Students will learn about the role and significance of the Death Cart during the Catholic tradition of Holy Week processions, then create a two-panel piece of art depicting a challenging situation and its positive resolution.

Students will be able to: describe the artistic characteristics of the Death Cart; explain the role and significance of the Death Cart during Holy Week processions; and create a two-panel piece of art depicting a challenging situation and its positive resolution.

Students will compare and contrast works of art; learn observational techniques; become familiar with buildings in their community; learn the terms foreground, middle ground, and background, as well as terms for describing objects such as line, color, shape, form, and pattern.

This lesson invites students to learn and apply formal methods of visual arts analysis to investigate and understand Dan Namingha's Hopi Eagle Dancer They will then experiment with paints in an effort to get a sense of how the artist used different tools and thicknesses of paints to achieve varying effects in the painting.

Students will be able to: identify at least three different techniques/characteristics of the painting; discuss the impact of the artist's use of color in the painting; list and apply methods of formal visual analysis; and use trial-and-error methods to obtain different visual effects.

Mimicking Monet's love of gardening, students will create paintings and transform their classroom into a garden gallery, using 'The Water Lily Pond' for inspiration. By learning about Monet's passion for gardening and creating their own garden paintings, students will develop a greater appreciation for nature and learn a new artistic process.

Students will watch "Blow After Blow" by Garmendia (link provided). They will also view works by Salaberria and Zabala. Through discussion and analysis, students will explore "context" as it relates to process and method. Students will also research punk music from different parts of the world, find photographs that compare past and present events noting aesthetic differences while considering how new technologies have changed both war and journalism. Finally, students will re-design a Salaberria exhibition.

Students will view and discuss works by Garmendia, Zabala, and Salaberria. Students will organize and construct an action sculpture, observing how objects react (how they move, sound, how the physical matter changes) if elements such as sun, water, or wind get involved. Students will use smartphones, cameras, and/or video to copy old photos and video comparing qualities of past and present. Students will also view the series "Unconscious/Conscious" and use photography and video to explore an emblematic building in their city.

Still Life, portrait, and landscape are all categories, or genres, of painting which your students have probably seen examples of on their trips to the museum or when looking through an art book. But how much do they know about the genre of genre painting? What genre is Emanuel Gottlieb Leutze?s image of George Washington Crossing the Delaware from the collection of the Metropolitan Museum of Art? This lesson plan will help students to understand and differentiate the various genres in the visual arts, particularly in Western painting. Students will learn to identify major genres, and will learn to discriminate between a painting?s subject and its genre.

Students will view Gillian Wearing's "Self-Portrait as My Uncle, Bryan Gregory"; learn about her process of documentary portraiture; and debate whether her work is "self-portraiture" or not. Students will also use collage to merge an image of themselves with that of another. Students will also write a character sketch of one of Wearing's photographs and a short biography of the person they have researched.

A course in Graphic Arts Technology provides students with an understanding of the processes and systems common to careers in publishing, printing, and other forms of media distribution. Representative topics include graphic design concepts; art and copy preparation; image generation and editing; desktop publishing; on-demand publishing; school yearbook and magazine layout; advertising and promotion; printing technology; binding and finishing; and screen printing.Students will be committed to lifelong learning as they grow individually, participate in groups, think analytically, create artistic products, and contribute to production of a major project. Students will learn illustration design software such as Adobe Illustrator, photo editing software such as Adobe Photoshop, and page layout software such as Adobe InDesign to create projects that will be printed in traditional and digital formats.

Many high school Graphic Design students are unsure what to include within their sketchbook or how to present their assignments in an innovative and appealing way. This article provides examples of artist and student sketchbooks to motivate and inspire those who study qualifications such as IGCSE / GCSE Art and Design, A Level Graphics and NCEA Level 3 Design (Scholarship). It is written for those who are working in areas such as illustration, publication design (pamphlets, brochures, websites, magazine and book design, CD / DVD covers), corporate identity, advertising and marketing (logo and branding, promotional merchandise, posters, internet and television advertising), packaging design and/or symbol design.

Students will view photographs from Ana Mendieta's "Silueta Series" and consider the integration of body art, earthworks, performance art, and photography. Students will also discuss art forms that are temporary or ephemeral and how photographic and video documentation become part of the work. Students will explore the concept of body language, work in pairs to create silouhettes of their own, create imprints or molds with their hands or feet, work in groups to create a work of ephemeral art and document the process, and discuss their own personal bond with a homeland or cultural heritage.

Students will be able to examine a work of art and write a descriptive analysis about it; explore the differences between objective and subjective writing about an art object; consider the context in which a work of art was created, and develop opinions about a work of art; and discuss and reflect upon the process through which their first impressions of a work of art changed, after acquiring contextual knowledge about it.

Students will be able to observe a watercolor that depicts a historical narrative of a landmark in a dramatic setting; practice and use various watercolor techniques; and create a watercolor of a landmark in a dramatic setting.

Students will put on their 'detective hats' and use magnifying glasses to find evidence that supports attributing the paintings in the Molleno Altar Screen to one artist and one piece. They will work in small groups and present a case to share with the entire class. They will also explore what would need to be different for them to prove that the pieces do not belong together.

Students will be able to: describe what an altar screen is; state that Molleno painted the scenes for this particular altar screen; develop and support a theory or hypothesis using details and logic; and share what they think and have learned with other students and the teacher.

This resource contains a list of tips that have been written specifically for high school art students who are looking to improve the realism of their observational drawings. It is for those who have already selected something appropriate to draw and who understand how to compose a drawing well.

Observational drawing is an integral component of IGCSE, A Level Fine Art or Painting and Related Media courses. For many students, drawing is the core method of researching, investigating, developing and communicating ideas. While it is accepted that there are many wondrous types of drawings - and that non-representational drawing methods have an important role in student art projects – it is usually advantageous to demonstrate competent, realistic observational drawing skills to the examiner (particularly in the early stage of a project).

This collection uses primary sources to explore the Hudson River School. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Students will be able to view and discuss five different artworks (drawings and paintings created in late-1800s France) in terms of what art can tell them about vocations, social conventions, history, style, science, politics, economics, and creativity; create imaginary narratives about how the subjects came to be painted by the artist; create imaginary narratives about what the artists' private lives might have been like in Europe in the 1880s and 1890s by using historical references; learn how to organize information quickly in a visual manner by using various Bubble Maps©; conduct research to make study sketches (examples of text or graphic backgrounds); create an original work of art; and write a short essay in which they address the question: What can art tell us about ourselves?

This course is designed to teach students the elements of design. Students learn to create an impact through the use of color, fabrics and textures. Instruction includes the history of interior design, furniture styles, design theory, and project presentation. Students will learn to determine the scope of a project, develop and present a proposal, and implement a project. Communication skills, interpersonal skills, teamwork, and ethics are addressed. English language arts and math are reinforced throughout the course.

The A3 sketchbook examples shown in this blog post were created by Amiria Robinson and her sister Heather Garland, prior to Amiria's first year of teaching IGCSE Art and Design (the International equivalent of GCSE Art, assessed by Cambridge University). Amiria employed Heather to work for her
during the Christmas holidays and together they created sketchbook pages that could be used to inspire and guide Amiria's students. She needed physical Painting and Related Media Coursework examples that her students could learn from. The sketchbook pages you see here are based a Coastal Environment theme: the exploration of natural forms, such as shells, plants and seascapes.

The resource features a 24-page guide with questions, learning activities, quotations and commentaries to support and model students' responses. An audio guide offers insightful commentary on works in the exhibition and an image bank presents Brack's key works together with contextual and comparative images. Students can also take part in an interactive analysis of Brack's famous painting.