This document provides instructions and examples for several art projects involving musical response, still life drawing, and architecture. For the musical response project, students will create drawings inspired by and incorporating elements of a song, focusing on mood, rhythm, and complexity. They will then select their best work to transfer to their portfolio. The still life project involves practicing gesture, contour, and value drawing techniques to realistically depict objects. Examples of architectural styles and structures from different time periods are provided in a comparative chart addressing elements like materials, scale, and distinctive features. Students are then asked to design their own building using at least two characteristics from the styles studied and to draw it using two-point perspective techniques.

1. Portfolio Project: Musical Response
 Pick a song that has a strong mood.
 While you listen to it, you will respond to it by drawing. In
your sketchbook, create 3 practise responses.
Somehow you must incorporate your first and last
name into your design.
 Focus on the different rhythms, tonal changes, pitch,
harmony, and complexity.

2. Portfolio Project: Musical Response
 You will pick your best response from your sketchbook,
and transfer it onto your Portfolio. You may use
coloured pencils, markers, and oil pastels.
 You will be marked on these categories:
 Creativity – unique images, no copying (10 pts)
 Complexity/ Detail – layers (background), blended
colours, fill the space (10 pts)
 Neatness – no accidental smudges, tears or wrinkles
(10 pts)

3. Other Artists Who Were Musically Inspired
 Piet Mondrian “Broadway Boogie Woogie” (’42-43)

4. Other Artists Who Were Musically Inspired
 Wassily Kandinsky “Improvisation 28” (’11)

5. Other Artists Who Were Musically Inspired
 Bertram Brooker “Sounds Assembling” (’28)

6. More Examples of Musical Responses

7. More Examples of Musical Responses

8. Artist’s Statement: Musical Response
1)Describe the mood of the song you responded to.
Be sure to discuss how certain instruments and
melodies contributed to the mood.
1)Explain how you came up with your design. Why did
you pick certain colours and shapes?
1)Do you think your design is successful overall?
Explain.

9. Your Inspirations
 No artist works alone.
 Use your sketchbook to record the artists
who inspire you.
 Cut out pictures, jot down ideas and quotes,
doodle!

10. Still Life Project
 You will experiment with 3 types of drawing to build up your
confidence.
 You will create a still life, incorporating at least 3 different
objects.
 After practise using calligraphy pens, you will create value
using ink!
 GOALS:
 To create chiaroscuro (extreme contrast between light and
dark)
 To make objects look 3D

11. Types of Drawing
 Gesture
basic shapes
 Contour
outlines only
 Value
realism using
shading

12. How to Create Value
 Graded value (blended shading;
using pencil)
 Hatching (lines go in one direction)
 Cross-hatching (lines go in 2
directions)
 Stippling (lots of dots)

13. Using India ink
 It stains! Be careful!
Clean all spills immediately!
 Demonstrations:
hatching / cross-hatching all applicable to
stippling watercolours also
masking
Practise drawing and shading basic objects with pen &
ink.

14. Artist’s Statement: Still Life
1)Why did you choose to draw these objects?
1)How successful were you in portraying the
still life realistically? Explain how certain
areas could have been better.
1)Explain what you enjoyed or didn't enjoy in
this project? Explain what you found difficult.

15. Architecture
 Compare the following
pairs of architectural
structures in the T-charts
provided on your note.
 Consider the following:
structure, scale, materials,
interior space,
decoration (colour), rhythm,
distinctive elements (unique
pieces)
Architectural Comparisons

16. Architectural Comparisons
 Egyptian Pyramid of Cheops
(Giza 2530 B.C.)
 Greek Parthenon
(447 – 432 B.C.)

17. Architectural Comparisons
Egyptian pyramids
 Stone, covered in
limestone, and capped in
gold
 Royal tombs
 Buried riches, etc. for the
afterlife
Greek Parthenon
 Temple for Athena
 Limestone foundations,
marble columns
 Golden Ratio (a mathematical
equation for measuring size)
 statue of Athena that was
made of gold and ivory
 Doric, Ionic, and Corinthian
columns

18. Architectural Comparisons
 Romanesque St. Sermin,
Toulouse, France 1080 –
1120 A.D.
 Gothic Reims Cathedral,
France 1210 A.D.

19. Architectural Comparisons
Romanesque
 grand cathedrals
 Thick stone walls
 Arches
 Groin vaults for support
 Large towers
Gothic
 Grand cathedrals
 Pointed arch (pointing to God)
 Ribbed vault
 Flying buttresses for support
 Lots of windows to let in light
(Divine inspiration)

20. Architectural Comparisons
 Joseph Paxton’s Crystal Palace,
London, UK 1851
 Walter Gropius’ Bauhaus,
Dresden, Germany 1928

21. Architectural Comparisons
Crystal Palace
Built with cast iron and
glass
New technology
allowed it to use more
glass than ever before
Didn't need lights
Built for the Great
Exhibition of 1851, an
international event to
show off new
technologies of the
Industrial Revolution.
Bauhaus
A German school of
crafts and fine arts
This style influenced
Modern architecture in
its lack of ornamentation
and its harmony between
the purpose of the
building and the design.
Simple design;
usefulness was more
important than beauty.

22. Architectural Comparisons
Modernism
 Less is more! SIMPLICITY
 Focus on function
 Lots of glass and metal
(born out of the Industrial
Revolution)
 Very little ornamentation
 Smooth faced (don’t even
have window ledges)
Seagram Building, NYC, 1958

23. Architectural Comparisons
 F.L.Wright’s Falling Water,
Bear Run, PA 1936

24. Architectural Comparisons
Postmodernism
 Less is a bore!
 Return of “wit, ornament, and reference”
 Diverse styles (anything goes) – individual
expression!
 Design for its own sake (not just for
function)
 New ways of viewing familiar structures
Frank Gehry, Concert Hall in L.A.
Rem Koolhaas, CCTV Building, China

25. Architectural Design
 Design your own building for whatever
purpose you want. (Keep it appropriate)
 Incorporate 2 characteristics from the
architectural periods that we’ve studied.
 Draw your building using 2 - Point
Perspective.

26. One-Point Perspective
 Creates the illusion of deep space.
 The illusion is created by using a vanishing
point & guidelines.
 Either lines are vertical or they connect to
your vanishing point.

27. One-Point Perspective: Example

28. Two-Point Perspective
 Creates the illusion of deep space that starts at a
corner.
 The illusion is created by using two vanishing
points & guidelines.
 Either lines are vertical or they connect to one of
your vanishing points.
 Demo (lines on the right side  right v.p.
lines on the left side  left v.p.)

29. Two-Point Perspective: Examples
M. C. Escher www.ssheltonimages.com