are our best teachers!
Posted by at

3 comments:

NAEA Student Chapter said...

Title of Lesson: Portrait Photography – Telling a Story Through One Image

Teacher: Sarah Cress
Grade Level: High School

Aim/Goal of the Eighteen Week Curriculum: The students will first consider their perspectives of photography and its relevancy in the world today. They will discuss its significance as a historical measure. After acquiring the basic skills and knowledge to create their own photographic work using a variety of methods, students will be asked to consider what type of message they would like to communicate, using photography as a visual metaphor. Photography will be used in this class as a means for students to communicate the ideas and feelings of the world around them. During this yearlong course, students will focus predominantly upon humanitarian themes and ideas.

Fine Arts Goals Met By the Objectives: 25.A.4, 25.B.4, 26.B.4e, 26.B.4d, 27.A.4b, 27.B.4b

Objectives:

Creative/Productive Objective: The students will create a series of four portrait photographs featuring four different important people in their life. The students will shoot these images using a 35mm camera and black and white film. Each portrait will be printed eight inches by ten inches and mounted onto matt board.

Multicultural/Historical Objective: The students will look at a variety of different examples of historical and contemporary portrait photography. The students will consider the many different compositional variations in portrait photography, in addition to the different manipulations one can achieve with lighting.

Affective/Expressive Objective: The students will be asked to consider each individual they wish to portray photographically. They will brainstorm each person’s characteristics, hobbies, jobs and history to determine what important elements they would like to include in their portrait. The students will not only create a visual rendering of each person, but also communicate to the viewer something about each individual’s personality. The student must consider the most appropriate way of communicating that information to the viewer, whether it be through pose, composition, environment, props, lighting, etc.

Concepts/Vocabulary:

Creative/Productive Concepts:
Positive space – the compositional space that is inhabited by the primary subject matter of the work.
Negative space – the compositional space surrounding the primary subject matter.
Composition – the act of combining parts or elements to form a whole.
Layout - an arrangement or plan.
Leading Lines – Lines that direct the attention of the viewer
Framing – a border or case for enclosing a picture.
Lighting – the radiance or illumination from a particular source.
Gesture – a movement or position of the hand, arm, body, head, or face that is expressive of an idea, opinion, emotion, etc.
Aperture- The aperture is the physical lens opening on your camera. It is adjusted to open and close in f-stop increments, allowing more or less light in with a larger or smaller opening. The iris diaphragm inside the lens of your camera is adjusted to alter the quantity of light that will reach your film. Each aperture opening, or f-stop, lets in twice as much light as the smaller f-stop before it, and half as much light as the larger f-stop after it. For example, f5.6 will let in twice as much light as f8, and half as much light as f4.
Ambient Light/Available Light – Ambient, or available light refers to the light that already is present in the location where you plan to shoot. This light could be sunlight or indoor overhead lighting. Typically, when using studio flash units, the ambient light will be overpowered by the direct flash. However, it is important to factor in any ambient light in your flash meter readings to insure a proper exposure.
BCPS (Beam CandlePower/Seconds) - Beam Candlepower Seconds is the measure of effective intensity of a light source when it is focused into a beam by a reflector or lens. Beam Candlepower Seconds is the effective intensity for a period of one second.
Bounce Lighting - Bounced light is an indirect light source, where the actual light is pointed away from that which you wish to illuminate, and bounced off of a reflective surface back towards your subject. This can be achieved in flash photography with reflector panels, umbrellas, and even reflective surfaces such as a wall or ceiling. Bounced light is used when you desire a softer, less harsh light quality than is produced with direct lighting.
Bracketing - When shooting, bracketing is taking several photographs of the exact same scene and setup with different exposure settings both above and below the target setting indicated by the flashmeter. As different brands of flashmeters vary in their readings for a “correct” exposure, bracketing both above and below the indicated settings will ensure that you get a properly exposed picture. If, for example, the indicated exposure for a setup is f5.6 with a shutter speed of 1/60 second, you can bracket for one stop less at f8, and one stop more at f4
Contrast - The contrast is the degree of difference between the dark and the light areas of a scene or photograph. High contrast photographs are a result of high contrast lighting, where there are sharp differences in the dark and light, and less in between. High contrast lighting can be achieved with both direct and bounced light that is not softened or diffused, but often reflected from a bright silver surface.
Depth of Field - The depth of field refers to the nearest and farthest points in your photograph that are in focus in your shot. A lens can only focus on one single distance fully, but with a wide depth of field, areas both closer and further from that one point are relatively in focus as well. Stopping down to a smaller aperture increases the depth of field, and will result in more of the photograph being in focus.
Diffused Light - Diffused light is softened light, with less shadows and more even coverage. A diffused light source is most commonly achieved by directing light through a translucent material, such as a diffusion shoot-through umbrella, a softbox, or a diffusion reflector panel.
Fill Light - In a lighting setup, the fill light refers to the light source, which is used to “fill-in” the shadows cast by the main light. This source can be a flash unit, or simply a reflector that is directed on the subject to illuminate the shadowed areas and lessen the contrast.
Filter/Gel - A filter or gel for a flash unit is a thin piece of tinted or colored gelatin placed directly over the light source to alter the quality of the light’s output. Gels will physically change the color of the light, whereas filters will modify its quality.
Flash Duration (t.1, t.3, t.5) - When a flash system fires, although it may appear so to humans, the light emitted does not come on and go off instantaneously. In reality, the flash tube 'turns on' very quickly and then dims gradually as the flash capacitors discharge. Short flash durations are important to prevent blurring when the subject is in rapid motion such as a pirouetting ballerina or a Michael Jordan slam-dunk. Flash manufacturers do not rate flash duration as the entire time the flash tube is emitting light however, because the end of the slowly dimming 'tail' does not contribute much to the overall exposure (or to blur). t.1 is defined as the time during which the flash lamp output is above 0.1 (or 1/10) it's peak intensity. t.3 you may guess is the time the output is greater than 0.3 (about 1/3) peak, and t.5 is how long its above 0.5 (half) the peak value.
F-stop - An f-stop is a designation to indicate a camera’s aperture opening, and a flash unit’s power level. Our flash units are measured in power over a range of available f-stops, indicating the high or low power level setting of the unit. Each f-stop (shown on the back panel of our flash units) lets in twice as much light as the f-stop before it, and half as much light as the f-stop after it. Over a 5 f-stop range, the power is adjustable from Full down to 1/32 of the total power. For f-stops in relation to your camera’s lens opening, see aperture.
Highlight/Hot Spot - Highlights or hot spots are very bright, well lit and often overly lit areas in your setup, causing a very dense, dark spot on your negative. Hot spots appear when one area of your scene is overly lit, and can be avoided by diffusing or lowering the output of light on that area.
Hot Shoe - A hot shoe is a u-shaped mounting point, usually found on the top of 35mm SLR cameras. This feature provides a slide-in mounting of small, battery operated flash units. In addition, it provides an electrical circuit connection, which fires the flash when the shutter is tripped.
ISO - An ISO number rating refers to the speed of the chosen film. A lower ISO film, such as 100-speed film, will require more light. A higher ISO film, such as 400-speed film, will require less light, but produce grainier negatives. The higher the ISO, the less light required. Typically, lower speed films are used for portraits, whereas higher speed films are used in lower light settings or in sports photography where one wishes to stop action.
Lens Flare/Light Spill - With ambient and studio lighting, when light is directed or refracted into the camera's lens, this light is known as lens flare. Some photographers will allow light to be reflected in their camera's lens for an intended glowing effect, but normally light spill is undesired. When using studio lighting to illuminate your subject, you can eliminate light spill by position your flash unit and accessories to not direct light back into your camera.
Lumensecond - A Lumen is a unit of measurement of light intensity falling on a surface. A Lumensecond refers to a light of 1 Lumen intensity for a duration of one second, or the equivalent, such as 2 Lumens for half a second. The absolute amount of light emitted each time a flash system is fired is correctly specified in lumenseconds. The number of lumenseconds produced by a particular flash system depends on the efficacy, how effectively the system turns electrical energy into light energy, or wattseconds into lumenseconds. The efficacies of commercial photoflash systems typically fall within the range of from 15 to 50 lumenseconds per wattsecond. What this implies is quite simple: a highly efficient 300ws system may produce as much actual light energy as an inefficient system rated at 1000ws.
Main Light - The main light in a lighting setup is the primary light used. This primary light source is typically the brightest in your setup, casting the most prominent shadows
Manual Exposure - Manual exposure is a camera mode which is non-automatic, and requires the photographer to set their own aperture and f-stop for each shot. This mode does not rely on the camera’ s internal metering system, but requires you rather to take a reading with a separate flashmeter to determine correct settings. When using external flash units, your camera should be adjusted manually
Monolight - The terms ‘monolight’ and ‘flash unit’ are often used interchangeably. A monolight is self-contained flash system that incorporates the power supply and flash head in one package. This term is used to distinguish these systems from 'power pack' systems where the power supply and flash head are separate and are connected using a heavy duty, custom cable. Monolights draw their power directly from standard wall outlets.
Proportional Modeling System - The modeling system aids the photographer in the composition of a shot by providing a continuously burning light source that imitates (models) the flash illumination. In order to be defined as proportional, the modeling light must imitate the flash in two important respects. First, it must provide the same pattern with various modifiers (reflectors, softboxes, barndoors). Secondly, it must accurately track the flashpower in order to show lighting ratios when two or more lights are used in a setup.
Recycle - When you fire your flash unit, it releases all of the energy stored in its flash capacitors in order to emit the flash of light. Before you can fire the unit again, the capacitors must have time to recycle, or build up enough energy in the capacitors in order to fire again.
Shutter Speed - Shutter speed is a term, which refers to the length of time your camera’s shutter is open. As the shutter opens and closes to expose your film, the shutter speed measures in seconds the length that light is reaching your film. Obviously, the longer the shutter speed, the more light you are letting in. Very fast shutter speeds will allow you to stop action, but require a great deal of light,
Slave - A flash unit is said to be a slave flash when it is set up to fire by detecting the flash from another (master) flash unit in a multi-light setup. This allows multiple light setups to be operated with only one light synchronized (wired) to the camera.
Sync - The sync connection in a flash system connects to the camera body, either to a PC connector or through the hot shoe. This circuit is used by the camera to fire the flash at the precise moment that the shutter has fully opened and before it begins to close to successfully capture the full light burst from a flash set-up.
Through-The-Lens Meter (TTL) - A TTL meter is a light/exposure meter, which is built into your camera, and takes light readings through the lens to determine the correct settings when in automatic mode.
Wattseconds (Joules) - A wattsecond is a measure of electrical energy used in flash systems to indicate the amount of energy in the flash capacitors.
Close-Up – A portrait that portrays the featured individual from the shoulders or chest up.
Mid-Range – A portrait that portrays the featured individual from the waist up.
Environmental – The elements that compose the environment or background of a particular photograph.
Props – Objects used in a photograph to add to the visual information presented to the viewer.
Formal – A portrait taken for a particular purpose.
Informal – A natural portrait taken in a setting that is comfortable for the subject matter.
Going in Close – A non-stereotypical portrait featuring a particular body part that is significant to the subject’s personality.


Multicultural/Historical Concepts:
Portrait – An image that portrays the visual rendering of an individual.

Affective/Expressive Concepts:
Context – The set of circumstances or facts that surround a particular event, situation, etc.
Individualism – The principle or habit of or belief in independent thought or action.
Interpretation – An explanation of the meaning of another's artistic or creative work
Visual Literacy – Comprehension of the visual communication expressed by a piece of artwork.
Characteristics – The unique elements that make up a particular individual.

Materials:

Visual Exemplars:
Sarah Cress
Diane Arbus
Dorothea Lange
Annie Leibovitz
Henri Cartier-Bresson
Edward Steichen
James Van Der Zee

Teacher Materials:
Powerpoint presentation about portrait photography
Darkroom chemicals
Teacher examples
Dry mounting press
Tacking irons

Student Materials:
Sketchbook
pencil
one to two rolls of black and white film
black and white photographic paper
black matt board
mounting tissue
scissors
ruler

Motivation:
The teacher will introduce the students to the project at hand by showing a detailed PowerPoint presention about portrait photography. During this presentation, the teacher will discuss the different compositional variations used within portrait photography including close-up, mid range, full range and environmental. The teacher will also discuss the importance of environment, the influence of props, utilization of the lighting studio, the difference between formal and informal portraits and variations of the stereotypical portrait. After the presentation the students will be asked to search for examples of these different elements of portrait photography in magazines. The cut these images out and place them inside their sketchbooks for future reference. The students will then answer the following questions:
If you were to take a portrait of yourself, which style/layout would you use? Why?
Think of two important people that influence you on a daily basis. How would you portray them? Why would you choose that particular layout?
Which compositional variation appeals most to you? Why?

Procedures:

Week One: The teacher will introduce the project at hand by showing a PowerPoint presentation detailing the art of portrait photography. The students will then take part in a magazine hunt in which they look for examples of various different types of portrait photography. Once the students have gained a good understanding of the different ways to portray human subject matter, they will begin brainstorming their own photographic portraits. They will think about five important individuals in their life and create a character map for each detailing some of the qualities that may be portrayed visually. The students will also observe a lighting studio demonstration in which they learn the basic procedures of creating images that are dramatic and effective. By the end of the week, the students will begin shooting the negatives for their four individualized portraits.

Day One:
I. Sketchbook prompt (5 minutes)
II. Introduction to portrait photography (20 minutes)
III. Magazine hunt (20 minutes)
IV. Closure (5 minutes)

Day Two:
I. Sketchbook prompt (5 minutes)
II. Completion of magazine hunt (15 minutes)
III. Character mapping (25 minutes)
IV. Closure (5 minutes)

Day Three:
I. Sketchbook prompt (5 minutes)
II. Brainstorming layout and composition (25 minutes)
III. Trouble shooting and idea exchange (15 minutes)
IV. Closure (5 minutes)

Day Four:
I. Sketchbook prompt (5 minutes)
II. Lighting studio demonstration (30 minutes)
III. Lighting studio worksheet (10 minutes)
IV. Closure (5 minutes)

Day Five:
I. Sketchbook prompt (5 minutes)
II. Begin shooting portraits (45 minutes)
III. Closure (5 minutes)

Week Two: The students will concentrate on shooting the negatives for their four unique portraits and developing the film, using traditional black and white chemicals. By the end of the week, the students should begin printing the positives for their compositions.

Day One:
I. Sketchbook prompt (5 minutes)
II. Continue shooting portraits and developing (40 minutes)
III. Closure (5 minutes)

Day Two:
I. Sketchbook prompt (5 minutes)
II. Continue shooting portraits and developing (40 minutes)
III. Closure (5 minutes)

Day Three:
I. Sketchbook prompt (5 minutes)
II. Continue shooting portraits and developing (40 minutes)
III. Closure (5 minutes)

Day Four:
I. Sketchbook prompt (5 minutes)
II. Film Evaluation and contact sheet (40 minutes)
III. Closure (5 minutes)

Day Five:
I. Sketchbook prompt (5 minutes)
II. Printing (40 minutes)
III. Closure (5 minutes)

Week Three: The students will concentrate on creating professional, high-quality eight inch by ten-inch portraits. Upon completing their prints, the students will mount their images onto matt board in preparation for the in-class critique. During this critique the students will spend time looking at and considering the artwork of their peers. They will offer suggestions to one another, in addition to words of praise.

Day One:
I. Sketchbook prompt (5 minutes)
II. Printing (40 minutes)
III. Closure (5 minutes)

Day Two:
I. Sketchbook prompt (5 minutes)
II. Printing (40 minutes)
III. Closure (5 minutes)

Day Three:
I. Sketchbook prompt (5 minutes)
II. Printing (40 minutes)
III. Closure (5 minutes)

Day Four:
I. Sketchbook prompt (5 minutes)
II. Printing and mounting (40 minutes)
III. Closure (5 minutes)

Homework: Write a final artist statement that details your intentions in creating this photographic series.

Day Five:
I. Sketchbook prompt (5 minutes)
IV. Class critique (40 minutes)
V. Closure (5 minutes)

Critique Questions:
Self-Evaluation –
What strengths are visible in your portrait series?
What weaknesses are visible in your portrait series?
Thinking back to your previous project, what improvements have you made as a photographic artist?
What elements involving your craft to you plan to continue working on improving upon?
Peer-Evaluation –
What strengths are visible in your classmate’s work?
What suggestions do you have for your classmate?
What are your interpretations of the portraits presented by your classmate?
What similarities can you see among the four images?
What differences can you see among the four images?
Do the portraits share information about the personalities of those portrayed? How so?

Additional Activities:
Name that Portrait – While time persists, students will be invited to participate in an activity that involves guessing the identity of several child celebrity portraits. The students will rely on the environment the individuals are portrayed within and the props presented to make educated guesses.

Preparation Time:
Research and gathering of examples: 6 hours
Creating teacher materials: 8 hours
Time prior to each class for preparation: 1 hour
Duration of each class period: 50 minutes

December 11, 2007 at 8:13 AM
rtystyk blue said...

Title of Lesson: Unusual Angles
Grade Level: Secondary Level, Advanced

Time: 3 weeks, modified block schedule
6 50-minute periods
6 80-minute periods

Art Concept: Seeing everyday objects from a different view point
Artmaking Processes and Techniques: Creating photographic prints from negatives using chemical development and processing
Art Elements/Principles of Design: line, shape, space, value, balance, movement, contrast, and emphasis

National Standards: 1c, 1d, 2d, 2e, 3c, 3d, 4c, 4d, 5b, 5c, 5d, 6a, 6c
Illinois State Goals & Learning Standards: 25.A.5, 25.B.5, 25.A.4, 25.B.4, 26.A.5, 26.B.5, 26.B.4e, 27.A.4b, and 27.B.5

Rationale: By introducing students to camera angles used in cinematography, they will gain understanding of the symbolic and meaningful use of certain angles when shooting pictures.

Objectives
As a result of this unit, students will:

Artmaking: Produce one 8”x10” and 3 5”x7” photographic prints with proper exposure from self-processed negatives utilizing proper darkroom procedures. 1c, 1d, 2e, 26.B5, 26.B.4d

Historical/Cultural: Watch the film, Run Lola Run, and orally identify unusual camera angles and why they were used during certain points in the story line. 3c, 3d, 4d, 4c, 5b, 6a, 6c, 25.A.4, 25.B.4, 25.A.5, 25.B.5, 26.A.5, 26.A.4e, 27.B.5, 27.A.4b

Criticism: Orally identify technical strengths and weaknesses in one another’s work using photography vocabulary learned during the first year of photography. 5c, 25.A.4, 26.A.4e
Participation: Demonstrate a willingness to learn the angles used in cinematography.

Aesthetics: Critically analyze and decide if the use of different angles in their work enhances the meaning of their subject matter. 1d, 2d, 4c, 5d, 25.A.4, 25.A.5, 26.A.5, 26.A.4e, 27.A.4b

Participation:

Demonstrate a willingness to learn the angles used in cinematography.

Bring materials needed to class every day.

Utilize all assigned darkroom days.

Contribute to the oral class analysis of the film.

Shoot pictures on their own time and turn the film in on the assigned due date.


Vocabulary

Artmaking
High angle- “(looking down) the most aloof, superior, detached, or indifferent point of view, showing characters on their ground, perhaps pinned to it and puny (especially in a long shot), perhaps amusing, relatively helpless”
Extreme High angle- “nearly straight down, can be the most vertiginous and—because it provides the least familiar way we can look at another person—the most dehumanizing. In Hitchcock such a shot often signifies that the character is about to die.”
Low angle- “(looking up), the viewer tends to feel intimidated and relatively helpless, and whatever is seen seems strong and dominating, grandly heroic against the sky, though perhaps oppressed and delimited by ceilings.”
Mid angle- “(looking across, as if from a sitting or standing position at someone similarly positioned), the viewer is placed equal with whatever is being scrutinized, involved or perhaps merely observant. A person so seen usually appears fully but merely human, strong yet fallible.”
Canted Angle- “(the camera set off-vertical on its tripod) usually implies a world awry and out of plumb, with customary horizontals such as horizons and curb lines seen sloped and customary verticals such as trees and the edges of buildings seen angled diagonally.”
Subjective angle- “(point of view or camera eye) presents the point of view of another character, as if the camera and viewer had momentarily become that other character.”
Terms and definitions taken from Gollin’s A Viewer’s Guide to Film, pages 30-32.

Historical/Cultural
Cinematography- a film’s lighting and photography, lights, lenses, cameras, film stocks, and photographic processes, the shooting of the film
Alfred Hitchcock- Great film director. He is known technically as a pioneer of unusual camera angles and techniques.
Martin Scorsese- Great film director
Orson Welles- Directed Citizen Kane
Spike Lee- Great film director
Vertigo- Hitchcock film that pioneered the “vertigo” shot, when the lens zooms in while the camera moves out.
Taxi Driver- Scorsese film pays homage to Hitchcock and utilizes many unusual angles.
Citizen Kane- breakthrough film in cinematography
Do the Right Thing- Lee film that utilizes many unusual angles (canted and subjective mainly) to communicate the story and symbolism.


Motivation: Examples from well-known photographers on PowerPoint, student examples from previous years, a movie with a variety of unusual angles
Student Pre-requisite: Passing grade in Photography 1
Instructional Methods: teacher explanation of angles, motion picture analysis, and critique of photographic examples
Teacher planning and preparation: Preview the film to find examples of all the angles, research film angles in cinematography, prepare worksheet for film analysis homework, gather images from classroom library and internet, prepare PowerPoint Slide Shows

Materials
Provided by teacher/school:
Computer
Microsoft PowerPoint
Internet Access
T.V.
DVD Player
Run Lola Run DVD
Bulk loader with 35mm 400 speed film
Masking tape
Scissors
Black changing bag
Fully equipped film processing room
Fully equipped darkroom
Print dryer
Critique board
Tacks
8.5”X11” Manila Envelopes
Adobe Photoshop
Scanner
Provided by student:
35mm SLR Camera
Empty film cassette
8”x10” Variable contrast RC Paper
5”x7” Variable contrast RC Paper
Negative storage sheets
Print storage sheets
100MB Zip disk


Learning Activities

Day 1 50-minute period (Friday)
1. Set induction: Students will be shown pairs of photographs in a PowerPoint slide show. One will be taken from normal, mid angles (human’s eye view or eye level). The other picture is taken from an unusual angle. Students will compare and contrast the pictures, discussing creativity, composition and meaning (symbolism). What are the differences between these two photographs? Does one catch your eye more than the other? Why? Why do you think the photographer chose to take the picture at this angle? How did it change the meaning of the subject matter in the photograph?
2. Introduction of Vocabulary: The teacher will show a PowerPoint slide show with examples of different unusual angles used by professional photographers. The class will discuss how the camera angle has changed and enhanced the subject matter and meaning of the photograph. During the slide show, the teacher will demonstrate body positions to get in to for shooting the different angles. Students will be asked during discussion to come up with examples of good subject matter for each angle.
3. Homework: Ask the students, What movies have you seen that use unusual angles? Why do they use them? Students must complete the independent movie analysis worksheet for the next class. (See handout “Motion Picture Analysis for Unusual Angles”).
4. Give shooting assignment: (See handout “Unusual Angles Shooting Assignment”.) Students will bulk load 30 clicks of film. Film is due during Block 2 the next week.

Day 2 50-minute period (Monday)
1. Discuss Homework: Have all the students pull out their homework. What movie did you watch? What were some of the unusual angles used in the movie? Why was the angle used in the particular scene? Students will respond. Then the teacher will collect all the homework.
2. Class Movie Analysis: The students must identify at least one example of each unusual angle and explain why it was used in that scene. Begin the movie, pausing it at key points to discuss the angles. Stop the movie five minutes before class ends. What unusual angles have you seen so far? How did it contribute to the story line?

Day 3 80-minute period (Block 1—Tuesday or Wednesday)
1. Continue Movie Analysis: Recap the unusual angles that the students must identify. Play the movie until it ends.
2. Movie Analysis Closure: Have the students discuss how the angles affected the viewer while watching the film.

Day 4 80-minute period (Block 2—Wednesday or Thursday)
1. Goal for the Day: Group A—Process film
Group B—Scanning all pictures from the previous assignment for digital portfolio, enter all the pictures into the digital portfolio PowerPoint (This is an ongoing project throughout the year)
2. Progress check: Start 10 minutes before class ends
Group A—Check in successfully processed film (2 points)
Group B—Check to make sure all new images are added into PowerPoint Portfolio (3 points)

Day 5 50-minute period (Friday)
1. Goals for the day:
Group A—Darkroom; print contact sheet and one final print
Group B—Processing film
2. Progress check: Start 10 minutes before class ends
Group A—Check in contact sheet and one final print (2 points)
Group B—Check in successfully processed film (3 points)

Day 6 50-minute period (Monday)
1. Goals for the day:
Group A—Scanning all pictures from the previous assignment for digital portfolio, enter all the pictures into the digital portfolio PowerPoint
Group B—Darkroom; print contact sheet and one final print
2. Progress check: Start 10 minutes before class ends
Group A—Check to make sure all new images are added into PowerPoint Portfolio (3 points)
Group B—Check in contact sheet and one final print (2 points)

Day 7 80-minute period (Tuesday or Wednesday)
1. Goals for the day:
Group A—Darkroom; Print 2 more final prints
Group B—Introduce next shooting assignment
2. Progress check: Start 10 minutes before class ends
Group A—Check to make sure they have 3 final prints (3 points)
Group B—Check that each student has bulk-loaded film for next project (3 points)

Day 8 80-minute period (Wednesday or Thursday)
1. Goals for the day:
Group A—Introduce next shooting assignment
Group B—Darkroom; Print 2 more final prints
2. Progress check: Start 10 minutes before class ends
Group A—Check that each student has bulk loaded film for next project (3 points)
Group B—Check to make sure they have 3 final prints (3 points)

Day 9 50-minute period (Friday)
1. Goals for the day:
Group A—Darkroom; one more final print
Group B—Go over Movie homework sheet; review for Unusual Angles quiz
2. Progress check: Start 10 minutes before class ends
Group A—Check to make sure all final prints are done (2 points)
Group B—2 points for class discussion participation

Day 10 50-minute period (Monday)
1. Goals for the day:
Group A—Go over Movie homework sheet; review for Unusual Angles quiz
Group B—Darkroom; one more final print
2. Progress check: Start 10 minutes before class ends
Group A—2 points for class discussion participation
Group B—Check to make sure all final prints are done (2 points)

Day 11 80-minute period (Tuesday or Wednesday)
1. Critique Preparation: Students complete the critique form (see “Critique Form”) and gather all the materials for the project. When finished, the students hang their two strongest prints on the bulletin board.
2. Round-Robin Critique: The first student will stand up and talk about their own work. They will point out one strength and one weakness or area that needs improvement. Then they will choose one classmate's work and discuss one strength and one way that they could improve their work. That classmate will then get up and repeat what the first student did. This will continue until all students’ work has been discussed.
3. Turn in critique: Students will put all their work and the critique form into their manila envelope (see “What do I turn in?” handout).

Day 12 80-minute period (Wednesday or Thursday)
1. Unusual Angles Quiz: See “Unusual Angles” Quiz
2. Finish critique: If time ran out the day before on the critique, finish the discussion after the quiz.


Assessment of Student Learning

Artmaking: The students produced one 8”x10” and 3 5”x7” photographic prints with proper exposure from self-processed negatives utilizing proper darkroom procedures. (See “Unusual Angles Artmaking Assessment Rubric”)

Historical/Cultural: The students watched a film on their own and, in writing, identified unusual camera angles and why they were used during certain points in the story line.

Criticism: The students orally identified technical strengths and weaknesses in one another’s work using photography vocabulary learned during the first year of photography.

Aesthetics: Critically analyzed and decided if the use of different angles in their work enhances the meaning of their subject matter.

Participation: Demonstrated a willingness to learn the angles used in cinematography by completing the movie worksheet.

Brought materials needed to class every day. (Progress checks)

Utilized all assigned darkroom days. (Progress checks and darkroom sign-in sheet)

Contributed to the oral class analysis of the film. (Marked in grade book)

Shot pictures on their own time and turned the film in on the assigned due date (Progress checks)


References
London, B. and Upton, J. (1998). Photography. New York, NY. Addison Wesley Longman, Inc.

Gollin, R. (1992). A Viewer’s Guide to Film. New York, NY. McGraw-Hill, Inc.

Harden, M. The Artchive. www.artchive.com

Tykwer, T. (1999). Run Lola Run. Germany

Lesson plan developed:
For Homewood-Flossmoor High School Photography 2, 2002
Last updated, April, 2004
By Anne Blue, Visual Art Educator
anne_c_blue@yahoo.com

January 22, 2008 at 8:14 AM
KristenGrzemski said...

Surrealism-Inspired Design
Introduction to Lesson
The Grade Level: Grades 10-12
A brief description of the lesson: In a series of steps and processes, students learn drawing techniques using ink, line, shape, and design; they apply the techniques and line design to an original drawing that they create with Surrealistic qualities. Students also learn a painting technique that they use to create the background of the design.
Essential Learning: Students will learn about specific artists of the Surrealist movement and the characteristics of the movement. Students will learn ink drawing techniques with line and shape. Students create an original artwork composed of exercises practiced with "The Exquisite Corpse" game.
The Prior Learning: Students have prior experience with pencil drawing techniques.
The Anticipated Subsequent Learning: Students will be able to combine this knowledge with prior knowledge in order to advance into higher skilled lessons in Drawing and Painting 1 or 2.
II. Learning Standards and Grade Level Benchmarks
National Art Standards
NAEA.VA.9-12.1.P.2 PROFICIENT: Students 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

NAEA.VA.9-12.3.P.1 PROFICIENT: Students reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture

Illinois Standards
IL.25.A.4 > Analyze and evaluate the effective use of elements, principles and expressive qualities in a composition/performance in dance, drama, music and visual arts.

IL.25.B.4 > Analyze and evaluate similar and distinctive characteristics of works in two or more of the arts that share the same historical period or societal context.

IL.26.B.4d > Visual Arts: Demonstrate knowledge and skills that communicate clear and focused ideas based on planning, research and problem solving.

IL.27.B.5 > Analyze how the arts shape and reflect ideas, issues or themes in a particular culture or historical period.

Grade Level Benchmark(s)
Students will have:
• Learned about specific Surrealism movement criteria and applied knowledge to a quiz, their project, and a critique.
• Created an original line design in ink.
• Created an original Surrealistic-inspired ink-based project, with a decalcomania background.
Objective(s) IPTS# 1, 2, & 4
1) SWBAT (Students will be able to) understand the main themes and history of the Surrealist movement in art and its ties to literature and history (students reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture) by participating in a PowerPoint demonstration, class discussions, and by answering a questionnaire worksheet. NAEA.VA.9-12.1.P.2, IL.25.B.4
2) SWBAT analyze how the arts shape and reflect ideas, issues or themes in a particular culture or historical period by employing a Surrealist artist game called "The Exquisite Corpse" as a group activity for the generation of project ideas. IL.27.B.5
3) SWBAT demonstrate knowledge and skills that communicate clear and focused ideas based on planning, research, and problem solving by choosing images that complement their idea from online resources and arranging the images to portray a Surrealist theme in structuring the visual layout of the artwork. IL.26.B.4d
4) SWBAT analyze and evaluate the effective use of elements, principles, and expressive qualities in a composition by practicing line design techniques with ink onto a preliminary worksheet and then demonstrating understanding and creativity of the line design techniques when creating an original artistic design composition based around a word. IL.25.A.4
5) SWBAT 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 by creating an original Surrealist-inspired artwork using line design on paper, Surrealist ideas, and other materials.



Prerequisite Learning (student foundation for understanding the content)
The learning listed here is essential prior knowledge to the content of the lesson and is directly related to the lesson.
Students have taken a year of Art 1 and understand basic design principles. Students have just finished a unit on Impressionism, in which comparisons and contrasts are discussed to provide a stronger sense of understanding Surrealistic principles and themes.
III. Materials and technology resources
• Heavy Drawing Paper, 18"x12" and 6"9" per student
• Sharpie Marker, Ultra Fine and Fine tips
• Drawing Handouts (copies from pages 11-13, "Doodling and Noodling" of Bert Dodson's "Keys to Drawing with Imagination"
• Surrealism references: United Streaming video clip, prints by Surrealist artists such as Salvador Dali
• PowerPoint demonstration
• Surrealism handout
• Surrealism quiz
Resources (a video on Discovery Education)
Salvador's Style (http://streaming.discoveryeducation.com/search/assetDetail.cfm?guidAssetId=5c47a7fd-9d40-45ac-ab12-407b677c2278
The son of an ordinary middle-class Spanish family, Salvador Dali was determined to set himself apart from “the ordinary.” His object was to shock, and to keep himself the center of attention at all times. Dali set about his task of re-inventing both himself and the art world by experimenting widely, and eventually settling into surrealism: the art of placing ordinary objects in jarring, dream-like settings. Although his paintings showed genuine talent and imagination (his master work The Persistence of Memory with the famous melting watches is still recognized as a breakthrough painting by the art world), his cruel, calculated manner dismayed his fellow artists and he was expelled from the movement.




IV.Procedures
1) Teacher's preparation
Assemble materials, practice procedures beforehand, identify new vocabulary, organize workstations, etc.
Make copies of all worksheets, gather drawing paper (both small and large for intro project and final project), gather Sharpie markers and pencils, prepare PowerPoint & projector for slideshow presentation, prepare a day in the computer lab, prepare a blog for homework, prepare a viewing mechanism for movie clip on Dali from United Streaming, prepare all teacher artwork examples and handouts not embedded, retrieve book "Noodle & Doodle..." for copying resources, prepare bell-ringer worksheets and bell-ringers for hooks.
Anticipated Time: 5+ hours
2) Methodology

At least two grouping methodology approaches are identified, are reflected in the lesson and are appropriate for instructional delivery. Check all methodology used during the lesson:

Whole class __X___ In class discussions; PowerPoint demonstration
Cooperative groups __X__ Playing "Exquisite Corpse" game
Pairs______
Small group(s)__X__ Demonstrations in small groups
3) Set/Hook
Engage and focus students for 2-3 minutes. Specific plans for establishing a hook or set are evident (3); take students' prior experiences and knowledge into account (4); require student participation (3).
Daily "Bell-ringers" : Students read the Bell-ringer activity on the board, write down answer, and proceed into sharing answers as in-class discussion. For example: Recollect a recurring dream or one that you can remember (we talk about dreams and sub-conscious inspiration from the Surrealist movement).
4) Teacher Explanation/Modeling IPTS# 1, 2, 3, 4, 5, 6 & 7
Teacher explanation of procedures (3); teacher modeling (3); connections between previous and current learning (3); checking for understanding of procedures, expected behaviors, and anticipated products (3); logical sequence or chunking of the explanation or modeling (3),
Day 1: Hook/Bell-ringer: "How often do you doodle or draw for the sake of passing time? On what do you doodle, and what do you doodle?" (write and discuss). Introduce Noodle/Doodle drawing exercises and the practice handout (self-created handout from Noodle Doodle book mentioned in Materials section), along with booklet resource made from copying pages from the book to instruct doodle designs. Demonstrate the first two exercises from the worksheet and use studio work-time.
Day 2: Hook/Bell-ringer: "How often do you use ink or fine marker to draw with? What benefits might ink or fine markers have over drawing with pencil?" (write and discuss). Introduce/demonstrate the last two exercises on the worksheet and use studio work-time.
Day 3: PowerPoint on Surrealism and guided worksheet for note-taking; classroom discussion on themes, topics, ect. Continue practice Doodle worksheet if time; last in-class day to work on that sheet, or allow one more day, determining from how far along the students are; they can finish later or at home.
Day 4: Introduce small project: name or word(s) in a Noodle Doodle design, using packet.
Day 5: Continue small project.
Day 6: Continue small project.
Day 7: Introduce the "Exquisite Corpse" game using words and folded paper. Give a demonstration using two volunteers. (word order: Article + adjective, noun, verb, ___(blank space to fill in later), adjective, noun. (Then teacher gathers up all finished phrases and types on a handout for all students).
Day 8: Teacher hands out all phrases to students and instructs to choose one that they would like to use as inspiration for their final project; students can circle one or more; may also edit and combine sentences to make a new one. Students/class go to the computer lab to search for images that they will use to aid in drawing their Surrealistic phrase (distribute Computer lab handout, found in attachments). Students turn in to teacher; if they do not find all images during that time, write library passes.
Day 9: Demonstrate how to use images to construct a composition: Include terms "illusionistic space, subconciousness, dream-like, symbolism, and refined techniques" and using additional "doodles" to fill in spaces. Distribute sketch paper and pencils. Students should make one or two sketches; goal is to finish sketch by end of class. Teacher should approve sketches before moving on.
Day 10: Distribute large drawing paper. Students should begin transferring sketch onto drawing paper. Students may begin using Sharpie markers to draw.
Day 11-16: Continue drawing; use studio work-time. Choose one day to show Dali video from United Streaming (embedded in Resources) and to review literature passages from Alice's Adventures in Wonderland, and tie in Dali's illustrations of chapter from later edition.
Day 17: Demonstrate "decalcomania" technique (to create colorful, illusionistic space) and /or cutting/pasting drawing items onto new composition. Continue studio work time and if students are ready for paints, allow them to begin.
Day 18-19: Continue studio work-time; have students wrap up and finish.
Day 20: Review Surrealism topics and prepare them for final exam.
Day 21: Final exam.
Day 22: Class critique.
5) Guided Practice (teacher coaching)
The teacher will demonstrate:
• Questioning during hook and presentations, demonstrations, and studio work.
• Monitoring to be sure that students understand that they need to use a variety of line techniques, that they have used the right type of words during the Exquisite Corpse game.
• Assistance to students in the computer lab with finding the right website and photo images.
• Helping students to create a composition with their desired theme and idea.
Plan for Differentiated Learning (i.e. non-reader, ELL-levels, gifted)
A challenged learner example: this student has a hard time listening to directions, following them, and relying on self to continue activity. The lesson is adjusted during class-time; teacher monitors what specifically the student is struggling with and works one-on-one to help him or her start and to show a personal example on his or her worksheets and projects.
Plan for Interpretive Creative Learning (other creative solutions accepted in this lesson)
Student may want to use color in another way.
Student may use a dream scenario instead of an Exquisite Corpse game phrase.
Closure (brief teacher or student-led review)
1. Class critique. Teacher displays artwork on wall and labels them with a number; students choose two that they find to be interesting and write them down. Students go back to their desks and write a narrative about the one or both of the pieces, answering the following questions:
2. Test: attached.
Describe:
• What do you see?
• What sort of textures do you see?
• What time of day is it? How can you tell?
Analyze:
• What sort of effect do the colors have on the artwork?
• How has the overall visual effect or mood of the work been achieved by the use of elements of art and principles of design?
• How were the artists’ design tools used to achieve a particular look or focus?
Interpretation:
• What feelings do you have when looking at this artwork?
• What do you think the artwork means or is trying to say?
Judgment:
• Why do you think that this work has intrinsic value or worth? What is the value that you find in the work(s)? (For example, it is a beautiful work of art, conveys an important social message, affects the way that I see the world, makes insightful connections, reaffirms a religious belief, etc.)
(These critique questions are derived from "Janice Mason Art Museum, Four Steps in Art Criticism.")
Homework or Independent Practice
Students are to finish any unfinished activities at home that we worked on in class; also the writing assignment in the blog.

August 6, 2008 at 10:23 AM

Post a Comment

Subscribe to: Post Comments (Atom)