StudioArtMap PDF

FHS Studio Art Curriculum Map
Farmington Public Schools

Course: Studio Art
Department: Fine and Applied Arts
Course Purpose:
The Studio Art course is designed to promote offerings and opportunities to express artistic
content through visual means with specific artistic intent in two and three dimensions. In the
Studio course one will value quality work, be encouraged to think about the 'why' of art making,
and be able to choose whatever medium best serves the concept trying to be expressed. The
Studio Art class is the last of the general art courses which provides instruction in a variety of
media, including: drawing, painting, graphic design, printmaking, and sculpture. At the
completion of Studio Art, student will focus on drawing (drawing, printing, and painting), 2D
Design (graphic and digital media), or 3D Design (ceramics or 3D) and will appreciate the
technical, functional and aesthetic properties of art from various genres and cultures, drawing on
them for inspiration in ones own creations.
Major Learning Goals and Understandings:

The class of Studio Art encourages students to explore a wide area of contemporary aesthetic and
cultural experiences. Students will use production, perception, and reflection skills to design,
craft, and defend personal visions and artistic concepts; develop artistic autonomy to identify and
focus on their practice, act upon their ideas and continue to learn over the length of their career;
be able to think critically, critique art, and contextualize their work with appropriate concepts
from history, cultural theory, contemporary art, public and global life and ethics; be conversant
with interdisciplinary concepts and approaches in contemporary art.
Essential Core Experiences:

1. Figure drawing
2. Package Design
3, Spatial Structures
4. Au plein air painting
5. Relief printing
Author: William Wright the Elder
6. Perspective drawing
7. New Media sculptures
8. Photorealistic painting
9. Artist books - graphic novels
10. Historical poster design
11. Contemporary Art Museum
Date: 6/08
Date: 6/08
Grade: 10-12
Subject: Drawing
Unit 1: Figure Drawing

Course: Studio Art
Length of Unit: 4 Weeks
Essential Questions
Why has the figure been revered as a symbol for perfection since
the time of the Ancient Greeks?
What effect does chiaroscuro and foreshortening have on
drawing the figure?
What is the process that is used to transfer the ideal form into a
representational form using chiaroscura?
Primary EUs and Content Standards
Stage I - Standards
Key Content Knowledge and Concepts/Skills
(FFAAS)1.13 Express artistic

The students will know:
The students will be able to:
content through artistic (visual)
means with specific artistic
how to perceive the proportions of
Demonstrate the ability to see and
intent.
the body through the rendering
graphically imitate the body
of life-like drawings using
features and attitudes of the
FFAAS 2.21 Explain that art is
graphite and charcoal media.
subject through the use of light
the development and portrayal of
and shadowing techniques.
ideas, feelings and perceptions in
that chiaroscura is a process of
which technical skill,
the artist translating visual
Apply the elements and principles
inventiveness and expressive
information into layers.
of design to produce portrait
meaning are important in both
compositions that make
the fine and applied arts.
expressive use of positive and
the standard proportions of the
(Connecticut Visual Arts
human form.
negative space that reinforces the
Standards (CTS) 2a, 2b, 4a, 5a,
character of the subject as
6a)
influenced by his/her age and
and perceive how light
manipulates mood and promotes
culture.
FFAAS 4.15 Value quality work,
expression in a portrait.
pay attention to details and meet
To articulate the human
deadlines. (CTS 1b and 1c)
proportional form in gesture and
why the human form has been
considered an expression of the
representational methods from a
ideal from the classical Greeks to
life model .
Pre-AP Competencies
the Christians.
Inventive and evocative execution of
Demonstrate how to draw
specific proportions using the
work.
how fabric folds over standard
spherical and box forms.
classical 8 head method and
describe it in the work of others.
Accomplished technical skills evident
in the final drawing.
To reflect upon and understand
the Renaissance standard of
The work engages the viewer.
human proportions and its
application to life drawing in
class.
Date: 6/08
Use the chiaroscura technique to

render values on the human
form.
3

Stage II Common Assessments
Authentic Performance Task- create a representational figure drawing of a model based on observation
Assessment (self) comparison of work against Drers standard model
Assessment (teacher) technique, proportion, chiarosucra rendering, and artistic content in the work
Class critique of compositional studies during process defend portrayal of models attitude, use of shading and proportions
Final group critique defend how they translated the light cast upon the live model in a standard chiaroscura method
Stage III Core/Assured Learning Experiences
Standard human proportions with reference to head units

Standard attitude lines and proportional layout
Direct visual layout techniques
o
Using pencil gages
o
Decoding shades on the human form
o
Creating volumes in fabric
Figure-ground relationships and its impact on the content of the final image.
Date: 6/08

Unit 2: Perspective
Grade: 10-12
Subject: Drawing
Course: Studio Art
Essential Questions
Why can there be more than one vanishing point in a painting or drawing?
Is there any limit to how many there can be?
How does sfumato help to make a painting or drawing seem more realistic or
naturalistic?
With the discovery of linear perspective to what end have we progressed
artistically?
As an artist can we draw a distinction between perspective and point of
view?
Stage I - Standards
1.12 Develop and express perceptions, ideas,

and feelings in powerful, evocative and
aesthetic ways in the fine and applied arts
using representational, abstract, and nonobjective modes of thinking as reflected in a
portfolio of work
2.31 Analyze social and cultural influences as

it affects their own perception and
understanding of designed objects and
artworks from various times and cultures.
Atmospheric Perspective As space

recedes into the far distance in a
landscape painting or drawing, the
intensity of the color fades and there is
less contrast of lights and darks. The
further back in spatial depth, the lighter
the color. Often, colors in the far distance
appear as lighter, cooler tones of blue to
gray. (Leonardo's "perspective of
disappearance" or sfumato)
Create a multiple perspective image

using conventions of sfumata and linear
perspective from observed forms.
To compare and contrast Gustave

Caillebottes Paris Street, A Rainy Day,
1877 painting with David Hockneys
The Chair , 1985.
3.19 Select and describe examples of artistic

thinking in which an artist reflects and
comments on his/her environment i.e. Edward
Hoppers realism (CTS 2a,4a,6a)
Overlapping is the placement in a

composition of one object in front of
another, which creates the illusion of
depth.
Library Students will use video, audio, and

multimedia tools to create clear and
meaningful presentations of ideas.
Relative size (scale) is the size of one

object or part of a landscape in relation to
another. For example: a tree in the
foreground would appear much larger
than a tree in the background.
Identify the human-nature relationship

in the representation of the landscape.
Foreshortening techniques as applied in

images such as Mantegna's Dead Christ
Reverse perspective as demonstrated by

David Hockneys contemporary work
Pre-AP Competencies
Work shows flexibility of thinking.
Work demonstrating strong links between
form and content.
Create an image which requires higher

order thinking skills, recall of the
students past museum and/or gallery
experiences, and creativity to fomulate
a new vision for piece of architecture
for the future.
Strong technical command of perspective

issues.
Date: 6/08

Authentic Performance Task- create two perspective drawings, one from life and one creative interpretation
Assessment (self) compositional considerations, linear perspective technique, limitations of the assigned situation
Assessment (teacher) perspective technique, foreshortening and sfumato techniques, and creativity applied in the final work
Assessment (teacher) - accuracy of multimedia presentation on works comparison
Class critique of conceptual studies for the final work during process defend how the creative work addresses the need for the
future, how the work is technically proficient
Podcast- process and technique
Final group critique reflect on inspirational considerations for the perspective offered, technical prowess, and artistic vision
Use of the library for analysis and presentation formulation

Studio experience creating a observed drawing with mulitple perspectives
Experience employing creativity and articulation of a solution to fill a need for the future generations of man
Librarian generated pathfinder for reference media of podcast
Create a podcast
Gustave Caillebotte
Paris Street, A Rainy Day
1877
Oil on Canvas
Hockney, David
The Chair
1985
Oil on canvas
Date: 6/08

Unit 3: Photorealistic Painting
Grade: 10-12
Subject: Drawing
Course: Studio Art
Essential Questions
Is still life only about the objects seen in the image or also about those not
in the image? If so, what questions does this beg?
Do still life artists most often commodify the image of the product
represented or the still life itself?
Why is combining real and implied imagery together helpful to an artist
who is trying to create a sense of photorealism within a design?
How can the artist perceive the beauty of movement, the subtleties of color,
and the richness of texture better than cameras in poorly lit conditions?

1.10 Control the elements, principles,
materials and processes of the visual arts,
including two/ three dimensional and
electronic, to make clear artistic intent in the
fine and applied arts at a proficiency level
appropriate for high school
Stage I - Standards
the four steps of constructing a painting
including cartooning, underpainting,
painting, and overpainting.
2.23 Be in touch with internal feelings and

draw on them as the basis for works of art.
(CTS 5f)
a successful painting must capture the

essence of a place, object, or individual
people in a way that's totally different to
photos.

comments on his/her environment i.e.
Edward Hoppers realism (CTS 2a,4a,6a)
hyperrealistic techniques employed to

create the illusion of a photograph
4.17 Work independently for long periods of

time without being distracted.
Realization of the subject is more

important then a photorealistic rendering
of the subject
Pre-AP Competencies
Confident execution of work.

create a painting of objects from direct
observation.
use drawing techniques to successfully
depict the illusion of three-dimensional
form and space.
use artistic tools of observation,
gridding, and photographic flash images
to create a hyperrealistic image.
critique the American movement of
photorealism and its value and place in
art history.
new vocabulary specific to photorealism

and still-life painting.
Effective use of form and content.

Ambitious experimentation with evidence of
risk-taking.
Strong quality of artwork.
Date: 6/08

Authentic Performance Task- create a still life drawing using direct observation, gridding, and photographic references
Assessment (self) How is the image your designed and presented is better than a photographic representation?
Assessment (teacher) technique, proportion, and artistic content in the work
Quiz technical procedure for creating a hyperrealistic painting
Class critique of compositional studies during process defend how the image is about more than the represented objects
Final group critique constructive criticism of other students work looking at technique used by the student
Compositional contour drawing

Acrylic painting techniques
Concept-based still life creation process
Compare and contrast contemporary verses 1960s photorealistic artists
Date: 6/08

Unit 4: En plein air painting
Grade: 10-12
Subject: Drawing
Course: Studio Art
Essential Questions
What are different ways that artists have used the landscape
throughout history to contemporary times?
What are examples of different relationships between art and
the landscape- for example: art that investigates and records
the environment as it exists, art that responds to and is
influenced by its setting or environment, or art that imposes
itself onto the landscape? What are the similarities and
differences between them?
How can the artists hand change the relationship between
landscape and time?
Stage I - Standards
1.12 Develop and express perceptions, ideas,

and feelings in powerful, evocative and
aesthetic ways in the fine and applied arts
using representational, abstract, and nonobjective modes of thinking as reflected in a
portfolio of work
2.22 Draw on the sensuous aspects of nature as

a basis for artistic ideas. (CTS 1c)
how to deal with the image as the scene

being rendered changes over time as the
sun moves across the sky.
2.26 Identify characteristics of classic and

romantic modes of artistic expression in
representational, abstract and non-objective
works of art from diverse cultures and time
periods. (CTS 4a,4b,5a,6a,6b)
a range of artists who incorporate

elements from the landscape or
integrate the landscape into their work.

cope with changing lighting on the
subject.
manage paints and supplies in a safe
and environmentally friendly way.
create gestural images of large scale
views
produce articulate detailed images of
botanical plant studies
work quickly to create studies within
the allotted time
plein air paintings need to be started and

finished outdoors
3.13 Use suggestions to improve areas of

weakness. (no correlation)
Pre-AP Competencies
Work demonstrates command of both artistic
and technical concerns
The work effectively synthesizes form and
content
Date: 6/08

Authentic Performance Task- create a plein air painting using both gesture and detail components
Assessment (self) observational considerations, figure/ground relationship, watercolor techniques
Assessment (teacher) plein air gestural image is influenced by an artist presented in class
Class critique of conceptual studies during process How does this work establish a relationship between the environment and art?
Gestural drawing
Watercolor technique
Plein air supplies and technique
Figure-ground relationship
Date: 6/08
10

Unit 5: Relief Printmaking
Grade: 10-12
Subject: Drawing
Course: Studio Art
Essential Questions
Why would an artist want to create art using antiquated materials?

What is similar and different about old and new relief printed art?
What happens to a graphic image when distressed materials are used as a
print base?

1.11 Develop and express perceptions, ideas
and feelings in creative ways in the fine and
applied arts using representational, abstract
and non-objective modes of thinking as
reflected in a portfolio of work
2.24 Notice and appreciate the technical,
functional and aesthetic properties of art
from various genres and cultures, drawing
on them for inspiration in ones own
creations. (CTS 4c)
2.28 Identify and describe works which
reflect elements of classical thought and
feeling across time, culture and style from
ancient to contemporary periods. (no
correlation)
Stage I - Standards
the collographic, reduction block, and

wood block technique and processes
create a multiple impression image on

non-traditional printing material
how relief printing compares to intaglio

processes
create an engaging image that uses

composition and color to articulate the
artistic content
multiple impression image technique

how old and new technique compare and
contrast
create image portfolio with several

different states of the print
print an image with tight registration
3.16 Articulate artistic intent and content in

is/her works of art. (CTS 5d)
Pre-AP Competencies
Command of both stylistic and technical
concerns
Engaging drawing issues and techniques
Informed and developed thought and risktaking
Date: 6/08
11

Authentic Performance Task- create a multiple impression print using etching press
Student Assessment (self) critique artistic intent in comparison with historical relief print making
Assessment (teacher) technique, ergonomics, and function of the work
Class critique of contemporary printmaking concepts how did the image change with the introduction of found and distressed
materials?
Final group critique What is the line between an image that is engaging or confusing?
Relief print with multiple impressions

Use of the etching press
Registration of prints
Color and emotional responses of the viewer
Date: 6/08
12

Unit 6: New Media: Sculptural Hybrids
Grade: 10-12
Subject: 3D Design
Course: Studio Art
Essential Questions
What might the benefits of converging media be for art?

How does the term 'hybrid' apply to Genetics? Linguistics? Visual and
Performing Art? What is the common trait of these terms?
How has the use of art media evolved over time and how do
contemporary multi-media artists reflect this particular time and place?
Using the Socratic process for theme discovery, what is the appropriate
balance for an artist between the needs of an individual and the needs of
a society?
2.27 Identify major human concerns or
recurring themes that have been addressed in
art across cultures and though time. (CTS 4c)
3.13 Use suggestions to improve areas of
weakness. (no correlation)
Stage I - Standards
the Socratic method for exploring

possible themes for the work.
work with metal and found materials to

assemble a constructivist 3D work.
the work and process of contemporary

sculptor Cai Guo-Qiang.
use investigation and reflection to gain

an appreciation of the theme.

artists have the ability to transform
comments on his/her environment (CTS 2a,4a, materials and forms to create a personal
6a)
vision.
time without being distracted.
craft a scuplture using assemblage

process.
what hybrid or new media sculpture

entails.
Pre-AP Competencies
The work addresses sophisticated/complex
ideas with confidence and verve.
The work demonstrate an original vision.
The work demonstrates an understanig of
symmetry, asymmetry, balance, anomaly,
and implied motion.
Date: 6/08
13

Authentic Performance Task- create a conceptual hybrid sculpture based on the theme selected by the class
Student Assessment (self) Does the work have its intended effect on the viewer?
Assessment (teacher) Does the work in its final state reflect the artistic intent?
Class critique of conceptual concepts State and defend the artistic intent of the work comparing maquette to final work
Create a concept-based work of art that is evocative.

Use the Socratic method to explore concepts and themes on the big 6 questions.
o
What is virtue?
o
What is moderation?
o
What is justice?
o
What is courage?
o
What is good?
o
What is piety?
Metal fabrication techniques
New media fabrication techniques
Marquette building
Date: 6/08
14

Unit 7: Spacial Structures
Grade: 10-12
Subject: 3D Design
Course: Studio Art
Essential Questions
What are the similarities and differences between sculpture and architecture?
What are the ways that sculptors and architects influence each other?
How do we as individuals embody an interior and an exterior, public and
private selves and how does this manifest itself in our architecture?
What is a faade and how does it relate to architecture, to sculpture, to
individuals?
Stage I - Standards

2.23 Be in touch with internal feelings and
draw on them as the basis for works of art.
(CTS 5f)
2.27 Identify major human concerns or
recurring themes that have been addressed in
art across cultures and though time. (CTS
4c)
Pre-AP Competencies
how to create a proposal and model for

a work of public art that reflects their
community.
how to construct three dimensional

forms using foamcore board.
how to consider the relationship

between the members of a community
and the public art located in that
community.
the function of a faade on a structure
and its interaction with the interior.

use sheet stock to create a scaled
volumetric space.
explore how a home can suggest or
inspire the identity of its inhabitants,
whether through metaphor or spatial
considerations, decoration or simplicity.
compare and contrast Do-Ho Suhs work
with architectural models.
report on a contemporary artist who uses
spatial sculptures as a form of expression
to the class.
several contemporary artists that use

spatial sculptures as a form of
expression.
Grows out of a coherent plan or action or

investigation.
Shows development of a visual language
appropriate to the subject.
Work emplys line, planes, mass, or volume
to activate form in space
Date: 6/08
15

Authentic Performance Task- create a 3D study of form and function as it applies to metaphorical architectural space
Assessment (self) compositional considerations, use of line, mass, volume and activated space
Assessment (teacher) technique, artistic content in the work, visual stimulation
Spatial Artist presentation - Historical, cultural, and significance of the artist selected for presentation.
Class critique of mass models during process How it the form presented sculpture? How is the form presented architecture?
Final group critique constructive criticism of other students work looking at technique used by the student
Do-Ho Suh overview of contemporary work - LA Home http://www.pbs.org/art21/artists/suh/clip1.html#

Architectural scale and proportion
Date: 6/08
16

Unit 8: Package Design
Grade: 10-12
Subject: 2D Design
Course: Studio Art
Essential Questions
How do transgenerational package designs bridge lifes stages?

When designing a package, who is the target audience?
How does sustainable package design effect societal trends?
What is the current trend in package design aesthetic?
How is design effected by color?

1.10 Control the elements, principles, materials
and processes of the visual arts, including two/
three dimensional and electronic, to make clear
artistic intent in the fine and applied arts at a
proficiency level appropriate for high school
1.13 Express artistic content through artistic
(visual) means with specific artistic intent.
2.21 Explain that art is the development and
portrayal of ideas, feelings and perceptions in
which technical skill, inventiveness and
expressive meaning are important in both the
fine and applied arts. (CTS 2a, 2b, 4a,5a,6a)
Stage I - Standards
the geometry of a box package design.
dissect an existing package to discover

the tab and fold patterns used for the
package.
the big ideas of small package design

and how to employ them in an original
design.
how to design package information
without deception.
commercial graphic design is not self
expression.
grids are the invisible foundation of
package design
use Illustrator software to graphically

layout the precise package design.
print out a package design on 11x17
stock, cut, fold, and assemble into
finished package.
critique qualities of the final designs that
are successful and less successful in their
own and a peers package design.
Pre-AP Competencies
Sophisticated and complex idea for the
design.
Inventive and evocative package design for
the clients product.
Confident articulation of design principles.
Date: 6/08
17

Authentic Performance Task- create a package design based upon contemporary design aesthetics
Assessment (self) does the package design function as intended?
Assessment (peer) - How does the color work with the overall design concept?
Assessment (teacher) How is the design transgenerational in concept? How is it sustainable?
Presentation Students will create a Podcast on innovative package design.
Final group critique student will defend the work of art and rationalize how it is based on the element of design.
Evaluate innovated package design by disecting and analyzing the flat printed shape.
Work within 1/64 tolerances.
Teacher presentation of form and function of architecture.
Site specific architectural consideration and practices.
Date: 6/08
18

Unit 9: Artist Book
Grade: 10-12
Subject: 2D Design
Course: Studio Art
Essential Questions
What is the fundamental purpose of the artist book?

What are some assumptions you make when thinking about artist books?
What is the key question you want to explore in this artist book?
In artist books, does form necessarily follow function?
Stage I - Standards

3.16 Articulate artistic intent and content in is/
her works of art. (CTS 5d)
artist books are a part of several avantgarde practices that attempt to

democratize access to art.
conceptual artists in particular went on

to make a small industry out of artists'
books.
4.16 Use resources for making art i.e. books,

museums, libraries, computers, the internet,
specialized tools and experts. (no correlation)
time without being distracted. (no correlation)
works of art can initiate an important

public discourse once they become part
of a public collection.
use Illustrator and PhotoShop to create

the layout and graphic images.
respond to artist books on a personal

level.
print out single sheet using large format

printer, cut, fold and assemble the book.
select and manipulate appropriate
material for cover stock.
manipulate text and graphic images
together to make a cohesive statement in
which neither is dominant or subordinate.
Pre-AP Competencies
Unmistakable connection between the
theme and the work presented.
layer artistic mark making over printed

material to create depth and complexity
of imagery.
Informed and developed risk-taking and

thought in the final artists book.
Strong pursuit of an idea.
Date: 6/08
19

Authentic Task- create an artist book that explores a single theme
Student (self) - What assumptions were made about the final format of the artist book based on the theme?
Student (peer) - Does the form the the artist book support of confuse the overall theme of the artist book?
Teacher - the book presented has unmistakable connection between form and theme.
Final Evaluation - Defend work presented to peers as a valid exploration of theme through specified discoveries.
View collections of artist books

Large format printing technique
Artists hand and mark making on the final artists book
Date: 6/08
20

Unit 10: Historical Poster Design
Grade: 10-12
Subject: 2D Design
Course: Studio Art
Essential Questions
What are the intersections between art and advertising?

Where do art and advertising diverge?
What are the responsibilities of advertisers to their clients?
What are the responsibilities of advertisers to the public?
How have public tastes, standards and expectations of mass media changed
over the last 100 years?
How do artists participate in and critique mass media systems?
Stage I - Standards

2.24 Notice and appreciate the technical,
functional and aesthetic properties of art
from various genres and cultures, drawing
on them for inspiration in ones own
creations. (CTS 4c)
3.12 Articulate and defend judgments about
their work and that of others based on a
stated criteria. (CTS 5d)
use Adobe Illustrator and PhotoShop to

create a 24x36 poster
and undertake a critical understanding

of the rights and responsibilities of
advertising in the public realm.
reference historical poster design to

scaffold their original design upon and to
sell a contemporary product.
and understand the relationships

between art and advertising.
graphically lay out a visually stimulating

poster to sell a product.
the differences between participation in

and critique of mass media.
what the current aesthetic for poster

design is in America and the world.
Pre-AP Competencies
Strong technique
Form and content synthesized to create
visual ideas
Innovated and evocative execution of work.
Date: 6/08
21

Authentic Task- Design, print, and publically display poster for upcoming event.
Written Response- Articulate the experience the artist wishes the viewer to have as part of the anticipation for the upcoming event.
Critique - Defend the work in front of your peers acknowledging historical influences and design trends in your design.
PhotoShop and Illustrator image creation using multiple layers and filters
Poster slides and research to assess contemporary aesthetics for design.
Public display of posters.
Date: 6/08
22

Unit 11: Contemporary Art Museum
Grade: 10-12
Subject: Contemporary Art
Course: Studio Art
Length of Unit: 1 day
Essential Questions
Why was primary source images better than reproduction and projected
images?
How does contemporary art, both in and out of the museum, compare to this
museums wide-ranging historical collection?
How is the contemporary artwork one sees in the museum part of cultural
stewardship?
Stage I - Standards
2.25 Develop an awareness of a museum

experience and be able to illustrate cultural,
The art museum is an ideal object-based
use the museum facilities to make careful
social, and historical implications of works of
art. (CTS 4b)
learning environment for all learners.
observations about contemporary art and
its place in historical context.
Contemporary art caters to students'
2.31 Analyze social and cultural influences as
respond to actual works of art on a
it affects their own perception and
interests, observations, and questions.
understanding of designed objects and
personal level.
Works of art can initiate and build
artworks from various times and cultures.
engage in an open exchange of ideas.
(CTS 4b)
vocabulary as well as skills in reasoning
and debate.
utilize a variety of learning strategies,
2.32 Explain how designed objects and
artworks have had an impact on the cultures in
which may include sketching, creative
which they were made. (CTS 4b)
writing, and group activities to glean
meaning from contemporary works of art.
Students will acknowledge the ownership of
ideas and information by complying with
copyright laws.
Pre-AP Competencies
Artwork is informed with current trends in
art making.
Artwork is engaging to the viewer.
Date: 6/08
23

Authentic Task- Respond to the vision of the artist. How does the artists intent translate to you?
Written Response- Articulate the experience of seeing a specific artists work with questions provoked by seeing the show.
Visit a museum with a contemporary art exhibit or gallery of contemporary art as part of the class.
Expository writing assignment.
Date: 6/08
24

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FHS Studio Art Curriculum Map

Farmington Public Schools

Major Learning Goals and Understandings:

Essential Core Experiences:

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Unit 1: Figure Drawing

Length of Unit: 4 Weeks

Primary EUs and Content Standards

(FFAAS)1.13 Express artistic

Author: William Wright the Elder

Use the chiaroscura technique to

FHS Studio Art Curriculum Map

Stage III Core/Assured Learning Experiences

Standard human proportions with reference to head units

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Course: Studio Art

Length of Unit: 4 Weeks

Primary EUs and Content Standards

1.12 Develop and express perceptions, ideas,

The students will know:

2.31 Analyze social and cultural influences as

Atmospheric Perspective As space

Create a multiple perspective image

To compare and contrast Gustave

3.19 Select and describe examples of artistic

Overlapping is the placement in a

Library Students will use video, audio, and

Relative size (scale) is the size of one

Identify the human-nature relationship

Foreshortening techniques as applied in

Reverse perspective as demonstrated by

The students will be able to:

Create an image which requires higher

Strong technical command of perspective

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Use of the library for analysis and presentation formulation

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Course: Studio Art

Length of Unit: 3 Weeks

Primary EUs and Content Standards

2.23 Be in touch with internal feelings and

a successful painting must capture the

3.19 Select and describe examples of artistic

hyperrealistic techniques employed to

4.17 Work independently for long periods of

Realization of the subject is more

The students will be able to:

new vocabulary specific to photorealism

Effective use of form and content.

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Stage III Core/Assured Learning Experiences

Compositional contour drawing

Author: William Wright the Elder

FHS Studio Art Curriculum Map

Course: Studio Art