St. Peters College Dunboyne, 5th Year Art Class scheme.

1. AC 5th
Yr Scheme – Symbolic Still Life painting - A self-portrait in objects
Name ofstudent teacher:Angela Clarke
Class : 5yr
Title of Scheme:A self – portrait in objests
Aim of Scheme:To explore still life paintingbaseduponthe line, shape ,form, composition, texture ,patternandcolourina range of differentmedia,
throughobservingthe combined personal objects of the class whichare of symbolicsignificance toeachpupil.
Class size,profile anddetails:mixedability,17 pupils,
Duration of lessons:80mins (Wednesdays,Period8and9, Thursdays1 and2)
Lesson
No
Content Learning Outcomes Teacher tasks and Pupils
Task
Supportstudies and
Visual Aids
Evaluation/
Assessment
Procedures
1/10
13/1/16
Introduction and
explantationof
scheme
Pupilswill be able to
To understandand describe what
constitutesastill life painting.
To formallyanalyse stilllife
paintingsaccordingtothe shapes,
form,colours,texture and
Introduce the Scheme-
Symbolicstill life.
Discussthe historyof still
life paintings.
Discussstill life andthe
use of symbolism.
Examplesdefining
still life asan
arrangementof 3 or
more related
objects.
Variousexamplesof
primarysources –
e.g.violin,lemon,
Verbal questioning
of their
understandingof
Typesof still life
paintingse.g. Where
and whywere they
created?
How hasstill life

2. symbolism, if any.
Make connectionsbetween .
List a numberof .
Brainstorm.
Homework
To read brief andto reflecton
ideasforthe theme.
To visuallyrecordarange of
differentideasintheirstilllife
sketchbook.
To source 4 personal objectsin
relationtothe group still life,
mustinclude geometricand
organic.
Discussdifferenttypesof
still life-vanitasetc
Compare dutchstill life
withcontemporarystill
life intermsof the
material,the forms,
textures, colourand
symbolism.
Identifyanumberof
repeatingorcommon
symbolsandexplainthe
ideasbehindthe symbolic
objectsinthe still life
paintings.
PupilsTask,
To describe whatthe
paintingslookslikeand
feelslike .
To discuss whatmessage
the artist istryingto
convey.
To work ingroups
brainstormingpossible
symbolicobjectsthat
holdstrongassociation
for them.
puppet,mask shoes,
etc
SupportStudies:
Powerpointonthe
historyof still life –
Dutch mastersto
presentdaye.g.
AdriaenVanUtrect,
Roy Lichtenstein,
and contemporary
artistConor Waiton.
Define –
Allegory( A wayof
communicatinga
MESSAGE through
symbols, and
symbolicfigures.
Vanitas
(communicatingwith
a moral message-
death,the fragilityof
humanlife,andhow
short life is)
Handouton the brief
paintinggiven the
artistthe abilityto
sendus messages?
Why art worksare
relatedbackto the
contextinwhich
theyare made,
viewedandvalued
e.g.Are their
meaningslosttous
today?Where else
do we see symbols?
What isan allegory?
How can we use the
ideaof allegory in
our still life?Does
the style of the
paintingeffectthe
message?
Can u name 3 still
life artistsandtheir
paintings?
Formallyanalyse the
still life paintings

3. To fill outa questionnaire
baseduponsymbolism.
outliningthemeand
guide onsymbols
and terms.
accordingto the
shapes, form, colors
and texture.
Can theyidentify10
keyfeaturesof each
paintingandexplain
them.
2/10
14/1/16
Contour drawings
of geometricand
organic objects
Choose one object
and draw from 3
differentangle
Introduction to the
tranaparent wire-
frame construction
technique
To understand howline canbe
usedto define form.
To develop ageneral andartistic
awarenessof line,shape,
proportions,tone,colour,
texture,form, andcompositionof
a still life.
Homework To visuallyrecorda
range of differentideasintheir
still life sketchbook.
Demonstrate Contour
drawing( withoutlifting
the pencil forthe whole
drawing) onone object.
Demonstrate and explain
howto draw the objects
as if theyare transparent
wire frame formswith
visible linesif
construction.
Explainvertical and
horizontal linesandhow
theyhelpyouto draw
ellipsesandtobalance
the symmetryof
cylindrical forms.
Examplesof Images
showingthe
difference between
geometricand
organicshapes.
Examplesthathelp
define 3-Dillusion
and discussbrieflyits
purpose inart.
How can line be used
to define form?
Didthe composition
of elementswork
well?
How can tone be
usedto shiftthe
viewerseye around
the composition?
What otherwayscan
we improve the
composition?
Evaluate pupilsideas
and reactionsthat
theymade for

4. Explaintodraw lightly
and why,andalso one
can erase the linesof
constructionif theywish.
Brainstormpossible
meaningsof illusion.
Group discussion.
Pupilspractice shading
usinga varietyof
techiniques.
homeworkonthe
choice of their 4
personal symbolic
objects- are the
ideasrelvanttothe
topicof symbolicstill
life andto the works
selectedforanalysis.
Evaluate drawings on
howwell they
exploredand
observedtheir
objects.
3/10
20/1/16
Introduction of
General – to –
specifictechnique
of buildingvalue
structure
To understandhowthe illusionof
formand depthcan be further
developedthroughutilizingboth
line andvalue structure.
To knowthe componentpartsof
value shadedformstoinclude
highlights,reflectedlight.core of
shadowandcast shadow.
To be able totranslate their
observationsof one objectinto
Demonstrate howto
make a value grid.
Demonstrate howto
introduce tonal value to
the drawing- first lightly
sketchinthe shapesof
any shadowsor
reflectionsontoeach
object,thenapplytone in
stages- increasing
contrast betweenareas
Worksheetsonvalue
structure.
Examplesshowinga
varietyof value
structure
techniques-
demonstrating
highlights,reflected
light,core of shadow,
cast shadows,(how
manylightsources
In whatwayscan art
create illusions?
Didtheyachieve a
realistic
representationof
the group of objects?
How can the illusion
of formbe created
throughshading
techniques ona2-D

5. realisticallyshadeddrawings.
Homework To visuallyrecorda
range of differentideasintheir
still life sketchbook.
of darkand light.
Demonstrate andexplain
the importance of
treatingthe lightand
shade betweenthe
objectswithasmuch care
as the objects
themselves.Explainhow
creat a unifiedimage by
maintaina balance of
tonesandform across
the whole still life.
Demonstrate stippling,
hatching,andcross
hatching.
Demonstrate the illusion
of depthandpointout
the shadowscast
beneathandaroundthe
objects.
Group dissussion.
Brainstormpossible
are there?)
Discussand show
examplesof
chiaroscroand
tenebrism(lookar
Caravaggio)
Examplestoconvey
realismanddiscuss
howit isachieved.
Examplestoexplain
howlightsources
affectobjects
e.g.observethe
curvedshadowson
roundedforms.
surface.

6. meaningsof illusion.
Pupilspractice shading
usinga varietyof
techniques.
4/10
21/1/16
Compositional
study of 3 objects
includinga glass
bottle,in chalk
pastel on brown
sugar paper(or any
neutral –toned
paper)
Subtractive drawing
studiesusingchalk
on black paper with
a focuson the light
and shadows of
drapery
How to establishdarktones.
How to addlighttones.
To observe the relationship
betweenpositive/negativespace
and transpositionof lightanddark
usingchalkand charcoal.
To investigate the
reflective/transluence/
transparentsurfacesof glass
objects.
To observe the interactionof
positive shapes( the objects) and
negitive space ( the areaaround
the objects) andtranspositionof
lightanddark usingchalkand
Explainwhyyoushould
neverstartyour drawing
usinga blackpastel as it
will contaminate the
purityand freshnessof
any coloursappliedover
it- suggesta violetpastel
to start.
Demonstrate howtolook
for areasof dark tone
withthe violetpastel .
pointoutto be careful
not to overworkdark
tonesas itis easierto
darkenpastelsthanit
lightenthemNextcreate
a balance by addinglight
toneswithwhiteboard
chalk(harderthan pastels
Chalkpastel,
whiteboardchalk,
brownsugar paper,
tortillonorearbuds,
tissues, fixative.
Demonstrate
subtractive drawing
witha white pencil
(or chalk) onblack
paper,or by erasing
highlightswitha
rubberout of a full
tonal structure.
Is there a overall
unityto the
composition?
Is there goodtonal
contrast across the
work?
Didtheyuse black
cautiously?
Didtheycreate a
moodor atmosphere
inthe work?
Is there a broad
range of tonal
variationanda range
of crispnessand
softnessinresponse

7. charcoal
Homework To visuallyrecorda
range of differentideasintheir
still life sketchbook.
and can be sharpenedto
a fine point) leaving
enoughbrownpaperto
add layersof colourand
to blendthe range,
alwaysstartingwiththe
lightest,tomedium, to
dark (burntumber) tones.
Demonstrate testing
coloursto see the range
of tonesandhuesthey
can produce.
Demonstrate subtractive
drawingprocess.
Explainhowtoidentify
and constructshapesof
bothlightand shadow.
DiscussPositive and
negative space,Explain
howhighkeycontrasts
provide focal pointsfor
the composition.
to lightsource ,
spatial placementor
weightof forms

8. Pupils Task/s;
Create a compositional
studyof 3 objects
includingaglassbottle,in
chalkpastel onbrown
sugar paper(orany -
tonedpaper).
5/10
27/1/16
Compositional
studiesusingthe 4
objects,including
one metal object
Colour the still life
from back to front
in oil pastel
To observe the interactionof
positive shapes( the objects) and
negitive space ( the areaaround
the objects)
To investigate the
reflective/translucence/
transparentsurfacesof metal
objects.
Homework To visuallyrecorda
range of differentideasintheir
still life sketchbook
Explainwhencomposing
a still life youneedtobe
aware of the abstract
structure of the
arrangement- itsrhythms
and contrastsof line,
shape , tone,colour,
pattern,texture,and
form( transparentwire
frame approach)
Demonstrate foreground,
middlegroundand
background.
Demonstrate conceptof
howoverlappingcan
implydepth.Which
objectlookscloser?
Oil pastel,apalette
knife orsimilartool
for scrapingoff
excessivelayersof
oil crayon andfor
experimentingwith
differenttextural
effects.
Examplesthat
describe different
typesof
compositions –
Symmetrical and
Asymmetrical.
What kindof balance
has beenusedinthe
composition.
Have theyuseda
varietyof both
regularand irregular
formswithone being
made out of metal?
Do objectsappearto
be floting?Howhave
the cast shadows
beenusedtohelp
anchor the metal
objects?
Is the general
directionof the light
source clearly

9. Demonstrate howtouse
one small objectinthe
foregroundasa unitof
measure.
Demonstrate the
principlesof composition.
Look forthe shape,
positionandproportions
of eachobjectinrelation
to itsneighbours.
identifiable?
6/10
28/1/16
Studentsarrange
Still life setup
Studentschoose
objectsbased on
drawings
Stylingwith the aid
of lightingand
fabric
Preliminarygesture
and contour
sketchesof still life
To observe the spatial
relationshipsof the different
elementsandhowtosuggest
space and depthona two –
dimensional surface withinitial
focuson line
Homework- write a story line
basedon the collectionorcreate
an imaginarypersonwhomight
have ownedthem.
Demonstrate how and
why to finalise contours
of all objectsfirstbefore
youadd linesonall forms
where necessary,asthis
will holdthe composition
together.
Discusspaperorientation
- horizontally orvertically
- dependingonthe view?
Demonstrate the function
of a viewfinder
demonstrate different
White tablecloth.
My drawing.
Introduce a
viewfinder.
Imagesexplaining
Perspective
Imageson
Composition.
Assessintermsof
composition,
contourlines and
shading.
Has any objectsbeen
presentedina
foreshortenedview?
Have objectsbeen
arrangedwith
concernfor
composition,
includingscale and
placement,

10. viewpoints.
Explainhowtocreate a
focal point
Pupilstask
To Collaborate asa group
to arrange the still life
followingtheirdiscussion
on ideal composition.
Usingthe viewfinder
pupilswill selectanarea
of theircompositionand
begintodraw.
Pupilscarefullyobserve
the still life forshape,size
and placement.
Reflectontheirown
objectswithinthe
collectionandhow they
effectthe overall still life
- constructnewmeaning.
Group Verbal critique on
the still life.
consideringvariety,
baseline,
foreground,middle
groundand
background?
Are there minor
compositional
groupingswithin
largergroupings?

11. 7/10
3/2/16
Monochromatic
colour studieswith
an emphasison
atmospheric
perspective
Introduce different
colour scheme
usingwax resist
techinique
To create a one colourvalue
scales
To make a monochromatic
drawing
To make objectsappearcloser
and infocus
To explore differentcolour
schemesusingthe wax resist
technique
Demonstrate
atmospheric
perspective(closeobjects
sharp andclear showing
texture,distantobjects
lackingdefinition)
Group evaluation
Demonstrate illusionistic
studiesof contrasting
objectswithaccentsof
contrastingcolour.
Demonstrate possible
colourschemes - Contrast
warm andcool colours/
contrast lightand
shadow.
ColouredPencils
Wax crayonsand
watercolour
Examplesof
Complementary
colourand
Harmoniouscolour
Who has createdthe
sense of depth?
Who has createdthe
widestrange of
monochromatic
tonesintheir
drawing?
Who has explored
differentcolour
combinations?
Whichcolour
schemesworkbest
and why?
8/10
4/2/16
The technique of
scaling final
composition
colour application
To choose a viewpoint andto
considerthe locationof the light
source
To draw up compositionusingthe
transparentwire- frame technique
To considerthe quilitiesof good
Demonstrate anddiscuss
basicperspective
principles,considereye
level andstationpoint,
sharp anddiminishing
detail
Viewfinders
Previous
compositional
studies,colour
schemesandstill life
sketchbooks
Doesthe line work
showthe delicate
evidence of process
and search?
Is the overall
composition

12. composition
To use the stepbystep approach
to buildingupastill life
To applycolourusingone of the
colourschemes exploredinan
earlierclass
To handle a range of different
media
Recap onthe visual
principlesof composition
discussedinprevious
classes - Balance,
harmony,similarities,
repetition,rhythm,
pattern, emphasis,
movement,proportion,
and unity.
Group evaluation.
To applycolourusingone
of the colourschemes
exploredinanearlier
class.
To handle a range of
differentmedia
Look back at the
examplesof stilllife
Frog tape
Mixedmedia
Samplesof value
gridsand colour
samples
Still life sketchbooks
excessivelycrowded
or empty?If it does
doesitserve any
signicantpurpose?
Are there any “dead’
spacesinthe
composition?
Has the cropping
occurredthat
dividedformsinan
unequal way
Is there balance
betweentones
across the whole still
life?
9/10
10/2/16
Buildingup layers
of colour to create
form, colour,
pattern and texture
in a range of
differentmedia
To handle a range of different
media
To builduplayersof colourvalue
usingthe usingthe general tothe
specificapproach
Demonstrate using
differentmediaandhow
theycan workin layers
overeach other
A range of different
media– pencil,
crayons,chalkpastel,
oil pastels,paints,
watercolourpencils
and watercolour
Have theyfocused
on the spaces
betwwenthe objects
deepeningtheir
tonesandincreasing
theircontrast?

13. markers
10/10
11/2/16
Finalisingand
refinementofthe
painting
Presentatingof
arwork
Realisingthe designof the
painting
Gettingthemto lookat others
materialstohelp,takinginto
account colourand texture .
To be aware that differentmedia
can enable realisationof their
painting
To give the painting‘atitle’
Group critique lookingat
the paintings discussa
range of presentation
possibilities
Each pupil to present
theirpaintingtoeach
other,givingaclear
account of the processto
date,theiridea
development,use of
materialsandrealisation
of ideas.
Homework Write
account of their
experience andthe
processof makinga still
life
A range of different
media– pencil,
crayons,chalkpastel,
oil pastels,paints,
watercolourpencils
and watercolour
markers
Still life sketchbooks
Presentationboards
Spray mount
Blue tack
Final groupcritique
Each studentwill be
assessedaccording
to theirresearch
drawings,the
developmentof their
ideas,theirfinal
compositionand
theirexecution of
final painting