My three sections of this 9th - 12th grade, compensatory high school art course began with a handwriting exercise and some foundational drawing. Then each student completed an autobiographical comic strip.
Differentiated preliminary comic strip assignments could have included 2 or 3-point perspective with optional tracing, and been followed by English grade level comics with optional handwriting worksheets.
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| Line with pen |
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| 1-point perspective with ruler + shading 1 - 3 objects with pencil/eraser |
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| Colored pencil |
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| Pencil and watercolor |
After counting tones of grey in a Richard Diebenkorn still life, students brush applied tonalities in various timed intervals using ink with water.
They explored acrylic painting on paper, mixing 1 - 4 greys through near equal ratios of primary colors and white. Most practiced toning a single primary or secondary color while a few tried making tertiary colors from primary. Students each made still life paintings from observation of 1 - 4 fruits and vegetables. They were allowed to use black to tone light and shadow.
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Classes were assigned an optional reading and practiced landscape painting in the school's art studio. They stretched and gessoed canvases for acrylic paintings based on their own digitally printed photographs. More experienced students were asked to use detailed photographs. Many students worked directly from observation of their photo printouts. Some additionally preferred a method to draw graph coordinates and match areas of information on their canvas to their equally gridded photographs. A few used a makeshift projector–a 6B pencil to trace a horizontally reversed photo then rubbed onto the canvas.
Photo realism painting on canvas modifications included instruction with Photoshop and chemicals for cyanotype printing digital negatives.
Another landscape painting assignment could focus on watercolors, be based specifically on nighttime photographs or double exposures. Students in my photo club shared film cameras on field trips.
Next, classes discussed the 1920's Surrealist movement and a few abstract expressionist artworks. They first practiced drawing with various media on paper.
Pencil with collage
Charcoal on butcher paper
Inks on 140 lb. paper
More materials/processes could include papermaking, oil paints.
Classes considered their explorations for acrylic on canvas paintings again, choosing stretchers from 8 to 24-inches.
Additional instruction covered silkscreen-stencil printing on canvas while more modified painting included collage, mod-podge ink transfer, drawing.
Continuing in surrealism classes collaborated–transitioning end frames of an individual animated sequence into the first frame of a partners. Some surreal video and animation resources:
Students registered their drawings using animation bond paper, peg bars, and makeshift light tables. They maintained an organized portfolio of their work before scanning and were introduced to Aftereffects, software used to create this video. Modifications included animating torn paper collage and photocopied images.
After reading 1984 by George Orwell, classes looked at a sculpture using video surveillance and a computer ad based on the 1949 novel. Students were asked what is something they consider evil, and selected materials to best express their idea.
A few students were encouraged to consider the AP Art exam and independent study. They were assigned to optionally write 150-words about an artist and required to submit a visual artwork based on their choice.
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| Kehinde Wiley |
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| Phillip Guston |
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| Independent study |
Drawing + Painting explored some basic printmaking:
Solar plate etching
Cut stencil and spray-paint
Stamp and monotype
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| Print display |
New (and likely more evenly enrolled) art courses at this high school could offer and still combine: drawing, painting, foundational studio art, advanced studio art, printmaking, photography, video, sculpture, art history.