L A N D S C A P E P A I N T I N G
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T R A N S P O R T A T I O N P H O T O G R A P H Y
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LANDSCAPE PAINTING
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Landscape painting becomes its own subject or “type” of painting, as it addresses many different artistic challenges and requires a certain amount of skill to understand how to traditionally and contemporarily express nature/scenery on a two-dimensional surface.
In this unit, I was able to enter Mrs. Alter’s painting class as the teacher, and provide the guidance, support, and expectations of the project to the students. Mrs. Alter expressed that she was willing to let me “take charge” on this unit and showed me how she had presented the project in the past, which was to recreate a landscape photograph using paint. Immediately, I cringed at the idea of students almost exactly “mimicking,” or copying, a photo reference of a nature scene. The project itself wasn’t entirely about “copying” per se, it addressed major artistic challenges of depicting three dimensional space on a two-dimensional surface, as well as using painting techniques to create the “essence” of a landscape component.
Through Mrs. Alter’s guidance and prior experience, creating the illusion of space through the understanding concrete rules of background, middleground, and foreground (spatial perspective) was a component of landscape painting that needed to be addressed.
In this unit, I was able to enter Mrs. Alter’s painting class as the teacher, and provide the guidance, support, and expectations of the project to the students. Mrs. Alter expressed that she was willing to let me “take charge” on this unit and showed me how she had presented the project in the past, which was to recreate a landscape photograph using paint. Immediately, I cringed at the idea of students almost exactly “mimicking,” or copying, a photo reference of a nature scene. The project itself wasn’t entirely about “copying” per se, it addressed major artistic challenges of depicting three dimensional space on a two-dimensional surface, as well as using painting techniques to create the “essence” of a landscape component.
Through Mrs. Alter’s guidance and prior experience, creating the illusion of space through the understanding concrete rules of background, middleground, and foreground (spatial perspective) was a component of landscape painting that needed to be addressed.
Also, through Mrs. Alter’s experience in the past, the criteria of implementing painting technique was required of students to successfully express and understand landscape painting. For example, students could use a wash technique to depict a simple sky gradient, due to the fact that skies are limited in detail and are typically large expanses of color. There are multiple techniques that can be applied to create the “essence” of landscapes:
However, in order to feel as though the unit was one of my own, I decided to emit the act of “mimicking” a single photograph. The third criteria component of the project was one I implemented myself, without Mrs. Alter’s guidance (she was thrilled at the idea). So, prepared a multitude of photographic reference pieces gathered from National Geographic magazines, and required students to recreate their own landscape photo reference using two or more difference pieces of photos.
This allowed students to not only experience choice and originality in their work, but to further understand spatial components of landscape painting (background, middleground and background). Through participating in the project myself, I served as a model for students in the decision making process of recreating my own photo reference. I chose a different photo reference that would depict my ideal background, middleground, and foreground that I wanted for my final painting.
This allowed students to not only experience choice and originality in their work, but to further understand spatial components of landscape painting (background, middleground and background). Through participating in the project myself, I served as a model for students in the decision making process of recreating my own photo reference. I chose a different photo reference that would depict my ideal background, middleground, and foreground that I wanted for my final painting.
The three criteria components for the landscape painting project are:
Post Lesson Reflection
1. To what extent were lesson objectives achieved?
The objectives for the unit were to not only create a landscape painting of a natural scene, but to explore and gain an understanding of spatial depth and how one can achieve the illusion of space on a two dimensional surface. In addition, students were introduced to ways painting techniques that would allude to the effects of nature (wash for backgrounds, dry brush for frontal details).
As I reflect on the in-progress and final products of the unit, the objectives were achieved to a point that I was able to not only verbally ask how and why they were implementing their decisions on composition, spatial perspective, and painting techniques, but it was evident in the work without their verbal backing.
2. What changes, omissions, or additions to the lesson would you make if you were to teach again?
First off, not providing a learning target on the day of introducing the unit was the silliest mistake. Meanwhile, when presenting the project to the students, there was little reciprocal participation from the students. This was due to the fact that I did not provide enough thought-provoking and open ended questions for students prior to lecturing the information, to expand their thinking rather than telling them factual information.
3. What do you envision for the next lesson?
Given that the students are at an advanced artistic skill level, I believe that this lesson would be a good tie into projects that challenged students to think conceptually rather than representationally. In this project, they are able to experiment with ways that will allow them to representationally be successful in creating compelling compositions, applying various painting techniques and use of color in a realistic manner. From there, students can approach ideas or subjects that are imaginary and creative, but through their advanced skill and understanding of paint and art principles, they can address objective and complex topics with technical painting skills.
1. To what extent were lesson objectives achieved?
The objectives for the unit were to not only create a landscape painting of a natural scene, but to explore and gain an understanding of spatial depth and how one can achieve the illusion of space on a two dimensional surface. In addition, students were introduced to ways painting techniques that would allude to the effects of nature (wash for backgrounds, dry brush for frontal details).
As I reflect on the in-progress and final products of the unit, the objectives were achieved to a point that I was able to not only verbally ask how and why they were implementing their decisions on composition, spatial perspective, and painting techniques, but it was evident in the work without their verbal backing.
2. What changes, omissions, or additions to the lesson would you make if you were to teach again?
First off, not providing a learning target on the day of introducing the unit was the silliest mistake. Meanwhile, when presenting the project to the students, there was little reciprocal participation from the students. This was due to the fact that I did not provide enough thought-provoking and open ended questions for students prior to lecturing the information, to expand their thinking rather than telling them factual information.
3. What do you envision for the next lesson?
Given that the students are at an advanced artistic skill level, I believe that this lesson would be a good tie into projects that challenged students to think conceptually rather than representationally. In this project, they are able to experiment with ways that will allow them to representationally be successful in creating compelling compositions, applying various painting techniques and use of color in a realistic manner. From there, students can approach ideas or subjects that are imaginary and creative, but through their advanced skill and understanding of paint and art principles, they can address objective and complex topics with technical painting skills.
PHOTOGRAPHY CRITIQUES: "TRANSPORTATION" & "SIGNAGE"
In Mrs. Lanterman’s beginning level photography class, I was able to produce a couples critique lessons, given to two different classes based on two different projects, with inspiration from a Making Thinking Visible Strategy, “Chalk Talk.” The strategy focuses on the act of having students formulate their deeper thinking to paper and provide their own insights and responses to other students’ thinking.
While this project was an advancement from the first project, allowing students to expand their experience with elements and principles of art (form, space, repetition, unity, balance, etc.), students were able to broaden their photographic interests in capturing interesting perspectives on transportation and signs.
In the “transportation” and “sign” critique activities, the goal was to individually rotate around to the final prints of their peers, meanwhile considering different questions each round and documenting their initial reactions to the work. The activity was a silent and unusual critique, but in the end, students were able to read the comments made by their peers and have a record of their input.
While this project was an advancement from the first project, allowing students to expand their experience with elements and principles of art (form, space, repetition, unity, balance, etc.), students were able to broaden their photographic interests in capturing interesting perspectives on transportation and signs.
In the “transportation” and “sign” critique activities, the goal was to individually rotate around to the final prints of their peers, meanwhile considering different questions each round and documenting their initial reactions to the work. The activity was a silent and unusual critique, but in the end, students were able to read the comments made by their peers and have a record of their input.
POST LESSON REFLECTION
1. To what extent were lesson objectives achieved?
The objectives of the lessons were to not only participate in final critique after a project, but to practice giving peers appropriate constructive criticism. However, this was not your typical critique - class discussion. This critique was a written and silent critique, allowing students to give honest and detailed feedback. It was greatly successful in the sense that students were able to write their initial reactions when answering the unique and individual questions for their peers' work.
2. What changes, omissions, or additions to the lesson would you make if you were to teach again?
Luckily, I was able to teach the lesson again for the Period 8 class' "Signage" project. In the first trial, the complication of what to do when a student did not have a final print caused a stall. The second go around, we made sure before starting the critique that there was a photograph for every student, even if a student or two were missing their final prints, so that each student was able to participate during each rotation. Also, the second go around, I emitted some of the questions, allowing for class discussion after the question where students were able to share aloud to the class their insight on the work for each rotation question.
3. What do you envision for the next lesson?
For the next lesson, or next critique activity, I envision a similar tactic or system to ensure all students' participation and engagement. Often, in critique discussions, there are students who are willing to share aloud on numerous accounts, and those who fail to participate, or enjoy giving feedback to peers in a full class discussion.
The objectives of the lessons were to not only participate in final critique after a project, but to practice giving peers appropriate constructive criticism. However, this was not your typical critique - class discussion. This critique was a written and silent critique, allowing students to give honest and detailed feedback. It was greatly successful in the sense that students were able to write their initial reactions when answering the unique and individual questions for their peers' work.
2. What changes, omissions, or additions to the lesson would you make if you were to teach again?
Luckily, I was able to teach the lesson again for the Period 8 class' "Signage" project. In the first trial, the complication of what to do when a student did not have a final print caused a stall. The second go around, we made sure before starting the critique that there was a photograph for every student, even if a student or two were missing their final prints, so that each student was able to participate during each rotation. Also, the second go around, I emitted some of the questions, allowing for class discussion after the question where students were able to share aloud to the class their insight on the work for each rotation question.
3. What do you envision for the next lesson?
For the next lesson, or next critique activity, I envision a similar tactic or system to ensure all students' participation and engagement. Often, in critique discussions, there are students who are willing to share aloud on numerous accounts, and those who fail to participate, or enjoy giving feedback to peers in a full class discussion.