High School Art - RCAS Curric… · Web viewHIGH SCHOOL. VISUAL ARTS CURRICULUM. GRADES 9-12. Approved by the Board of Education, ... Native American Arts 48. Native American Arts

HIGH SCHOOLVISUAL ARTS CURRICULUM

GRADES 9-12

Approved by the Board of Education, November 2003Update approved by the Board of Education, May 7, 2009

RAPID CITY AREA SCHOOLS300 6th Street

Rapid City, South Dakota

BOARD OF EDUCATION:Mrs. Sheryl Kirkeby...................................................................................................PresidentMrs. Leah Lutheran.....................................................................................1st Vice PresidentMr. Doug Kinniburgh..................................................................................2nd Vice PresidentMrs. Daphne Richards-Cook.............................................................................Board MemberMr. Arnie Laubach............................................................................................Board MemberMr. Wes Storm..................................................................................................Board MemberMr. Bret Swanson.............................................................................................Board Member

ADMINISTRATION:Dr. Peter M. Wharton.....................................................................Superintendent of SchoolsDr. James F. Ghents .....................................Director of Curriculum, Assessment, Instruction

and Gifted Education Services

9 - 12 VISUAL ARTS CURRICULUM COMMITTEE – 2009:Nancy Ashley..........................................................................................Stevens High SchoolShelley Byers..........................................................................................Stevens High SchoolKristi Damrau...........................................................................................Central High SchoolLisa Evans...............................................................................................Stevens High School

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Bobbi Greenway.......................................................................................Central High SchoolJeff Gulbransen.........................................................................................Central High SchoolMelanie Kelley..........................................................................................Central High SchoolArdie Tatum.............................................................................Rapid City Academy, Jefferson

6 - 12 VISUAL ARTS CURRICULUM COMMITTEE – 2003:Nancy Ashley..........................................................................................Stevens High SchoolShelley Byers..........................................................................................Stevens High SchoolJeff Gulbransen.........................................................................................Central High SchoolMargaret Becket......................................................................................South Middle SchoolIngrid Arlton.....................................................................................Southwest Middle SchoolRui Sukut...............................................................................................Dakota Middle School

9 - 12 VISUAL ARTS COMMUNITY ADVISORY COMMITTEE – 2003:Tom HancockMarilyn JackJeff White Bear Claws

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CONTENTS

Introduction....................................................................................................1Vision.............................................................................................................2Benefits..........................................................................................................2Philosophy......................................................................................................3National Visual Arts Standards Grades 9-12.....................................................4State Visual Arts Standards Grades 9-12..........................................................7Elements of Design........................................................................................10Principles of Design.......................................................................................16Secondary Course Offerings...........................................................................19Scope & Sequence Chart – Art 9 (2-Dimensional).............................................23Scope & Sequence Chart – Art 9 (3-Dimensional).............................................24Scope & Sequence Chart – Basic Drawing & Design.........................................25

General Art terms...................................................................................27Scope & Sequence Chart – Painting................................................................37

Painting terms........................................................................................38Scope & Sequence Chart – Advanced Art........................................................40Scope & Sequence Chart – Clay Construction & Design....................................41

Clay Construction Terms.........................................................................42Scope & Sequence Chart – Advance Clay Construction.....................................44Scope & Sequence Chart – Crafts....................................................................45

Craft Terms............................................................................................46

Scope & Sequence Chart – Native American Arts.............................................48Native American Arts Terms....................................................................50

Scope & Sequence Chart – Interior Design......................................................52Interior Design Terms.............................................................................54

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Scope & Sequence Chart – Commercial Art.....................................................60 Commercial Art Terms...........................................................................61

Scope & Sequence Chart - Beginning Photography..........................................62Scope & Sequence Chart – Advanced Photography..........................................64

Photography Terms................................................................................66Career Education...........................................................................................76

Career Listing for Artists.........................................................................77Suggested Technology Activities....................................................................79

Listing of Web sites to explore and visit..................................................80

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INTRODUCTION

The High School Visual Arts Curriculum for the Rapid City Area Schools (RCAS) District is aligned with the South Dakota Content Standards (SD Department of Education and Cultural Affairs), and the National Standards for Arts Education (The Consortium of National Arts Education Association).

The arts are an integral part of humanity and provide a way for South Dakota students to better understand the concept of culture. Culture has been defined as the way groups of people approach the world and organize their lives. The heart of a culture is the guiding principles and beliefs that people deem to be most important. Since nomadic peoples first sang and danced for their ancestors, since hunters first painted their quarry on the walls of caves, since parents first acted out the stories of heroes for their children, the arts have described, defined and deepened human experiences. All people have an abiding need for meaning; to connect time and space, experience and event, body and spirit, intellect and emotion. People use the arts to make these connections and to express their individual experiences and creativity.

An education in the visual arts also enhances student computing skills. The inclusion of technology in the educational environment is a direct compliment to the visual arts. Technology has the power to teach, to motivate, to captivate, and to transform an ordinary classroom into a training ground for the next generation of artists, entrepreneurs and government leaders. Virtually all work created on computers uses visual arts elements and design elements are part of every document.

VISION

The continued success of civilization to be both dynamic and nurturing ultimately depends on how well we develop the capacities of our children to live rich, rewarding, and meaningful lives in a vastly complex world. The vision is to affirm that a future worth having depends on being able to construct a vital

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understanding of the arts, and that by doing so, students will be provided opportunities for personal study and fulfillment of self-potential.

BENEFITS

An education in the visual arts benefits society because students of the arts disciplines gain powerful tools for:

Understanding human experiences, both past and present. Learning to adapt to and respect others’ (often very different) ways of thinking, working, and

expressing themselves. Learning artistic modes of problem solving, which bring an array of expressive, analytical, and

developmental tools to every human situation (this is why we speak, for example, of the “art” of teaching or the “art” of politics.

Understanding the influences of the arts, for example, in their power to create and reflect cultures, in the impact of design on virtually all we use in daily life, and in the interdependence of work in the arts with the broader worlds of ideas and action.

Making decisions in situations where there are no standard answers. Analyzing nonverbal communication and making informed judgments about cultural products and

issues. Communicating their thoughts and feelings in a variety of modes, giving them a vastly more powerful

repertoire of self-expression.

PHILOSOPHY

The visual arts are that aspect of the art matrix, “the indispensable condition,” that connects our imaginations visually with our world. Experiencing the creative process, we artists (students) give form to our individual interpretations of life through:

Elements and principles of design.

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Various art media and techniques, and technology. Production. Study of art history. The joy of work.

The arts are integral to daily life. They refresh and invigorate us. They teach us to rigorously apply what we learn in a “hands-on”, authentic way. In a rural and isolated area like South Dakota, schools are often the only place where the visual arts and art education are accessible.

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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-121.CONTENT STANDARD: Understanding and applying media, techniques and processesACHIEVEMENT STANDARDS a. Apply media, techniques, and

processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks.

b. 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.

PROFICIENT: Students

ACHIEVEMENT STANDARD, c. communicate ideas regularly at a high level of effectiveness in at least one visual arts medium.

d. initiate, define, and solve challenging visual arts problems independently using intellectual skills such as analysis, synthesis, and evaluation.

Advanced

2.CONTENT STANDARD: Using knowledge of structures and functionsACHIEVEMENT STANDARDS, a. demonstrate the ability to form

and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art.

b. evaluate the effectiveness of artwork in terms of organizational structures and functionsPROFICIENT: Students

c. create artworks that use organizational principles and functions to solve specific visual arts problems

ACHIEVEMENT STANDARD, d. demonstrate the ability to compare two or more perspectives about the use of organizational principles and functions in artwork and to defend personal evaluations of these perspectives.

e. create multiple solutions to specific visual arts problems that demonstrate competence in producing effective relationships between structural choices and artistic functions.

Advanced

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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-123.CONTENT STANDARD: Choosing and evaluating a range of subject matter, symbols and ideas.ACHIEVEMENT STANDARDS a. integrate visual, spatial, and

temporal concepts with content to communicate intended meaning in their artworks.

b. use subjects, theme, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks.

FOR STUDENTS:

4.CONTENT STANDARD: Understanding the visual arts in relation to history and culturesACHIEVEMENT STANDARDS a. Know and compare the

characteristics of artworks in various eras and cultures

b. describe and place a variety of art objects in historical and cultures.FOR STUDENTS:

c. analyze, describe, and demonstrate how factors of time and place(such as climate, resources, ideas and technology) influence visual characteristics and give meaning and value to a work of art.

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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-125.

CONTENT STANDARD: Reflecting upon and assessing the characteristics and merits of their work the work and others

ACHIEVEMENT STANDARDS FOR STUDENTS:

a. compare multiple purposes for creating work of art

b. analyze contemporary and historic meanings in specific artworks through cultural and aesthetic inquiry

c. describe and compare a variety of individual responses to their own artworks and to artworks from various eras and cultures.

6.CONTENT STANDARD: Making connections between visual arts and disciplinesACHIEVEMENT STANDARDS a. compare the characteristics of works

in two or more art forms that share similar subject matter, historical periods, or cultural context

b. describe ways in which the principles and subject matter of other disciplines taught in the school are interrelated with the visual arts

FOR STUDENTS:

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STATE VISUAL ART STANDARDS GRADES 9-12

STATE VISUAL ART STANDARD ONE:Students will understand and use visual arts as means for creative self-expression and interpersonal communication.RATIONALE:Visual arts production provides a means for creativity and self-expression*. Creating visual art provides a way for students to actively use traditional materials and contemporary techniques to demonstrate personal interpretations of feelings, thoughts, and ideas. Integration of visual art with other disciplines helps students see relevance and connections among all curricular areas and increases their knowledge base, self-esteem, and personal confidence.9-12 STUDENTS WILL:

1. Communicate personal ideas, experiences, or emotions through a variety of visual art media, processes and techniques.

2. Analyze how visual arts may express concepts, tell stories, evoke moods or emotions, and symbolize ideas.

3. Create* artwork which communicates an understanding of themes or concepts from other disciplines.STATE VISUAL ART STANDARD TWO:Students will understand the media, techniques and processes used in the production of visual arts.RATIONALE:Understanding various media and a variety of production techniques and processes provides students with knowledge of how to use a diversity of appropriate elements and principles to solve visual arts problems. This knowledge base provides students the background to effectively interpret and portray emotions and ideas. A well-rounded understanding of its many components builds a foundation for life-long engagement in and enjoyment of visual arts9-12 STUDENTS WILL:

1. Analyze the various media and processes used in creating a variety of art forms.2. Analyze a variety of techniques, which give artwork definition and detail.3. Determine and apply the appropriate compositional elements and organizational principles to solve

specific visual art problems

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STATE VISUAL ART STANDARD THREE:Students will understand the relationship between visual arts and history.RATIONALE:When students are given the opportunity to study and experience visual arts which represent other cultures and time periods, they gain a deeper understanding of their own as well as other cultures. Knowledge of the interrelationships between people and their art, and the influence one has on the other, helps students develop an appreciation for and tolerance of differences. The visual arts provide a better understanding of and a common bridge among cultures throughout the world.

9-12 STUDENTS WILL:1. Analyze how the visual arts record, preserve, highlight and symbolize the history of humanity.2. Analyze the role of visual arts in reflecting and influencing the culture and societies in which they are

created.3. Analyze the influence of significant artists on the evolution of the various forms of visual arts.

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STATE VISUAL ART STANDARD FOUR:Students will demonstrate a capacity for critical and sensitive response to various visual arts experiences.RATIONALE:By describing, analyzing, and evaluating various processes, production techniques, and media used, students develop the ability to more fully appreciate the visual arts. Students develop the capacity for critical and sensitive response to the efforts of others by using appropriate criteria to evaluate various forms of artwork. Students must establish criteria to assess their own art work and view self-evaluation as an opportunity for personal improvement.

9-12 STUDENTS WILL:1. Evaluate works of art in terms of artistic concepts, ideas, or intentions using criteria appropriate for

the style or form.2. Justify visual art preferences using personal aesthetic criteria.*3. Evaluate the quality and effectiveness of personal artwork using specific criteria.

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ELEMENTS OF DESIGN

ELEMENTS DESCRIPTION BENCHMARKS

LINELine can be described as pat of a dot through space. There are 5 main kinds of lines: Vertical, Horizontal, Diagonal, Curved, Zigzag. When a line is used in art work (and technology), they describe ideas, emotions, objects, and situations.

Vertical lines move straight up and down and show dignity and strength.

Horizontal lines run parallel to the ground and seem to rest or calm.

Curved lines change direction little by little expressing movement in a graceful, flowing way.

Diagonal lines slat and signal action and excitement.

Zigzag lines create confusion and suggest action.

DIRECTION: Show speed of movement with vertical,

horizontal, and diagonal lines. Use curved lines for flowing rhythms. Use jagged lines for angular rhythms. Use twisted lines for erratic rhythms. Cross lines to create points of conflict. Combine movements for interest. Combine movements to describe form.

COLOR:Allow line to advance or recede in space by varying light and dark value. Accomplished by pressure on instrument, retracing to darken, moving within a single line, and use of medium characteristics.

WEIGHT:Use thin lines for delicate, graceful and fast moving rhythms.Use thick lines for heavy, sturdy slow moving rhythms.Vary thick and thin quality within single line movements. Vary thick and thin quality by character of medium.

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ELEMENTS OF DESIGN


SPACESpace is the distance or area between, around, above, below, and within things.

In 2–dimensional art, Space is an illusion or air, mass, depth, or distance.

The relationship of line, form and color depend upon the amount and variety of space in which they exist.

Space is sometimes considered negative form with a size, shape, and character of its own.

Space and break-up of space are the first problems in every work of art. The size and proportion of a 2-dimensional surface and the amount of and shape of a 3-dimensional air mass determine the type of line and form to use for spatial design.

OVERLAPPING: Have shapes overlap one another.

SIZE: Make distant shapes smaller than

closer ones.

FOCUS: Add more detail to closer objects,

less detail to distant objects.

PLACEMENT: Place distant object higher up in the

picture, closer ones lower down.

INTENSITY & VALUE: Using colors that are lower in

intensity and lighter in value for objects in the distance.

LINEAR PERSPECTIVE: Use slanting lines in objects so they

seem to come together in the distance.

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ELEMENTS OF DESIGN

ELEMENT DESCRIPTION BENCHMARKS

SHAPE-FORM

A SHAPE is a 2-dimensional form described by line or by contour edge. Shapes are flat and include length and width.

A FORM is an object with 3 dimensions: Length Width Depth

Forms are grouped as geometric or organic.Geometric forms could be cylinders, cube or a sphere. Organic forms could be a rock, tree or mountain.

Create the shapes below.

Shapes belong in 1 or 2 classes:1. Geometric Shapes: These shapes look like they were made with a ruler. The square, the circle, the triangle, the rectangle, and oval are part of the five basic shapes.2. Organic Shapes: Shapes that are or are-not regular or even. These shapes are free-form shapes that are often found in nature.

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ELEMENTS OF DESIGN


COLORCOLOR is what the eye sees when sunlight or some other light source bounces off an object.

COLOR PROPERTIES: Hue Value Intensity

COLORS ON THE COLOR WHEEL:The arrangement of the colors on the color wheel was organized by Sir Isaac Newton in the 18th century.Primary Colors: Red, Blue, YellowUsed to mix all other colors on the wheel.

Secondary Colors: Orange, Green, VioletResult from mixing 2 primary colors.

Tertiaries (Intermediates): Yellow-green, Blue-green, Blue-violet, Red-violet, Red-orange, Yellow-orange.Result from mixing a primary and secondary color.

Use and understand elements of Color.

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ELEMENTS OF DESIGNELEMENT DESCRIPTION BENCHMARKS

COLOR (Cont.)

DEFINITONS: Value: The lightness or darkness of a color. Tints: Mix color into white for light value. Shade: Mix black into color for dark value. Intensity: the brightness or dullness of a color. A color’s intensity is changed by adding its

complement (opposite color on color wheel).COLOR SCHEMES: Cool Colors: Blue, Violet, Green Suggest ice, water, foliage, Tend to recede. Warm Colors: Red, Orange, Yellow Reminds us of sunshine, fire, etc. Tend to advance. Monochromatic: Use values and intensities of 1

color. Analogous: Colors that are side-by-side on the color

wheel and share a hue. Complementary: Colors that are opposite each other

on the color wheel. Split-Complements: Use opposite colors, split &

choose the colors on either side of the complement. Triad: 3 colors that form an equilateral triangle on

the color wheel.

Use and understand elements of Color.

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ELEMENTS OF DESIGN


TEXTURETEXTURE refers to how things feel, or look as though they might feel, if touched.TEXTURE:

Gives a tactile, as well as, visual impression.

Adds interest & variety to structural form enriches color and aids in description & recognition.

Experienced through the 2 senses-sight & touch.

VISUAL & REAL TEXTURE: Visual Texture: When we see object with texture, we

experience “visual texture”. Real Texture: Actual texture or “real texture” is what

we experience when we touch the object itself.

Use and understand elements of Texture.

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PRINCIPLES OF DESIGN

The principles of design are the ways and the means of compositional organization (the “HOW” as applied to structural elements. The principles of art are guidelines that govern the way elements go together.The principles of Design are:

Balance ProportionVariety MovementUnity RhythmEmphasis


BALANCEThe arrangement of elements so that no one part of a work overpowers, or seems heavier than any other part.

3 TYPES OF BALANCE:1. Formal /Symmetrical: An even distribution of

parts when one half of a work is mirror image of the other half.

2. Informal/Asymmetrical: Unequal distribution of parts. Two unlike objects are made to seem to be equal weight.

3. Radial: Happens when elements or objects are centered around a center point.

Use and understand Principles of Design.

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VARIETYTo combine one or more elements to add interest and avoid monotony by:

Change of Size: Large with medium and small. Change of Shape: Round with pointed. Contrast in Value: Dark with medium and light. Grouping of Colors: Warm with cool, bright with

dull. Contrast with Texture: Rough with smooth,

coarse with fine. Change of Movements & Direction.


UNITYThe blending art elements and principles in a pleasing way creates unity and a feeling of completeness.

Consistency of style and character. Clarity of a single or main idea. Organization of lines, space and tonal

quality.


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EMPHASISStressing or making an element or object stand out over other parts.

Using emphasis allows an artist to control what part of the work the viewer looks at first and how long the viewer will spend looking at each of the different parts through:

Emphasis creates a focal point or center of interest.

Emphasis is created by contrast, or extreme changes in an element.


PROPORTIONThe comparative relationship of one part to the whole and one part to another.


MOVEMENTLeads he viewer to sense action in a work of leads the viewer’s eye throughout the work.


RHYTHMThere petition of an element to make a work seem active.Rhythm creates a flow of movement by:

Repeating lines, shapes, colors, values, and textures.

Tension between the parts or certain parts. A similarity or resemblance of these parts.


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SECONDARY COURSE OFFERINGS

COURSE GRADE # CREDITS DESCRIPTIONART 9 (2D) 9 1/2 Students are introduced to design and composition with

emphasis on the 2-dimensional format. Students are exposed to the basic fundamentals, vocabulary, tools, and a variety of media through drawing, painting, printmaking and mixed media. Students will be introduced to examples of artists’ works and their ideas to serve as a source of inspiration and interpretations.

ART 9 (3D) 9 1/2 Students will create 3-dimensional projects using basic fundamentals of design with emphasis on subtractive and additive methods. A variety of materials such as clay, plaster, wood, paper and wire will be used in creating a multitude of sculptural forms.

BASIC DRAWING & DESIGN

10, 11, 12

1 Students explore a variety of drawing tools, techniques and subjects. Emphasis on improving observational skills through the introduction of the elements of design (line, form/shape, value, color, space & texture) and the principles of design (balance, variety, unity, emphasis, proportion, movement & rhythm) using a variety of media. This class is recommended prior to Painting and Advanced Art.

COURSE GRADE # CREDITS DESCRIPTIONPAINTING 11, 12 1/2

(Central High Students will develop an individual style in painting through the study of various styles in art history using

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School students can repeat this class for additional credit.)

acrylics, tempera, watercolor, mixed media, and collage. Exploration of the basics of color, design and composition, and drawing are the strong foundation of this class. Development of a portfolio and a language of art criticism is emphasized. Completion of Basic Drawing or portfolio acceptance is essential for success in this class.

ADVANCED ART 11, 12 1/2(Central High School students can repeat this class for additional credit.)

Development and creation of ideas toward individual expression using the elements of art and the principles design. References of artists from various movements will serve as catalysts to students in their own creations. Both 2-dimensional and 3-dimensional projects allow students the opportunity to explore their own creativity and make choices (how to carry out a project and make best use of a medium). Basic Drawing and Painting are recommended prior to this class.

CLAY CONSTRUCTION AND DESIGN

10, 11, 12

1/2 Students explore clay as a 3-dimensional medium through a variety of hand-forming techniques including coil, pinch, slab, and combinations. A variety of projects allow students to build utilitarian wares or sculptural pieces. Along with learning the basic techniques, tools, materials and vocabulary. Students experiment with a variety of decoration processes (including additive, subtractive, glazing, staining, and use of mixed media).

COURSE GRADE # CREDITS DESCRIPTIONADVANCED CLAY

10, 11, 12

1/2(Central High School students can repeat this class for additional credit.)

Continuation of clay hand-building and wheel throwing techniques. Emphasis on creating an individual style.

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CRAFTS 10, 11, 12

1/2 Students discover a variety of craft techniques with an emphasis on good craftsmanship. Exploration of various mediums and equipment used in designing hand-crafted items (may include fiber arts, glass etching, clay, basketry, jewelry design).

NATIVE AMERICAN ARTS

10, 11, 12

1/2 Students become acquainted with traditional Native American art form, design & techniques through the use of contemporary media. Students utilize various methods & skills of Native American arts within projects.

INTERIOR DESIGN

10, 11, 12

1/2 Students are introduced to the elements and principles of design as they relate to interior decorating. Emphasis is placed on color theory, furniture selection and arrangement, floor planning, selecting wall treatments, types of flooring, window covering and lighting. Historical styles and current trends in decorating will be studied. Field trips to various related businesses and homes. Computer-related technology is used to reinforce classroom activities.

COURSE GRADE # CREDITS DESCRIPTIONCOMMERCIAL ART

10, 11, 12

1/2 Students design creatively with the business world in mind. Practical information provided on tools, techniques, layout, typography and graphic design fundamentals. Portfolio development (and practical applications), exploring team and individual working environments are stressed. Students examine commercial art careers.

BEGINNING PHOTOGRAPHY

10, 11, 12

1 Students learn technological processes and fundamentals of art as they pertain to photography. They develop individual expression, creativity, and a sense of culture. Students utilize photography as a means of record and an

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alternative method of communication.ADVANCED PHOTOGRAPHY

11, 12 1(Students can repeat this class for additional credit.)

Students explore further photo techniques and experience the opportunity of photo-journalism as work is used for student publications. Creative and critical thought are necessary. Students develop portfolios that reflect publishing experience, a mature artistic direction, and a higher level of craftsmanship.

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ART 9 (2- Dimensional)Emphasis on the elements of art with exercises on line, shape, space, value, color and texture.REFERENCESTANDARDS

BENCHMARKS POSSIBLE ACTIVITIES

National Standards1. a, b2. c5. a

SD STATE STANDARDSNumber one1, 2, 3Number two1, 2, 3Number three1, 2, 3Number four1, 2, 3

Recognize and use creatively, the elements of art and principles of design as they relate to each art activity.

Be familiar with, and uses of, several different media.

Develop personal expression and originality through artwork.

Work independently on art projects developing craftsmanship and technique.

Gesture drawings of shapes, objects, and figures.

Cartooning. Portrait drawing. Grid drawing (enlarged landscape or

still life). Perspective drawings. Value drawings, variety of techniques

to add value. Space, positive/negative space. Experiment with a variety of media: Pen & ink, charcoal, pencil (colored

and graphite), conte crayon, scratchboard, printmaking, pastels, tempera, watercolor.

Color wheel, basic color schemes.

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ART 9 (3-DIMENSIONAL)Emphasis on the elements of art and principles of design.REFERENCESTANDARDS


NATIONAL STANDARDS a, b c b a

SD STATE STANDARDSNumber One1, 2,3Number Two1,2,3Number Three3Number Four3

Recognize elements of art and principles of design and use in original formats.

Know usage of tools and a variety of techniques.

Work independently on art projects to develop craftsmanship.

Student’s art should develop personal expression, originality and creativity.

Clay: small sculptures, containers. Sculpture: wire, plaster, paper mache,

found objects, mixed media. Fiber arts. Jewelry. Mat board tile collages. Copper tooling. Paper: bending, scoring, folding,

curling, and cutting.

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BASIC DRAWINGThe intent of this course is to practice basic drawing and design fundamentals, and to expose students to a wide variety of materials and techniques.REFERENCE STANDARDS

BENCHMARKS; POSSIBLE ACTITIES;

NATIONAL STANDARDS a, b, c, d a, b, d, e a, b a, c a, b, c a, b

SD STATE STANDARDSNumber One 1, 2, 3Number Two1, 2, 3Number Three2, 3Number Four1, 2, 3

Recognize elements of art and principles of design and use in original formats.

Know usage of tools and a variety of techniques.

Critical thinking/evaluation of own work and others.

Develop skills to aid in self-expression.

Use of elements of art and principles of design in a variety of media.

Basic shapes and objects drawn with gesture, blind contour and contour line. Drawn with pencil, marker, pen and ink, charcoal, conte crayon, ink wash.

Principles of showing space, positive/negative, and perspective (one, two and three point).

Shading techniques (values, stipple, crosshatch, and scribble). Using pen ink, scratchboard & pencil.

Design principles with simple shapes and references through art history.

Art aesthetics, critical evaluation from recognized works of art.

Printmaking (linoleum, embossing/collograph, silk screen, plexiglass drypoint, monoprint.)

Figure and portrait drawing, self-portraits.

REFERENCE STANDARDS

BENCHMARKS; POSSIBLE ACTITIES;

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Color theory (color wheel, values, intensities and color schemes).

Color (tempera, watercolor, pastels, oil pastels, ink, mixed media.)

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GENERAL ART TERMS

TERM DEFINITIONABSTRACT ART Art in which the subject matter has been simplified or distorted to he point that

it may or may not be easily discerned. Also art which expresses ideas and concepts through imagery not completely related to the real or natural world.

ACCENT A distinctive feature or quality, such as a feature that accentuates or complements a decorative style.

AESTHETICS The philosophy of art dealing with the relationship of both the emotional and physical aspects of art to perception and appreciation.

ANALOGOUS COLORS Colors which possess one hue in common. Colors immediately adjacent on the color wheel

APPRECIATION Sensitive awareness. Awareness implies a discriminating perception or enjoyment of art.

ART CRITICISM A special, concentrated way of looking at a piece of art with a purpose to receive maximum enjoyment and meaning from it.

ART EXPRESSION The act or process of representing ideas, reactions and emotion in art terms.ASYMMETRY A type of balance that occurs when the elements of design on one side of center

are not identical in appearance or placement to those on the other, yet the sense of balance prevails.

ATMOSPHERIC PERSPECTIVE

The effects of the layers of atmosphere and light, between artist and object, that influence the artist’s perception of distance and result in the illusion of distance to the viewer.

AVANT-GARDE Very original, experimental art.AXIS An imaginary line to which elements of a work of art are referred for

measurement of symmetry.BALANCE The equal or unequal distribution or arrangement of the elements within a work

of art.BIRD’S EYE VIEW View you have if looking down on a scene from an elevated positionTERM DEFINITIONBRAYER A roller made of rubber and used for applying ink to a flat printing surface.BURNISHER A tool that serves especially to smooth or polish.CALLIGRAPHY Beautiful handwriting

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CARICATURE A drawing of a person in which certain features have been distorted to achieve a humorous effect.

CARTOON A drawing depicting a humorous situation, often accompanied by a caption. A preliminary sketch similar in size to the work, such as a fresco, that is to be copied from it.

CENTER OF INTEREST The part of the work which has received special emphasis and around which the rest of the work is organized.

CHIAROSCURO The treatment (and use of) light and dark areas, patterns and gradation in 2-dimensional works of art, especially gradations of light and dark that produce the effect of modeling.

CHROMA Intensity; the quality of brightness and dullness of a color.CHROMATIC Relating to color perceived to have saturation greater than zero.CLASSICAL ART A form of art derived from close study of the perfect antique examples from

Greek and Roman cultures. It is highly idealized.COLLAGE A composition comprised of various materials attached to a common surface.COLOR An element of visual sensation usually evoked by light stimulating the cones of

the retina of the eye. Color has 3 qualities: 1)Hue: the actual color itself-i.e. red, 2) Chroma: The intensity or strength of a color, 3) Value: Lightness or darkness.

COLOR WHEEL The genetic manner of arranging colors by relationship on a circle.COMPLEMENTARY COLORS

Colors that appear across from each other on the color wheel (red is opposite green). This color scheme presents the maximum contrast. By mixing complementary colors, the original intensity is neutralized.

CONTOUR LINES Lines that show the edge of a shape.COOL COLORS Colors such as green, blue, or violet, which evoke a sense of coolness. They

appear opposite the worm colors on the wheel.TERM DEFINITIONCROSS-HATCHING A technique of modeling or shading used in drawing, involving crossing lines at

varied angles to develop shaded or modeled panes.CUBISM Art movement in which the subject is visually fragmented to reveal multiple

viewpoints.CURATOR A caretaker of a portion of museums collections.DADA An art movement whose silly name was used to express the artist’s personal

attitudes toward art in society.

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DESIGN The organization of the elements and principals of art, which create a pictorial or abstract quality compatible with the idea, emotion or function, which initiates a work of art.

DIAGONAL LINE Having a slanted or oblique direction.DISTORTION The altering of an object from its natural appearance or shape.DOCENT A museum guide who conducts individual and group tours of museum’s

collections.DOME A continuous series of rounded arches with a common center.DORIC COLUMN Columns with no decoration on the capital.DYNAMICS The rhythm and movement in art that expresses great action, energy and force.ELEMENT A basic component or essential part of a work of art.EMPHASIS Technique used by an artist to place special importance on an element, subject,

or other aspect of a work of art.ETCHING The process of printing from a flat surface or plate an image, which that has

been scratched or cut into the surface.EXPRESSIONISM Art movement with the main goal of expression of deeply felt emotions through

art. (Max Ernst, Wassily Kandinsky, Franz Marc, Emil Noide).EXPRESSIVE To be able to effectively communicate feelings and ideas in visual form.EYE LEVEL The point of view held by the viewer of a work.FAUVES French term for “wildbeasts" a group a artists around the turn of the 20th

century with the main goals of experimentation and shocking the public.TERM DEFINITIONFIGURATIVE Portrayal of the human figure.FINIAL The decorative top or fancy, uppermost tip of the spire of a structure.FIXATIVE Spry that seals a work so that no further smudging can take place.FLUTED COLUMN Columns with a decorative pattern of grooves running from top to bottom on

each column.FORESHORTENING Reducing or distorting shapes to give the illusion of 3-dimensional space as it is

actually seen by the human eye.FORM 3-dimensional shapes.FORMAL BALANCE Symmetrical, both sides are mirror images.FRESCOES A style of painting in which tempera is applied to the wet plaster surface of

building walls.FUTURISM A small group of Italian artists whose art is the marriage of the qualities of

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modern technology with the expressive images of art (Umberto Bocioni, Giacomo Balla, Joseph Stella).

GENRE A category of artistic composition marked by a distinctive style, form or content. A realistic style of painting that depicts scenes from everyday life.

GEOMETRIC SHAPES Circles, squares, rectangles, and triangles-mathematical in proportion.

GESTURE DRAWING Loose, quick renderings of a person, animal, or object that captures them in the act of moving.

GOTHIC A term referring to the Goths, a fearsome Germanic people who destroyed a great deal of classical art during the 400s; used to describe the architecture of the 1400 and 1500s.

GOUGE A chisel with a rounded, trough-like blade.GRADATION To gradually change in value of color.GRAFFITI ART Art that consists of images and words applied to subway walls and trains,

buildings and public fixtures.

TERM DEFINITIONGRAPHIC ART In its broad sense, the 2-dimensional arts of design, painting and printmaking.

Usually graphics refers to black and white drawing or to printmaking.GRAPHIC DESIGNER An artist who solved visual problems by using the elements and principles of

design.HARMONY The development of a relationship of the structural elements into a pleasing unit

so that they do not appear to be in conflict.HATCHING Drawing a series of parallel lines that are placed close together for dark areas

and farther apart for light shading.HIEROGLYPHICS Egyptian sacred writings.HORIZON LINE A line drawn across the picture plane where the earth appears to meet the sky.HUE Actual name of a color, synonymous with colorINCISE To engrave into a surface; carve.IMPLIED FORMS Forms that give the illusion of being 3-dimensional, but are represented on a

flat, 2-dimensional surface, like drawing paper or canvas.INDUSTRIAL DESIGNER

An artist who designs functional products for public and private use.

INFORMAL BALANCE See Asymmetrical.

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INSTALLATION ART A work of art that is built temporarily or permanently into a museum or gallery space.

INTENSITY Purity of brightness; strength of color as effected by mixing it with its complement.

INTERPRETATION An informed explanation of the meaning of a work of art.IONIC COLUMNS Column with short, fluted shafts and scroll-like decorations on the capitalLINE A moving point on the surface of a canvas, paper, slab of clay, or metal printing

plate that forms shapes, gives direction, and creates rhythm and movement within a work of art.

MASS The perception of filled space. It is the actual or felt space, which is inside any shape, but not the border between shapes. Mass conveys a sense of weight and density as well as contour. In composition it is considered the positive factor.

MATTING To frame artwork with mat board or poster board.TERM DEFINITIONMECHANICAL OR ARCHITECTURAL DRAWINGS

Detailed renderings of a plan for the assembling of an object, building, or environment.

MEDIA Art materials such as paint, clay, wood, drawing tools, and fibers.MEDICAL ILLUSTRATOR

Artists who produce renderings of the external and internal parts of humans and animals, such as tissues, organs, skeletal systems and cells.

MINIMAL ART A 20th Century art movement that sought to present ideas in the simplest forms possible.

MODERNISM Art and ideas that stress individuality, originality, universal meaning, and for “art for art’s sale.

MONOCHROMATIC The use of only one color and its different values in a work of art.MONOPRINT A process in which only 1 image can be lifted from a flat plate, such as a sheet

of plastic or linoleum.MONTAGE A composite of separate pieces arranged on a surface in such a way so as to

project a uniform theme.MOTIF A visual theme or repeated pattern in a design.MOVEMENT The visual suggestion of action created by the placement of the elements in a

work of art.MURAL A work of art, usually large in scale, painted on or attached to a wall or ceiling.

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NEGATIVE SPACE The unused area between, within and surrounding shapes and forms in an artistic composition.

NEUTRALS Of or indication a color, such as black, gay, or white, that lacks hue; achromatic.NIB The point of a marker or pen.ONE-POINT PERSPECTIVE

A work in which the artist has used only one vanishing point.

OP ART An art movement whose artists were interested in how the careful arrangement of lines, colors, and geometric shapes to produce an optical effect.

TERM DEFINITIONOPAQUE A medium or quality which is impervious to rays of light or which is

nontransparent. Opaque paints, such as many poster colors, reflect light from their surface, but do not transmit it to the surface below.

ORGANIC Shapes that are irregular, curvilinear, and not measurable.PASTEL Sticks of ground pigment.PATTERN The artistic arrangement of any area or object into a design. A plan or model to

serve as a guide for something to be made.PERSPECTIVE The ability to render on a flat surface the illusion of depth.PHOTO-REALISM An art movement in which the artists painted with such precision and detail that

their work resembled a photograph if the image.PICTURE PLANE The flat surface on which a work of art is made.PIGMENT Matter that gives color to materials such as paints, dyes, crayons and inks.POINTILLISM A painting style that consists of the application of small dots, or points of color.POP ART An art movement that was a reflection of the popular culture, the media, and

advertising imagesPOSITIVE SPACE The space taken up by the shapes and forms themselves.POST IMPRESSIONISM

A late 20th Century French art movement that expanded ideas advanced by the Impressionists (van Gogh, Cezanne, Gauguin).

PRIMARY COLORS Colors that cannot be made by the artist; red, blue, yellow.PRINTMAKING The process of creating one or more images from a single prepared surface.PROCESS ART Art movement in which the art would undergo a performance or transformation;

Hans Haacke.PROOF The initial print in the printing run of a work of art.PROPORTION The relationship in size of one component of a work of art to another.

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REGIONALISM Art movement in which artists returned to the realistic representation of subject matter characteristic of the part of the country in which they live; Grant Wood and John Steuart Curry.

TERM DEFINITIONRENAISSANCE A French word meaning “rebirth”, the time period that followed the Middle Ages.REPETITION The recurrence of a single element or of several elements of design within a

composition and in the appearance of unity as well as providing a sense of rhythm.

REPRESENTATIONAL OR REALISTIC DRAWING

A rendering that looks like the object or image the artist is viewing or imagining, often uses perspective, shading and modeling techniques.

RHYTHM The regular repetition of elements, patterns, or movements in a work of art.SCREEN A fine mesh fabric stretched across a wooden frame; used for silkscreen

printmaking.SCUMBLING Using the side in a back and forth motion of the tool to create a solid area of

shading.SECONDARY COLORS The result of mixing two primary colors in equal amounts: orange, violet, green.SERIGRAPH A silkscreen print.SHADE Colors to which darker colors or black have been added.SMUDGING Using a finger or blending stick (compressed paper) to spread the medium.SOCIAL REALISTS A group of artists who dealt with themes such as poverty, oppression, and social

injustice.SPACE The place containing tangible forms, it is absolutely essential to all works of art

because the other elements are composed and developed within it.SPECTRUM The full range of colors from red too violet, as seen in the rainbow.SQUEEGEE A t-shaped implement having a crosspiece edged with rubber or leather that is

drawn across a surface to remove water or ink.STENCIL The profile of a shape cut form paper and used as a pattern to print with.STIPPLING Using the point of the drawing tool to make small dots to create an area of dark

or light.STRIATIONS Incised line.STYLE A characteristic manner of presenting ideas and feelings in visual form.

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TERM DEFINITIONSTYLIZED An artistic style in which the body parts of the figure have been simplified and

reduced to their most basic form, or an artistic room in which an object has been changed or abstracted from nature in order to fit the artistic rules and traditions of a culture.

SURREALISM An art movement in which artists combine naturally unrelated events, objects or situations in a dreamlike scene; Salvador Dali.

SYMBOLIC Art in which symbols are used to represent or suggest ideas or feelings through association.

SYMMETRICAL A balancing of parts in which those on one side of the center are the exact reverse of those on the other side.

TERTIARY COLORS Colors between the secondary colors and the primary colors on the color wheel (red-orange, red-violet, yellow-orange, yellow-green, blue-violet, blue-green). Also, called Intermediate Colors.

TEXTURE The surface tactile qualities in a work of art; rough or smooth, coarse or fine, shiny or dull.

THREE-DIMENSIONAL Having width, height, and depth.THREE-POINT PERSPECTIVE

The use of 3 vanishing points in a work.

THUMB-NAIL SKETCH Small, quick sketch used as a plan for a larger, finished piece of art.TINT Color with white added.TONE Color with gray added.TOOTH Slightly rough surface of paper.TRANSITION An abrupt or gradual change in character; light to dark, thick to thin, vertical to

horizontal. Depends on the proximity of like elements of the contrast of opposites.

TRANSPARENT Permitting the passage of light rays; ability to see through certain materials. Watercolors are transparent.

TRIADIC COLOR SCHEME

A group of 3 colors generally forming an equilateral triangle on the color wheel; red, yellow, blue form a triangle.

TERM DEFINITIONTROMPEL’OEIL A type of painting that is so realistic that viewers are not sure whether they are

looking at a painting of objects or the objects themselves.TWO-DIMENSIONAL Having height and width.

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TWO-POINT PERSPECTIVE

The use of 2 vanishing points in a work of art as a whole.

UNITY A principle that helps us see the components of a work of art as a whole.VALUE The amount of lightness or darkness a color possesses.VANISHING POINT Point to which all objects seem to recede.VARIETY A principle that focuses on differences and diversities in a work of art.VERTICAL LINE Straight up and down.WOODCUT A relief form of printmaking in which the side grain of a wooden block is cut

away and the design printed from the raised surface. The print is usually bold and simple. Wood engraving uses the end grain of the wood.

WORM’S EYE VIEW The view you would have if you were lying on the ground looking up; objects lies above the horizon line.

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PAINTINGThis course offers students creative communication in the visual arts through painting, with emphasis on basic skills and knowledge of tools for the beginning painter.REFERENCESTANDARDS


NATIONAL STANDARDS a, b a,b,c a, b a, b, c a,b a, b

SD STATE STANDARDSNumber One1, 2, 3Number two1, 2, 3Number three1, 2, 3Number four1, 2, 3

Develop skills for a variety of painting techniques and paint media.

Develop original interpretations from an assortment of subjects.

Students become aware of major artists and art movements.

MEDIA: Watercolor, tempera, acrylic, airbrush

Masonite, canvas panels, illustration board, stretched canvas, paper, and matboard scraps/cardboard.

Students combine concepts, elements, and media to creatively express and complete original paintings.

Research art history, idea resources, local galleries and artists to help students demonstrate and develop their own personal styles within their projects.

Participate in critiques of their own artwork and others.

Develop a portfolio. SUBJECTS: Landscapes, wildlife,

architecture, still life, figure, portrait, abstract, non-objective.

Classroom text: “Painting”

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PAINTING TERMS

TERM DEFINITION ABSTRACT Art in which shapes, forms and colors have been extracted and simplified from their

natural design.ACRYLIC A quick drying water-based synthetic paint.ANALOGOUS COLORS

Colors that are next to each other on the color wheel and have one hue in common.

COLLAGE A composition made from various cut or torn materials pasted to a surface.COMPLEMENTARY COLORS

Two colors directly opposite each other on the color wheel.

CONTEMPORARY ART

Any art currently being produced.

COOL COLOR Colors that appear cool; such as blue and green.CUBISM The art movement which rendered objects in a geometric form.DRY BRUSH A watercolor technique where excess moisture is wiped from a brush loaded with

paint and applied to the paper. ENCAUSTIC A painting medium where melted wax is added with pigments, FRESCO Water based paints applied to a freshly plastered wall.GALLERY A place where artist’s creations are displayed to be seen and appreciated. GESSO A white pigment used to coat a surface and act as a ground for the paints that will be

applied.GOUACHE A water based opaque paint; sometimes referred to as “opaque watercolors”.IMPASTO Thick buttery layers of pigment.IMPRESSIONISM An art style that attempted to capture the rapidly changing effects of light on

objects.INTENSITY The brightness or dullness of a hue.MATTE A dull, flat surface, without gloss or sheen.MEDIUM The materials used to produce an art object.TERM DEFINITION MONOCHROMATIC

A color scheme using one color with its many shades and tints.

NON-OBJECTIVE A work having no recognizable subject matter.

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OIL PAINT Pigment with an oil base.OPAQUE A medium or quality that does not let the light show through.PAINTING The application of liquid pigment to a surface.PALETTE A surface where paints are mixed before use.PALETTE KNIFE A spatula-like tool used to mix and and apply paints to a surface.PASTELS Finely ground pigments compressed into chalk-like sticks.PIGMENT A finely ground, colored powder that gives paint color.POINTILLISM Color distributed systematically allowing the eye to mix optically.POP ART An art style that uses familiar everyday objects,SURREALISM An art movement that attempts to express and exhibit the subconscious mind or

dreams.TEMPERA A technique of painting using as a medium, pigment mixed with egg yolk, glue or

cassein; also the medium itself. TRANSPARENT Use of clear or translucent materials.WARM COLOR Colors that express heat or brightness such as red, orange, and yellow.WASH A watercolor technique where paint is applied to a wet surface.WATERCOLOR A painting medium in which pigment is mixed with gum arabic and water.

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ADVANCED ARTFor advanced art students to pursue various mediums and to further their development with skills & techniques improving competency to express their personal creative expressions. To prepare those students determined upon advanced training and career in art to better meet the challenges of such an undertaking by giving varied, in-depth art experiences.REFERENCE STANDARDS

BENCHMARKS; POSSIBLE ACTIVITIES;

NATIONAL STANDARDS a, b, c a, c a, b a, b, c a, b, c a

SD STATE STANDARDSNumber One1, 2, 3Number Two1, 2, 3Number Three1, 2, 3

Number Four1, 2, 3

Using the skills and knowledge from background art courses, art 9, basic drawing, clay, and painting, students create their own direction, personal expression and creativity in their artwork.

Students use knowledge of a variety of mediums and experiment with projects on their own with instructor’s approval and direction.

Students work on two-dimensional projects (drawing, painting, printmaking, computer art) and will explore three-dimensional work as well (clay construction, sculpture, mixed media).

Students explore and incorporate a variety of media in their finished art works.

Analyze the compositional features or qualities in well-known art.

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CLAY CONSTRUCTION This course introduces students to ceramics as an art form that can be used as a profession or as a hobby.REFERENCE STANDARDS


NATIONAL STANDARDS: a, b, c, d a, b, c a, b a, b a, b a, b

SD STATE STANDARDSNumber one1, 2, 3Number two1, 2 , 3Number three1, 2Number four1, 2, 3

Introduce the 3 basic techniques of hand-building projects in clay: pinch, coil, and slab.

Become familiar with the vocabulary related to ceramics.

Experiment and become familiar with various glaze techniques to apply to clay pieces.

Produce projects in different methods of working in clay using: press mold, sculpture, and combinations therein.

Introduce students to basic wheel-throwing techniques.

Recognize the aesthetic appeal pottery has brought to people for generations

Express ideas, thoughts, and feelings creatively in the art of creating ceramic pieces.

View various clay videos for technique and possible project ideas.

Glaze tile: Make slab with various textures, and record glazes and stains used.

Pinch Pot Coil Pot (use an extruder or hand-

made coils). Slab Pot: Construct a slab project

using a pattern. Press Mold: Using plaster or flexible

molds in combination of handbuilding methods to create a mold.

Clay Mask: research various mask designs and create clay mask. Use exaggeration and distortion. Decorate with (beads, metal, leather, raffia, etc.)

Sculpture: Human figure, animal forms, and “pop art” project

Decorative relief tile or mosaic tile design

Create a replica of art in clay using historical resources.

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CLAY CONSTRUCTION TERMS

TERM DEFINITION BANDING WHEEL A turn-table which permits work to be turned and rotated.BISQUE Pottery that has been fired once.CASTING Pouring liquid slip into a mold.COIL Hand-built technique in using rope-like pieces of clay.CONES Pyramids of clay and glaze that help determine kiln temperatures.EARTHENWARE A low-fire pottery clay.FOOT A rim, leg, or base bottom.GLAZE A glassy coating which fuses to the surface of clay in heat.GREENWARE Pottery that has not been fired; very fragile and dry.KILN Oven in which ceramic ware is fired.KNEADING Process of removing air from clay by working with fingers (similar to making

bread).LEATHER HARD Clay that is still flexible, but not plastic, and is suitable for carving.LIP The top rim of a pot.MATTE Dull surface. Not shiny.OXIDES Chemicals used to color glazes.

PINCH A pot started from a ball of clay and shaped by pressing clay between thumb and fingers.

PLASTICITY Clay with the correct amount of moisture. Easy to work with hands.POTTER’S WHEEL A machine in which pottery is made from a wheel.PYROMETER A small clay rod that indicates kiln temperatures.SCRAFFITO Scratching a design through one or more layers of glaze.SLAB Hand-built technique using rolled out flat pieces of clay in construction.

TERM DEFINITION SLIP Liquid clay used as glue to join pieces of clay.STILT A small piece of kiln furniture used to hold the glazed pieces off of the kiln

surface.

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STONEWARE A high fire clay with a rough texture.TEXTURE Visual or tactile surface quality.THROWING The process of making pots on a wheel.UNDERGLAZE A special paint used in decoration. Remains dull unless clear glaze is used.WAX RESIST A substance used to prevent glazed from sticking.WEDGING Process of removing air from clay by throwing against a hard surface.

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ADVANCED CLAY CONSTRUCTIONThis course is designed for students to further develop their skills and techniques in clay construction.REFERENCE STANDARDS


NATIONAL STANDARDS a,, b, c a, b a, b, c, a, ,b, c a, d a, b

SD STATE STANDARDSNumber One1, 2, 3Number two1, 2, 3 Number three1,2, 3 Number four1,2,3

Recognize and use creatively the elements of art and the principles of design as they relate to the art activity.

Review hand-building projects in clay: pinch, coil, slab, and press mold.

Knowledge of ceramic vocabulary. Introduction to interested students of

wheel-throwing technique. Exploration of creative ways to

decorate pottery. Research of various glaze techniques

and applications of them to various clay pieces.

Research and recognize historical influences of pottery design using technology, professional periodicals, and clay books.

Exploration of various clays such as porcelain and raku

View clay related videos. Create decorative and functional

clay items using hand building and wheel-throwing techniques.

Possible projects: stylized teapots, garden pieces, sculpture, historical pieces,

Decorate surfaces with carving, scraffito, burnishing, colored clays, latex or press mold additions, stamps, and mixed media.

Glazing techniques such as wax resist, dripping, pouring, crystals, mason stains, and underglaze.

Create a relief tile or mosaic design.

Raku: Research on internet the history, process, and types of raku projects artists create.

Create a raku project and participate in the firing process.

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CRAFTSThis course offers students the opportunity to become familiar with and develop skills in a variety of craft process and techniques.REFERENCE STANDARDS


NATIONAL STANDARDS a, b, c, d a, d, e a, b, c, d a,b,c, a, b, d a, b, c

SD STATE STANDARDSNumber One1, 2, 3Number two1, 2, 3 Number three1,2, 3

Explore and become familiar with variety of craft processes and techniques.

Develop awareness of design elements and principles as they relate to each activity.

Recognize and develop skills for good craftsmanship

Express ideas, thoughts, and feelings in a personal way with a variety of craft media and materials.

Show growth in problem-solving ability to solve problems in project.

Demonstrate greater skills in handling tools and materials to express ideas.

Research ideas

Experiment with various techniques of paper manipulation (paper folding, stencil cutting, paper-making, marbelizing, and printmaking

Glass etching using stencil designs Jewelry design using copper

enameling, fimo, clay, ceramic beads, and found objects.

Fabric designs using stamping, stenciling, or batik processes.

Basket designs using coil method, pine needles, or reeds.

Copper repoussage” (relief tooled design )

Wood fabrication of items Mosaic tiles designs using hand

made tiles

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CRAFT DESIGN TERMS

TERM DEFINITIONSAPPLIED ART Art made to be functional and decorative.BATIK A wax resist process for decorating fabric.COILING An ancient technique using core to make a basket.CORE The foundation material such as rope used for basketry.COUCHING The process transferring newly formed sheets of paper from mold to felt.CRAFTS Different areas in the applied arts.DECKLE The frame or mold used to form a sheet of paperENAMEL A glass coating fused to metal.ETCHING A scratching or burning into a surface.FINDINGS The elements that joins or closes a piece of jewelry.FIRE Heating clay in a kiln.GLAZE A thin, transparent layer of paint that turns to glaze when fired.KILN An oven used to fire clay or fuse enamel.MACRAME’ The art of knotting using the square knot, half-hitching, or alternating square

knots.MOSAIC Small bits of colored glass, ceramic tiles, or stones set in cement or grout.PRINT An image that is transferred from a prepared surface to paper or fabric.RELIEF PRINTING A printmaking method in which the image to be printed is raised from a

background.PULP Pulverized cellulose suspended in water used for papermakingREED A fiber or material used to weave a basket.SCALEX A product used to inhibit build-up of oxides on heated metal.SCRAFFITO Scratching a design through a layer of unfired enamel.SLIP Clay and water mixed and used to join pieces of clay.SPOKES Individual reeds used as the skeleton for a basket.STENCIL A cut-out design used to paint or etch over. THREADS Small rods of colored glass used in enameling.TERM DEFINITIONSWARP Threads that run lengthwise in weaving.

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WEFT Threads that travel across the warp weaving.

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NATIVE AMERICAN ARTS AND CRAFTS This course introduces students to the practical application of traditional Native American arts and crafts and allows students to become familiar with and develop skills in a variety of native crafts. REFERENCE STANDARDS


NATIONAL STANDARDS a, b, c, d a, d, e a, b, c, d a, b, c, a, b, d a, b, c

SD STATE STANDARDSNumber One1, 2, 3Number two1, 2, 3 Number three1, 2, 3 Number four1, 3

Introduce students to the practical application of traditional Native American art forms.

Students utilize various traditional and contemporary methods and skills of several Native American arts & crafts to complete required projects.

Develop an awareness of the culture of the Native Americans through a study of their arts.

Express ideas, thoughts and feelings in a personal way and apply the elements and principles of design through Native American activities.

View videos to learn about Native American culture and history, art forms, and artists.

Study symbols & legends of the Native Americans and write a story using pictograms

Create painted pictographs or carved petroglyphs,

Design and paint a winter count, hide painting shield, and parfleche’ container.

Study the art of beading with loom, lazy stitch, gourd stitch, or peyote stitch and create finished items such as bracelets, key chains, or beading on leather pouches.

Explore various designs in sandpainting and create a finished painting.

Study designs of the Southwest pottery. Use the coil method to create and decorate the clay pots to resemble the early designs.

.

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REFERENCE STANDARDS


Review examples of Native American weaving and basketry. Design and create a coiled basket form or small weaving that has decorative or functional purpose

Introduce the legend of the dream catcher and create a dream catcher

Create a clay storyteller sculpture. Design a Kachina doll using paper

mache’

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NATIVE AMERICAN ARTS TERMS

TERM DEFINITIONSFETISH A shaped stone that resembles an animal and is used for good luck or to ward off

evil spirits.HIDE Rawhide or leather from an animal.IKOTOMI A trickster.KACHINAS Hopi or Zuni ancestral spirits personified in dances or doll form.LAZY STITCH A beading stitch used by the Plains Indians for geometric designs.LEGEND A story passed down by word of mouth from generation to generation.LOOM A frame used to weave cloth, rugs, or beading.MOTIF A design or image that is repeated to form a pattern.PARFLECHE A carrying case made from rawhide and decorated with geometric designs,

commonly found on the Great Plains.PETROGLYPHS Rock art or simple drawings carved or painted on rock.PICTOGRAMS Simple drawings or paintings painted on hide or rock.POTTERY The craft of making objects from clay.RAWHIDE Untanned animal hide.SAND PAINTING A dry painting using sand, cornmeal, rock, etc. originally done by a shaman/holy

man.SCRIMSHAW The art of scratching a line design into ivory or bone.SHAMAN A medicine man used his special healing powers through sand paintings.SHARD A piece of broken pottery.SHIELD A circular piece of decorated rawhide carried for protection.SINEW Animal tendons or waxed thread used as sewing thread.SYMBOL A decorative mark that has special meaning.TIPIS A cone shaped structure made out of buffalo hides and home to Northern Plains

Indians.TERM DEFINITIONSTOTEM POLE A carved cedar post showing carved and painted animals and the family crest.WARP Threads attached lengthwise to a loom.WEAVING Craft where strands of fiber are interlocked to make cloth/rugs.

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WEFT T heads that travel through warp threads on a loom.WINTER COUNT Record of outstanding yearly events painted on a large animal hide. Symbols

radiate in a spiral from the center.YUCCA A native plant; the stems, when chewed, made paint brushes. Spines could be

used as needles and roots could be made into soap.

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INTERIOR DESIGNThis course introduces students to the use of design elements and principles in designing and decorating interior rooms. REFERENCE STANDARDS


NATIONAL STANDARDS b, c, d a, c, d, e a, b, c, d a, b, c, a a, b, c

SD STATE STANDARDSNumber One1, 3Number two1, 2, 3 Number three1,2Number four1,2,3

Introduce and become familiar with architectural styles of homes

Recognize various styles in decorating. Become familiar with the history of

furniture. Utilize the elements and principles of

design in various activities. Develop decorating knowledge that can

be used in present and future life of student.

Introduction to career options in the field of interior design.

Read and complete chapter handouts from text: Homes Today and Tomorrow.

View videos on architectural styles. Collect various examples of housing

styles and identify (use magazines, take photos of local homes, or search internet).

Introduce furniture styles with slides and photos. Practice identification of styles with handouts and internet research.

Utilize the elements and principles of design in decorating activities in designing a room and creating a color board.

Identify color schemes. Read and create floor plans to scale

using graph paper and computer aided design program.

Study and practice the basics of furniture arrangements using floor plans and templates

REFERENCE STANDARDS


Increase knowledge of various wall treatments, floor coverings, and

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window treatment using current decorating magazines, resource people Decorating videos and field trips to related businesses.

Practice faux painting techniques such as ragging, sponging, stenciling, etc.

Selecting and buying furniture using the internet and visiting furniture store.

Use decorating knowledge from class to create a final project. Ex. (Repaint furniture, paint a wall, and build a model room…)

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INTERIOR DESIGN TERMS

TERM DEFINITIONSADAPTATION A piece of furniture that has some features, but is not an exact copy, of an

older furniture designALKYD PAINT A substance made of a synthetic resin, which produces a washable, durable

surface when applied to walls and ceilings.ANALOGOUS A color scheme made up of two or more colors that are next to each other on

the color wheel. ANTIQUE An object having special value because of its age; to be classified as an

antique, a piece of furniture must be at least 100 years old. ARMOIRE A free standing closet with doors in which clothing may be hung or stored flat. ASYMMETRICAL A type of balance in which dissimilar objects are placed at unequal distances

from a center point, still giving the feeling of equal weight on both sides. BALANCE A principle of design that produces a sense of rest and occurs when the visual

weight of objects is balanced on each side of a center point. BALLOON SHADE A window shade made of fabric that creates a puffed effect when the shade is

raised. BAY WINDOW A window with an angular or rounded sash that projects beyond the face of and

exterior wall. BLUEPRINT A reproduction of a technical drawing showing a detailed floor plan of a

structure. BUNGALOW A small house with one or one-and- half stories, and overhanging roof, and a

covered porch. CABRIOLE LEG A form of furniture legs that curves outward and then narrows downward into

an ornamental foot. CAPE COD HOUSE A compact one or one-and-half story house with a pitched roof and a central

chimney. CASE GOODS Furniture pieces that are not upholstered, such as chests, desks and tables.

TERM DEFINITIONS CAST IRON A strong metal made of iron and other elements that is melted in a furnace and

poured into a mold to make such items as stoves, sinks, and bathtubs. CHAIR RAIL A decorative molding fixed on the wall about 3 feet up from the floor to prevent

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the backs of chairs from damaging the wall. COMPLIMENTARY A color scheme made up of two colors that are directly opposite each other on

the color wheel. CORNICE A horizontal, molded projection that completes a wall or building: inside, it is

trim and around the top of the room where the ceiling and wall join; outside, it is molding under the eaves of the roof.

DORMER A structure that projects through a steeply sloping roof; also a name for a window set into this structure.

EMPHASIS A principle of design that, when used, causes one object or area to stand out or dominate.

FLOOR PLAN A diagram, usually drawn to scale, of a room or building: drawn as if seen from above.

FLUORESCENT LIGHT

A type of artificial light produced by chemicals inside a sealed glass tube that transform ultraviolet rays into visible light.

FORM An element of design referring to solid objects, which require space: also called shape.

GAMBREL ROOF A two-sided roof with two slopes on each side: the upper slope being flatter than the lower slope.

GATELEG TABLE A table with legs on each side that can be swung out to support drop leaves that pull up from the sides.

GRADATION A type of rhythm of design achieved by gradually increasing or decreasing color, size, or pattern.

HIGHBOY A chest of drawers that is mounted on legs. HUE The specific name of a color.

TERM DEFINITIONS INCANDESCENT LIGHT

A type of artificial light produced when electricity passes through a tungsten filament that is in a glass bulb.

INTENSITY The brightness of dullness of a color. ISLAND A freestanding storage and countertop unit in a kitchen. JALOUSIE WINDOW Window with a series of horizontal, adjustable louvers, or slats, made of glass

or metal. JAPANNING The process of applying Japan, which is a glossy black lacquer, to furniture.

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LATEX PAINT A quick drying, water-based paint often used on interiors. MANSARD ROOF A roof with two slopes on all four sides, the lower one is very steep while the

upper one is almost flat. MOLDING A strip of wood used for decoration, usually applied to finish off a window, door,

or wall. MONOCHROMATIC A color scheme that uses the tints and shades of one color on the color wheel. NEUTRAL A color scheme based on the use of large areas of white, black, gray, or near-

neutral colors such as beige or brown. PARTICLEBOARD A type of board made of wood particles that are pressed together with heat

and glue. PIGMENT Substances in objects that reflect or absorb light, affecting the color of the

objects. PLAIN WEAVE A type of weave in which each warp yarn passes alternately over and under

one weft yarn.

PRIMARY The basic colors- red, yellow, and blue – from which all other colors, are derived. Primary colors form a triangle and are equal distance apart on the color wheel,

PROP0RTION The principle of design that concerns the relationship (based on size and shape) of objects or parts of objects to one another and to the design as a whole.

RADIATION A type of rhythm of design achieved when lines move outward from a central point.

TERM DEFINITIONS RANCH HOUSE A one-story home, characterized by open corridors, a picture window, and light

construction. RATTAN A strong, flexible palm-tree stem used to make wicker furniture. REEDING Carved ornamentation consisting of a series of convex vertical lines that

resemble thin reeds of tall grass. REPETITION A type of rhythm of design achieved when certain colors, lines, forms, or

textures are repeated. REPRODUCTION An accurate copy of an original. RESILIENT A semi-hard surface that returns to its original shape after stress: available in

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FLOORING both tile and sheer form. RHYTHM A principle of design that creates an effect by using certain colors, lines, forms,

or textures in a consistent pattern. ROMAN SHADE A window shade that is designed to be drawn up by cord into a series of

horizontal accordion folds and lies flat against a window when down. SALTBOX HOUSE A frame house that has two stories in the front and one story in the back

topped by a roof with a long rear slope.

SAMPLE BOARD A board prepared by an interior designer on which sample materials and pictures of furniture, appliances, and accessories are arranged around a floor plan to give a client an opportunity to review a design plan.

SCALE A principle of design that, like proportion, concerns the relationship of parts to each other and to the design as a whole: concerns especially the relationship between sizes of objects of areas. A design in which all the elements are in good proportion to each other is said to be in scale.

SECONDARY One of three color-orange, green, and violet - derived form mixing equal amounts of two primary colors.

SHADE A hue to which black has been added, creating a darker value.

TERM DEFINITIONS SPLIT-COMPLEMENTARY

A color scheme made up of one color and the two colors on either side of its complement on the color wheel.

STENCILING A type of wall decoration created by painting through cutout areas in paper plastic, or metal templates.

SWAG A type of window treatment that is draped across the top of a window in a flowing manner.

SYMMETRICAL A type of balance in which like objects is placed in the same positions on both sides of a center point. (Mirror image).

TERITIARY COLOR A color produced by mixing a primary and a neighboring secondary color on the color wheel. Often called intermediate colors.

TEXTURE An element of design that refers to the surface of objects and describes how it looks or feels.

TINT A hue to which white has been added, creating a lighter value. TRAFFIC PATTERN The easiest, most direct route people use to get from one room to another part

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of a home. TRIADIC A color scheme made up of any three hues that are equal distance apart on the

color wheel. TRUNDLE BED A low bed on rollers that can be stored under a higher bed during the day and

slid out a t night. TURNING The process of spinning and shaping a piece of wood on a lathe. UNITY A principle of design that occurs when all the parts of a room or home are

related by one design idea. Also called harmony. VALANCE A short piece of decorative material across the top of a window. VALUE The amount of black or white color. VARIETY A principle of design that occurs when different styles and materials are

combined VENEER A layer of fine wood applied as an outer finish on furniture made of less

expensive wood.TERM DEFINITIONS VENETIAN BLIND A window blind consisting of horizontal slats that can be adjusted to regulate

the amount of light being admitted: the entire blind can be raised and lowered. VERTICAL BLIND A window blind consisting of vertical slats that can be turned to adjust the

amount of light being admitted: the entire blind can be pulled across the window.

WARP In weaving and fabric, the lengthwise threads. WEFT In weaving and fabric, crosswise threads. WICKER Material made of thin; flexible twigs, branches, and stems (usually rattan) and

used to make baskets and furniture. WINDSOR CHAIR A wood chair characterized by stick legs and spindles driven into a plank seat:

a simple design requiring not screws or nails. WING CHAIR An upholstered armchair with a high back from which large side pieces project. WORK TRIANGLE The triangle in kitchen formed by drawing imaginary lines connecting the sink,

range, and refrigerator. WROUGHT IRON A metal – almost pure iron – that is durable and can be hammered and shaped

into decorative accessories and furniture.

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COMMERCIAL ART This course introduces students to creating designs related to advertising media with the business and commercial world in mind.REFERENCE STANDARDS


NATIONAL STANDARDS

a, b, da, b, c a, b a, ba. b, a, b

SD STATE STANDARDSNumber One1, 2, 3Number two1, 2, 3 Number three1,2, 3

Use design elements and principles design layouts

Relate work expectations and specific techniques to the commercial art field.

Analyze commercials and ads to see how the aesthetic and artistic appeal promotes products

Develop computer skills and use as a tool for creating printed materials.

Learn how to match creative skills to the needs and desires of the client.

Evaluate and critique professional and student work.

Develop a portfolio.

Design an alphabet using unique and creative lettering

Design descriptive words using creative lettering.

Create logo designs for a business or trademark.

Design letterheads and business cards

Plan a layout for a package design Plan a layout and design for

magazine layout. Illustrate a drawing for story or

bookcover Design posters for school events

and community happenings. Design brochure or flyer to

promote a business Use grid method to enlarge a

image to complete in paint, markers, ink, etc.

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COMMERCIAL ART TERMS

TERM DEFINITIONS BUSINESS CARD Small car that provides name of business/person, address, phone, fax, e-mail

address, etc. CAMERA READY Lay out design or art ready for photographic reproduction. COPY Written work used in printed material. FONT Lettering styles found on the computer. GRAPHIC DESIGN The field of art that uses pictures and words to communicate messages. ILLUSTRATORS Graphic artists who create printed materials. LAY OUT The arrangement of words and pictures on a page. LETTERHEAD Stationary that provides logo, name address of a business or company. LOGO A special image or design representing a company, product, or business. MEDIA Describes all types of communication available to present a client’s message. PASTE-UP Putting together all material on a board (or with computer software) to complete

artwork. PICTOGRAMS Stylized designs used to identify objects. PORTFOLIO Samples of completed work to show prospective clients or agencies. ROUGH Preliminary plans of a layout to show a client. TARGET BUYERS Who the company is aiming to sell to – (the market). TYPE FACE Styles of lettering to use in printed materials. TYPOGRAPHY Designing with type.

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BEGINNING PHOTOGRAPHYThis course offers a blend of technology and aesthetics. Students learn principles of photography, fundamentals of art, and technological processes. They are encouraged to explore photography as a form of creative expression, recreation, communication, and as a means of record.REFERENCE STANDARDS


NATIONAL STANDARDS a, b, c, d a, b, c, d a, b a, b, c, e a, b, c, d b, c

SD STATE STANDARDSNumber One1,2,3Number Two1,2,3Number Three1,2,3Number Four1,2,3

Experience an introduction to the field of photography including history, definition, purposes, and equipment.

Exercise sound visual composition based on elements and principles of art as applied to 2-dimensional art.

Learn about the role of art criticism in photography and exercise informed judgment.

Develop a working knowledge of exposure, and understand the relationship between type of light, film speed, shutter speed, and aperture.

Understand and utilize range of value. Have a working knowledge of film,

paper, enlargers, and various darkroom supplies.

Know how to develop film. Know how to print a contact sheet. Know how to print a black and white

photograph.

Pinhole cameras from common containers. Serves as an introduction to the relationship between light and photographic exposure. It also serves as an introduction to the darkroom process.

Photography with strict boundaries. Expose an entire roll of film within 10’ square. This forces students to look thoroughly into familiar surroundings for creative expression.

Contrast. Thematic contrast and technical contrast are used to invoke impact. This activity encourages investigation into type of light.

Story Illustration. An interdisciplinary approach with visual arts/language arts. Students photographically illustrate a written work of their own or of another student.

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REFERENCE STANDARDS


Recognize methods of digital image capture and acquisition.

Understand fundamentals of image editing.

Exercise reasonable file management.

Vantage Point. The angles from which photographs are taken offer students a creative aspect to everyday surroundings.

Reflections. These can be staged or can occur naturally. They can be found on many available surfaces.

Architecture. There are as many varied styles of architecture as there are preferences among students.

Portraiture. Lighting, positioning, expression, and props/backgrounds all combine to invoke mood and personality in portrait images.

Landscape/Nature. These can include a combination of close-up photos and/or horizon lines.

Montage. Texture and representational images are combined by contact methods, digital layers or filtration, or sandwiched negatives.

Hand-Coloring. Dyes, sepia toner, and oil paints, and digital editing tools are used to hand-tint black and white photographs.

Creative Darkroom Techniques. Experimentation with solarization (Sabattier Effect), reversals, and photograms.

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ADVANCED PHOTOGRAPHYThis course is designed for students who have a profound interest in photography. It offers exploration of further techniques and media as well as experience in photojournalism. Self-motivation and self-discipline are necessary for success because expectations are patterned after the working world of photography. Third year students develop portfolios that reflect publishing experience, a mature artistic direction, and a higher grade of craftsmanship.REFERENCE STANDARDS


NATIONAL STANDARDS a, b, c, d a, b, c, d, a, b a, b, c, e a, b, c, d b, c

SD STATE STANDARDSNumber One1,2,3Number Two1,2,3Number Three1,2,3Number Four1,2,3

Photojournalism: An ongoing unit as Advanced Photography students are responsible for supplying photographs for the student yearbook and newspaper publications. Creativity, composition, and impact are continually emphasized.

History of Photography: A selection of historical photographers is presented to offer students examples from which they can pattern themselves.

Current Trends in Photography: A library of current literature is available to students through the internet, bound literature, and current periodicals. Students are encouraged to keep themselves aware of new ideas, equipment, and techniques.

Emulsion Transfer and Image Transfer. A Polaroid process of transferring images to foreign surfaces.

Low Light. Exercise various aspects of low light photography. High-speed films may or may not be used.

Large-scale printing. Second year student’s experience 11x14 size enlarging and third year students experience 16x20 size.

Infrared. Experimentation with specialty film and its sensitivity to light beyond a visible range.

Panalure. Experimentation with a specialty paper whereby black and white prints are produced from color negatives.

Digital imaging. Photographs are captured digitally and then manipulated with Adobe software.

REFERENCE STANDARDS


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Communication: Students use photography as an alternate form of communication. Expressive technique, media, and subject matter are used.

Creativity: Students are encouraged to exercise original thought. The search for new answers to old problems enhances critical thinking skills.

Portfolio Development: Students in their third year are required to establish a portfolio of quality work. The intent of which is for obtaining scholarships, employment and/or acceptance into post-secondary programs.

Emotion and Expression. Impact weighs heavily in this project as students convey expressive ideas exclusive of facial expression.

Abstract. Students study examples of abstract photography and practice abstract expression.

Photo Essay. This project offers the opportunity for in-depth research with pictoral depiction of the breadth and depth of an idea.

Halochrome.

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PHOTOGRAPHY TERMS

TERM DEFINITIONS5 STAGES OF IMAGE PRODUCTION

1. Creating the Image2. Storing the Image3. Viewing the Image4. Editing (modify or correct) the Image5. Outputting the Image

ACETATE BASE Base support for film emulsions.AGITATION Method by which fresh solution is brought into contact with the surface of sensitive

materials during photographic processing.ANALYSIS Using theory and composition to break down an image.ANTIHALATION BACKING

Dye used on the back of most films capable of absorbing light which passes straight through the emulsion.

APERTURE PRIORITY

Semi-automatic camera on which the photographer sets the aperture and the camera automatically sets the shutter speed.

ASA Speed rating for photographic materials devised by the American Standards Association. The system is in the process of being replaced by the ISO system.

ASSYMETRICAL BALANCE

Equally weighted with varied elements.

BACKLIGHTING Lighting from behind the subject.BASE Support for a photographic emulsion.BAYONET MOUNT A lens mount system using flanges by which lens is aligned and seated in the mount

and turned slightly to lock it in place.

TERM DEFINITIONSBROMIDE PAPER Most common type of photographic printing paper. It is coated with an emulsion of

silver bromide to reproduce black and white images.B SETTING Shutter setting that allows the shutter to stay open while the shutter release button

is pressed.BURN Add light for a certain amount of time during the exposure of paper to darken an

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area of a photograph.CABLE RELEASE Method of releasing the shutter by means of a remote cable.CAMERA A light-tight receptacle designed to gather light rays and resolve them as an image.

“Camera” is the Latin word for “room”. Modern cameras can record the resolved image permanently by means of light-sensitive film.

CASSETTE Container holding measured lengths of film which may be loaded into the camera.CMYK Cyan, Magenta, Yellow, Black. The four colors in the inksets of many photo-quality

printers. Some printers use six ink colors to achieve smoother, more photographic prints. The two additional colors are often lighter shades of cyan and magenta.

COLOR MODE The way colors are represented in the digital image.COMBINATION PRINTING

The printing of more than one negative onto a single sheet of paper to achieve a particular effect.

COMPOSITION Selection and arrangement of elements in a photograph.CONTINUOUS TONE Term applied to monochrome negatives and prints, where the image contains a

graduation of density from white through gray to black.CONTRAST The difference between the darkest and lightest areas in a photo. The greater the

difference, the higher the contrast.CROP Adjusting the size of the image to include what is essential.DARKROOM A facility designed for the handling, processing, and printing of photosensitive

materials and capable of maintaining levels of ambient illumination compatible with these activities.

DENSITY Amount of silver deposit produced by exposure and development (relative opacity).

TERM DEFINITIONSDEPTH OF FIELD The distance between the nearest point and the farthest point in the subject which

is perceived as focused.DESCRIPTION Objectively labeling visual components of an image.

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DIGITAL PHOTOGRAPHY

The production, viewing, or reproducing of photographic images by electronic means.

DIGITAL WORKING LAYER

Objects are placed in separate layers and can be freely moved under and over each other. Objects can always be added, and any object can be removed or changed without affecting the others. The final result is the composite of all layers, which can be "flattened" into one layer for conversion into a JPEG, BMP, GIF or other bitmapped file format. The original image can be maintained in its layered format for future modifications, such as in Photoshop's proprietary PSD format.Layers will allow individual editing without adjusting the whole product.

DODGE Block light for a certain amount of time during exposure of paper to lighten values in an area of a photograph.

EASEL A device placed at the base of an enlarger and designed to frame the image, hold the enlarging paper in proper position, and create borders during exposure.

EMULSION Light sensitive material which consists of a suspension of silver halides in gelatin.ENLARGER A device used to project negative images in varying scale onto photosensitive

materials for the purpose of making prints larger or smaller than the original negative.

ENLARGEMENT A print larger than the negative used to produce it.EXPOSURE The product of the intensity of light and the time the light is allowed to act on the

film.FILE SIZE Depends on the number of pixels in the image.FILL THE FRAME Filling the photographic image with subject matter.FILM Photographic material consisting of a thin transparent plastic base coated with light

sensitive emulsion.FIXATION Chemical bath which converts unused halides to a soluble silver, making the image

stable in white light.TERM DEFINITIONSFIXED FOCUS Camera lens that has no method of focusing the lens.FLASH Artificial light source giving brief but bright illumination.F-STOP NUMBERS Numbers on the lens barrel indicating the size of the aperture relative to the focal

length of the lens.FOCAL LENGTH The distance between the rear focal point of the lens and the focal plane (film),

when the focus is set at infinity.

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FOG Density produced on a negative or print by chemical processing or accidental exposure to light, which does not form part of the photographic image.

FORMAT Horizontal or vertical layoutFRAMING Use of environment to border and emphasize the subject.GELATIN Medium used on photographic materials as a means of suspending light sensitive

halides.GRAINS Exposed and developed silver halides which have formed black, metallic silver

grains, producing the visible image.GREYSCALE A photo made up of varying tones of black and white. Grayscale is synonymous with

black and white.HALATION Diffused image usually formed around bright highlights of the subject. It is caused

when light passes straight through the film, strikes the camera back and is reflected back through the film.

HIGH KEY Photograph which contains large areas of light values with few midtones and shadows.

HISTOGRAM A graphic representation of the range of tones from dark to light in a photo. Some digital cameras include a histogram feature that enables a precise check on the exposure of the photo.

HOT An area in a photo that is too light and lacks details.HOT SHOE Camera location for attaching a flash.IMAGE EDITOR A computer program that enables you to adjust a photo to improve its appearance.

With image editing software, you can darken or lighten a photo, rotate it, adjust its contrast, crop out extraneous detail, remove red-eye and more.

TERM DEFINITIONSIMAGE RESOLUTION The number of pixels in a digital photo is commonly referred to as its image

resolution. Combination of total number of pixels available in an image and the size at which it is output results in a specific number of pixels per square inch.

INCIDENT LIGHT Light rays falling upon or striking a subject.INFRARED Light that occurs beyond the red end of the electromagnetic spectrum and invisible

to the human eye. It can be recorded on specially sensitized film.INTERPRETATION Exploring the meaning of an image.JPEG A standard for compressing image data developed by the Joint Photographic Experts

Group, hence the name JPEG. Strictly speaking, JPEG is not a file format, it's a

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compression method that is used within a file format, such as the EXIF-JPEG format common to digital cameras. It is referred to as a lossy format, which means some quality is lost in achieving JPEG's high compression rates. Usually, if a high-quality, low-compression JPEG setting is chosen on a digital camera, the loss of quality is not detectable to the eye.

JUDGEMENT An informed evaluation of an image.LARGE FORMAT A camera that uses large sheet film.LATENT IMAGE The invisible image produced by exposure which can be made visible by

development.LATITUDE The degree by which exposure can be varied and still produce an acceptable result.

The degree of latitude varies with emulsion type. Faster films tend to have greater latitude than slower films.

LEAD-IN LINES Environmental objects that visually lead to the subject.LENS A device consisting of one or more elements, usually transparent, designed to direct

and focus light; in photography, used to focus an image onto a focal plane.

TERM DEFINITIONSLIGHT Electromagnetic radiation, including infrared, visible, ultraviolet, and x-rays, that act

upon the optical faculties and photographic emulsions.LOW KEY Photograph in which tones are predominately dark and there are few highlights.MACRO PHOTOGRAPHY

Photography which produces an image larger than the original subject without the use of a microscope.

MEGABYTE (MG) A measurement of data storage equal to 1024 kilobytes (KB).MEGAPIXEL Equal to one million pixels.MERGER Subject too close to an object or the edge of the photo.MONTAGE Composite picture made for a number of photographs.NEGATIVE The image produced on a photographic emulsion by the product of exposure and

development, in which tones are reversed so that highlights appear dark and shadows appear light.

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NEGATIVE CARRIER Supports the negative between the light source and the enlarging lens of an enlarger.

NEUTRAL DENSITY FILTER

When you use a Neutral Density (ND) filter on your lens, it allows you to optically cut out the amount of light going through the lens, but otherwise does not [ideally] affect image quality. Usually used on bright sunny days to cut down on the amount of light and thus allowing the photographer to use a slow shutter speed for recording effects depicting motion (e.g. "water as a cloud").

NORMAL LENS Describes a lens with a focal length approximately equal to the diagonal of the film format with which it is being used.

OPACITY The light stopping power of a medium.ORTHOCHROMATIC Used to describe an emulsion which is sensitive to blue and green light, but

insensitive to red.PANCHROMATIC Photographic emulsion sensitive to all colors of the visible spectrum.

TERM DEFINITIONSPANNING Technique for photographing moving subjects. While the shutter is open, the

camera is swung in the same direction that the subject is moving. This creates a blurred background with a focused subject. The technique works best with shutter speeds below 1/15 sec.

PATH OF A MOVING OBJECT

Offering visual room for the illusion of motion.

PATTERN Repetition of an element. PERSPECTIVE The relationship of size and shape of three-dimensional objects represented in two-

dimensional space. Linear perspective is represented by diminishing size and converging planes. Aerial perspective is a depth effect produced by haze where objects lose form and are essentially recorded in terms of shape and color and give a visual impression of distance.

PHOTOGRAM Pattern or design produced by placing opaque or transparent objects on top of a sensitive emulsion, exposing it to light and then developing it.

PHOTOGRAPHIC Writing with light.PHOTOGRAPHIC Paper coated with a photosensitive emulsion and used for making photographic

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PAPER prints.PICTURE PLANES Consideration of foreground, midground, and background.PINHOLE CAMERA Camera without a lens which uses a very small hole pierced in one end to allow light

to pass through and form an image on the back of the camera which can be covered by film.

PIXEL Picture Element: digital photographs are comprised of thousands or millions of them; they are the building blocks of a digital photo. Each picture element can measure Illuminance.

POSITIVE Prints or transparencies in which values correspond to tonal range of original subject.

PPI Pixels Per InchPRIMARY COLORS The three primary additive colors of the spectrum in terms of transmitted light are

blue, green and red. In painters’ pigments, primary mixing is considered to consist of blue, yellow and red.

PRINTING-IN Additional exposure is given to selected areas of the print.TERM DEFINITIONSPROCESSING The sequence of steps whereby a latent photographic image is converted into a

visible, permanent image.RAW The RAW image format is the data as it comes directly off the CCD, with no in-

camera processing is performed.RESIN-COATED PAPER

Printing paper with a water-repellent base. RC papers can be processed faster, require less washing, and dry more quickly than fiber-based paper.

RETICULATION Cracking or distorting of the emulsion during processing, usually caused by wide temperature or chemical-activity differences between the solutions.

RGB Red, Green, Blue: the three colors to which the human visual system, digital cameras and many other devices are sensitive.

RINSE Brief clean water wash between steps of a processing cycle which reduces carry-over of one solution to another.

RULE OF THIRDS Division of 2-D space to calculate placement of subject.SABATTIER EFFECT The part-positive part-negative effect formed when an emulsion is briefly re-exposed

to white light during development and then allowed to continue development.SAFELIGHT Darkroom illumination of such limited wavelength and brightness that it does not

affct the photosensitive materials being handled. Materials of different sensitivities

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require different safelights.SATURATION How rich the colors are in a photo.SHUTTER The center of interest or central idea; the person, place, thing, or view

photographed.SHUTTER SPEED How fast camera shutter operates affecting exposure.SINGLE LENS REFLEX

A system of viewing where the viewfinder is directed to the lens through a series of mirrors.

SOLARIZATION Reversal or partial reversal of the image by extreme over-exposure. Similar results can be achieved with the Sabattier effect.

STANDARD LENS A lens with a focal length approximately equal to the diagonal of the film format with which it is used. Also known as a normal lens.

TERM DEFINITIONSSTOP BATH Chemical bath whose purpose is to stop development by neutralizing unwanted

developer. This increases precision of development and prevents carry-over of one chemical into another during processing.

STOP BATH Chemical bath whose purpose is to stop development by neutralizing unwanted developer. This increases precision of development and prevents carry-over of one chemical into another during processing.

STOPPING DOWN Reducing the size of the lens aperture and thus the amount of light passing into the camera. It increases depth of field.

SUBJECT The center of interest of central idea; the person, place, thing, or view photographed.

SYMMETRICAL BALANCE

The same composition left to right or top to bottom.

TANKS Containers for holding chemical solutions for processing films and plates. Some are for darkroom use only, others for daylight loading and others must be loaded in the dark, but can then be used in daylight.

TELEPHOTO LENS Compact lens construction which provides a long focal length with a short back focus.

TEST STRIP Trial and error method of calculating exposure in photographic printing. A number of exposures are given to a strip of emulsion over important areas of the image to

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help judge the correct exposure for the final print.TEXTURE The surface character of an object, e.g. rough, smooth.TONE Refers to the strength of grays between white and black. It relates to the

brightness, lightness and darkness of a subject and is determined by illumination.TONERS Used to change the color of the photographic print by chemical baths. Through a

system of bleaching and dyeing, the black metallic silver image is converted to a dye image.

TRIPOD Framework for stabilizing the camera.

TERM DEFINITIONSTTL Abbreviation of “through-the-lens” as referring to a metering system in which a

suitable light-sensitive mechanism within the camera body measures exposure from image light passing through the lens.

TWIN LENS REFLEX A system of viewing where the viewfinder leads to one lens and another lens leads to the film.

VALUE An infinite range of grays from black to white.VANTAGE POINT The angle from which the photo is taken.VIEWFINDER A mechanism on a camera that indicates to the photographer the details the

camera will record and commonly, the details that will be in focus.VIGNETTING Printing technique where the edges are faded out toward the border of the print.WASHING Final part of the processing cycle that removes the residual chemicals and soluble

silver from the emulsion.WETTING AGENTS Chemicals which, when used in minute quantities, reduce the surface tension of

water. They are usually added to the final wash of films and plates to improve draining and thus prevent drying marks from forming.

WHITE BALANCE A function on the camera to compensate for different colors of light being emitted by different light sources.

WIDE-ANGLE LENS Lens with wide covering power. It has a focal length less than the diagonal of the film format with which it is being used.

X-SYNCHRONIZATION

Mechanical synchronization of shutter and flash or use with electronic flash units.

ZOOM LENS A lens constructed to allow continuously variable focal length without disturbing focus within a certain range (e.g. 80-200mm).

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CAREER EDUCATION

Career education is that aspect of education, which results in preparing one for life’s work. Students need facts about careers in art and related fields, the futures they offer, and the preparation necessary to enter them. Professional artists or designers who work in one of the many career categories in the visual arts have created much of the human-made environment. The buildings in which people live, work, and shop are the creation of architects and interior designers. Art directors, magazine designers, and illustrators compose the magazines, books, and catalogues that people read. Industrial designers create the vehicles in which people drive and ride, the appliances and utensils used for preparing food, or the toys children play. Fashion illustrators and designers design the latest clothing fashions. Computer technology has increased the need for graphic designers and computer graphic specialists to design web pages, advertising and animated computer games. As people become aware of the visual appearance of the environment the demand for professionally trained individuals in environmental design also increases.

Career awareness can take place in every art course by inviting resource people who work in an art-related field from the community to do a presentation. Invite a counselor from the guidance office or a representative from schools and colleges that specialize in art-related fields to discuss possible careers in the art field.

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CAREER LISTING FOR ARTISTS

ADVERTISING LAYOUT INDUSTRIAL DESIGNERAIRBRUSH ARTIST INTERIOR DECORATORAIRPLANE DESIGNER INTERIOR DESIGNERARCHAEOLOGIST JEWELERARCHITECT JEWELRY DESIGNERARCHITECTURAL DRAFTSMAN LEATHER ARTISTART APPRAISER LETTERING SPECIALISTART CONSULTANT LITHOGRAPHERART CRITIC MAKEUP ARTISTART HISTORIAN MECHANICAL DRAFTSMANART RESTORER MEDICAL ILLUSTRATORART SALESMAN METALSMITH/GOLDSMITHART SUPERVISOR MOSAIC ARTISTART TEACHER MURAL SPECIALISTART THERAPIST MUSEUM DIRECTORARTIST IN RESIDENCE MUSEUM EDUCATORAUTOMOBILE DESIGNER MUSEUM PHOTOGRAPHERBOOK-JACKET DESIGNER NEEDLEWORK/APPLIQUE ARTISTBOOKBINDER NEWSPAPER ART CRITICCABINET MAKER PAINTERCANDLEMAKER PRINTMAKERCARICATURIST PHOTOENGRAVERCARPENTER PHOTOJOURNALISTCARTOGRAPHER PORTRAIT ARTISTCARTOONIST PORTRAIT PHOTOGRAPHERCERAMIST PROGRAM DESIGNERCOMPUTER GAME DESIGNER SCENE AND SET PAINTERCOMPUTER GRAPHICS DESIGNER SCULPTORCONSTRUCTION DRAFTSMAN SENIOR CENTER ART COORDINATOR

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CULTURAL ARTS CENTER INSTRUCTOR SET CONSTRUCTION DESIGNERCURATOR SHOWCARD ARTISTDENTIST SIGN PAINTERDOCENT SPECIAL EFFECTS DESIGNERENVIRONMENTAL ARTISTS SPORTS EQUIPMENT DESIGNERFABRIC DESIGNER STAINED-GLASS ARTISTFASHION CONSULTANT TAILORFASHION COORDINATOR TEXTILE AND FIBER DESIGNERFASHION DISPLAY SPECIALIST TOOL DESIGNERFASHION ILLUSTRATOR TOPOGRAPHERFRAMER URBAN PLANNERFURNITURE DESIGNER WEAVERGLASSBLOWER WEB PAGE DESIGNERGRAPHIC DESIGNER WOODCRAFT ARTISTGREETING CARD DESIGNER

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SUGGESTED TECHNOLOGY ACTIVITIES

Today artists and illustrators use computer art applications to combine images and make multiple copies in varying sizes. The computer offers the advantage over conventional art techniques because it can quickly make a two-dimensional object look three-dimensional. Some of the computer art applications provides tools or menus to add textures, colors, and backgrounds that can change the surface quality of an image. Students can experiment with simple draw and paint programs. Encourage students to scan their original work and use the computer programs to manipulate and create a new piece of computer generated art. Students can create a CD portfolio of their art projects work using the digital camera.

Travel the Internet to five or six art museums listed the Artist’s Passport using the Glencoe Online Art Web Site. http://www.glencoe.com/sec/art. Students and teachers can visit the Studio Cyberspace, where creative adventures on the Internet begin. This is an overview of what is available on this site:

Be a Museum CuratorArtists’ Favorite PlacesArcheologist’s JournalMuseum TourArchitectural TourCultural TreasuresArtists and the WPAVisiting and ArtistCritique WebsitePictures Worth 1,000 WordsMeet the MastersExplore Art Schools

Art Exploration http://www.getty.edu/artsednet/resources/Sampler/f.html Visit the Getty Center ArtsEdNet for a good introduction to art resources using works from the Getty collection.

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http://www.glencoe.com/sec/art

Matisse http://www.paceprints.com/modern/matisse/matisse-main.aspThis site is a good introduction to the artist and his works, and contains several examples of

Matisse's art.

Georgia O'Keeffe http://hudson.acad.umn.edu/OKeeffe.html This site has two of O'Keeffe's paintings on display, Oak leaves, Pink and Gray (1929) and Oriental Poppies (1929). A short description accompanies each picture. Some very bright and colorful images when enlarged.

http://www.ellensplace.net/okeeffe1.html Artistic history of contemporary American artist, Georgia O'Keeffe. Her works are inspired by surroundings in Texas; New York, especially the Adirondacks; and the deserts of northern New Mexico. Includes the artist's comments and several works.

The Posters of Toulouse Lautrec http://www.sandiegomuseum.org/lautrec/index.html Possibly one of the best sites on the artist,Toulouse Lautrec. This page has links to sites that have background information on the artist, images of over 20 posters of Toulouse Lautrec, information on the artists life, bibliographies, and information on printmaking and printmaking history.

Kandinsky - Lyrisches (Lyrical) http://www.boijmans.rotterdam.nl/engels/collec/mk/mk4.htm This is an exciting collection of works by Wassily Kandinsky and other artists from the Rotterdam Museum, includes several nonobjective works.

Twentieth Century Art http://witcombe.sbc.edu/ARTH20thcentury.html#Early20century

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http://www.paceprints.com/modern/matisse/matisse-main.asp

This site provides an overview of art of the early twentieth century, and then lists links to some of the influential artists of that time. What are some of the art movements of the twentieth century? Which early twentieth century artist do you like the best, and why?

WebMuseum: Gauguin http://www.oir.ucf.edu/wm/paint/auth/gauguin/ Explore the use of color in the expressive paintings of Gauguin. Provides some background information on styles and art movements, as well as links to several other artists to investigate their use of the principles of art.

Kandinsky http://www.boijmans.rotterdam.nl/engels/collec/mk/mk4.htm Start with this single image by Kandinsky and examine his use of the principles of art. then use the forward and back buttons to view more examples of modern art and the principles.

Monet http://webpages.marshall.edu/~smith82/monet.html Extensive list of links to images of Monet's works, organized by museum location. Each picture downloads quickly so tudents may view a large image of the artist's work.

Graphic Design

Special Interest Group on Computer Graphics (SIGGRAPH)http://www.siggraph.org/home.htmlThis site is full of information from a leading computer graphics organization, and includes examples and techniques useful for anyone interested in this technology field.

Graphic Designer http://gallery.sjsu.edu/ This is an interesting site giving information and examples of student art from San Jose State University School of Design.

Animation Art at Animation and Fine Art Galleries

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http://animationandfineart.com/Animation/Anim.html View individual drawings, storyboards, and colorful cells from some of the well-known animation studios. Learn about animation art. Remind students that these images are copyrighted.

Ansel Adams http://www.zpub.com/sf/history/adams.html Here you can view black and white photography and find out about this nature photographer who devised innovative printing techniques to obtain dramatic effects with his photography.

@rtifacts http://www.arts.ufl.edu/art/rt_room/@rtifacts.html This site contains an index of famous artists' birthdays and an art timeline, both of which provide easy and interesting visuals for students to follow. Includes games of Art Scrabble and Art Trivia which engage students in learning about art history.

Museum D'Orsay http://www.paris.org/Musees/Orsay/Collections/Paintings A visit to this site will expose students to the works of some of the 19th-century European artists, such as Monet, Degas, Daumier, and Miller. Provides a link to a second collection of 19th-century European artists.

MOMA The Museum of Modern Art http://www.moma.org/ Visit a comprehensive collection of modern art. Includes photography, sculpture, video, paintings, and more. Gives detailed information on the museum in New York.

WWW Pop Art: Index http://www.fi.muni.cz/~toms/PopArt/Overview/america.html This site contains links to many modern and Pop artists and their works.

Architecture

Frank Lloyd Wright http://lcweb.loc.gov/exhibits/flw/flw.html

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Visit the Library of Congress exhibition on Wright's architecture. Includes several images and explanations of his architectural style.

Native American Art Sites

Native American Jewelry http://www.indiansun.net/education.htm This site provides background information on Native American jewelry and pottery. The site displays images of artworks from several different indigenous groups and provides historical information about these groups

Kachina Dolls - Eagle Wing Indian Art http://www.getty.edu/artsednet/resources/Maps/kachina.html This site describes the history of Kachina dolls and explains their use in, and types of, ceremonies. It also gives research synopsis based on Kachina dolls.

Chetro Ketl 3-D Great Kiva http://sipapu.gsu.edu/html/kiva.html Enter this site and view a 3-D image of an ancient Native American Kiva. Students will really enjoy exploring the Kiva and discovering hidden niches in the walls of the dwelling.

Dance Costumes http://www.powersource.com/powersource/gallery/objects/dance.html Investigate various American Indian powwow outfits modeled here by students. Includes comments about the outfits, their history, and their use in dancing.

History of Beadwork http://indy4.fdl.cc.mn.us/~isk/art/beads/art_bead.html Take an in-depth look at the history of the art of beads and beadwork from early times to present-day computer designing.

Beadwork Designs http://indy4.fdl.cc.mn.us/~isk/art/beads/art_bea2.html

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Discover the double needle applique technique of Peyote beadwork and loom woven beadwork. Includes directions and illustrations of designs for young beadworkers.

Basketry http://indy4.fdl.cc.mn.us/~isk/art/basket/pomo.html Thirteen baskets of the California Pomo Indians are superbly illustrated. Information on the materials used, traditions, and their very interesting history are included.

Rock Art--Petroglyphs http://www.crystalinks.com/petroglyphs.html This site contains links to artifacts, rock art, petroglyphs and carvings from ancient cultures throughout world history.

The American Craft Museum http://www.americancraftmuseum.org/acm/ Visit this site to find out just how wide-ranging this field of art is. Visit an exhibition on quilts, explore Native American work, or even view an exhibit on "Defining Craft."

Virtual Ceramics Gallery http://www.ilpi.com/Artsource/vce/VCEhome.html View several ceramics works. Click on an image and find out more about the piece and the artist who created it.

The Sculpture Center http://www.sculpturecenter.org/index.htmThe Ohio Outdoor Sculpture Inventory presents this site for the preservation of outdoor sculpture in Ohio. Lots of places to visit from this site. Choose: Window to Sculpture or Works by Young Sculptors.

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http://www.sculpturecenter.org/index.htm

Virtual Sculpture Gallery http://www.stonecarver.comLearn how stone is quarried and carved. Find out about the tools, techniques and traditions of carving. The gallery also has a wide assortment of pictures of sculptures ranging from animals to fireplaces to gargoyles and grotesques! There are some excellent images.

Good sites for:Clipart

www.tudogs.comwww.coolgraphicswww.snowcrest.net/kitty/

Museums Tours

Museum of Ancient and Modern Arthttp://www.mama.org/

exhibits – The Primitive Face: Masks of Africa Joslyn Art Museum

http://www.joslyn.org/Native American collection

Cincinnati Art Museumhttp://www.cincinnatiartmuseum.com/

National Museum of Arthttp://www.nga.gov/exhibitions/

Collection tours – painting, sculpture, graphic arts, and decorative arts. Escher

Some Online in-depth tours include: PicassoCalder

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http://www.nga.gov/exhibitions/

http://www.cincinnatiartmuseum.com/

http://www.joslyn.org/

http://www.mama.org/

http://www.sowcrest.net/kitty/

http://www.coolgraphics/

http://www.tudogs.com/

http://www.stonecarver.com/

PollockArchitectural ToursVirtual Exhibition Tours Van Gogh

Calder

Smithsonianhttp://www.si.edu/resource/tours/art/start.htmhttp://www.cnam.fr/fractals.html

Drawing:One point perspective by Harold Olejarzwww.olejarz.com/arted/perspective/index.htmlPerspective Drawing by Jan Garnerhttp://mathforum.org/sum95/math_and/perspective/perspect.htmlSanford: A Lifetime of Colorwww.sanford-artedventures.com/Lesson Tutor Inc.www.lessontutor.com/artgenhome.html

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http://www.lessontutor.com/artgenhome.html

http://www.sanford-artedventures.com/

http://mathforum.org/sum95/math_and/perspective/perspect.html

http://www.olejarz.com/arted/perspective/index.html

http://www.cnam.fr/fractals.html

http://www.si.edu/resource/tours/art/start.htm

Documents

High School Art - RCAS Curric… · Web viewHIGH SCHOOL. VISUAL ARTS CURRICULUM. GRADES 9-12. Approved by the Board of Education, ... Native American Arts 48. Native American Arts