This document summarizes a lesson plan about the artist Friedensreich Hundertwasser and his ecological architectural designs. The lesson plan covers Hundertwasser's "five skins" theory about how humans are connected to their environment. It discusses his unique architectural style and inventions like his "ecological toilet." Students are tasked with designing their own Hundertwasser-inspired ecological buildings using net shapes and patterns in his signature colorful, organic style. The lesson emphasizes collaboration and applying Hundertwasser's ideas to promote more sustainable living.
The document outlines a lesson plan about the artist Friedensreich Hundertwasser and his theory of the "five skins." The plan includes:
1. Recapping Hundertwasser's idea that humans have five layers or "skins" - physical skin, clothes, home, identity, and earth.
2. Having students apply this knowledge to designing their own ecological buildings inspired by Hundertwasser's work, which incorporated recycled materials and renewable energy.
3. Culminating in a mixed media collage where students work collaboratively to design a Hundertwasser-style building that is also ecological.
This document provides lesson objectives and instructions for students to analyze and create artwork in the style of artist Friedrich Hundertwasser. The objectives are to appreciate and understand art from different cultures by looking at, thinking about, and experimenting with Hundertwasser's use of spirals, bright colors, and organic, nature-inspired shapes like lollipop trees. Students are guided to observe Hundertwasser's paintings, develop their own tree designs, and then use watercolors to paint a larger picture applying patterns and considering the success criteria.
The document provides instructions for an ecology homework assignment to create a poster in the style of artist Hundertwasser to persuade a community to live in a greener way. It describes Hundertwasser's style as using spirals, circles within circles, and harmonious color relationships. Higher levels require incorporating recognizable objects related to the issue of living green and more surreal elements like faces within the landscape.
Ks3 art __project_book___Hundertwasser_year_7Melanie Powell
Friedrich Hundertwasser was an Austrian artist born in 1928. He was known for his colorful, spiral-centric paintings and idiosyncratic architectural designs. This document contains an art project booklet about Hundertwasser for students, including information about his life and art, activities exploring his styles and themes, and self-assessment criteria.
During this project, students will investigate the work of artist and architect Friedensreich Hundertwasser. They will research his artistic and ecological ideology as expressed through his paintings, architecture, and philosophy of the "five skins." Students will develop skills in observational drawing, painting, printing, and collage to create works inspired by Hundertwasser's use of color, spirals, and a harmony between nature and human environments.
The document provides guidance for creating an ecology poster in the style of artist Hundertwasser to persuade a community to live greener. It notes the style involves organic shapes, vibrant colors, and imagery of nature. Higher grades require demonstrating color harmony, spirals, circles within circles covering the whole page, incorporating recognizable objects related to the issue filled with Hundertwasser-style colors, patterns and shapes, or more surreal elements like faces within the landscape.
Ks3 art __project_book___hundertwaseser_year_7Dena Outram
This document is an art project booklet about the artist Friedrich Hundertwasser for a Year 7 student. It includes information about Hundertwasser's life and artworks, such as his interest in spirals found in nature and use of bright colors. Students are prompted to design trees, clothing, homes, and windows in Hundertwasser's distinctive style. The booklet also provides self-assessment criteria for the student to evaluate their work and progress.
During this project, students will investigate the work of architect Friedensreich Hundertwasser and apply their understanding to designing ecological buildings inspired by his style. Students will learn about Hundertwasser's "five skins" concept and investigate his use of spirals, circles, and color relationships. They will develop net shapes for building parts and decorate them using Hundertwasser-inspired patterns, showing an understanding of color theory. The goal is for students to collaborate on designing a three-dimensional Hundertwasser-style building that incorporates ecological elements and reflects his artistic and environmental philosophies.
The document outlines a lesson plan about the artist Friedensreich Hundertwasser and his theory of the "five skins." The plan includes:
1. Recapping Hundertwasser's idea that humans have five layers or "skins" - physical skin, clothes, home, identity, and earth.
2. Having students apply this knowledge to designing their own ecological buildings inspired by Hundertwasser's work, which incorporated recycled materials and renewable energy.
3. Culminating in a mixed media collage where students work collaboratively to design a Hundertwasser-style building that is also ecological.
This document provides lesson objectives and instructions for students to analyze and create artwork in the style of artist Friedrich Hundertwasser. The objectives are to appreciate and understand art from different cultures by looking at, thinking about, and experimenting with Hundertwasser's use of spirals, bright colors, and organic, nature-inspired shapes like lollipop trees. Students are guided to observe Hundertwasser's paintings, develop their own tree designs, and then use watercolors to paint a larger picture applying patterns and considering the success criteria.
The document provides instructions for an ecology homework assignment to create a poster in the style of artist Hundertwasser to persuade a community to live in a greener way. It describes Hundertwasser's style as using spirals, circles within circles, and harmonious color relationships. Higher levels require incorporating recognizable objects related to the issue of living green and more surreal elements like faces within the landscape.
Ks3 art __project_book___Hundertwasser_year_7Melanie Powell
Friedrich Hundertwasser was an Austrian artist born in 1928. He was known for his colorful, spiral-centric paintings and idiosyncratic architectural designs. This document contains an art project booklet about Hundertwasser for students, including information about his life and art, activities exploring his styles and themes, and self-assessment criteria.
During this project, students will investigate the work of artist and architect Friedensreich Hundertwasser. They will research his artistic and ecological ideology as expressed through his paintings, architecture, and philosophy of the "five skins." Students will develop skills in observational drawing, painting, printing, and collage to create works inspired by Hundertwasser's use of color, spirals, and a harmony between nature and human environments.
The document provides guidance for creating an ecology poster in the style of artist Hundertwasser to persuade a community to live greener. It notes the style involves organic shapes, vibrant colors, and imagery of nature. Higher grades require demonstrating color harmony, spirals, circles within circles covering the whole page, incorporating recognizable objects related to the issue filled with Hundertwasser-style colors, patterns and shapes, or more surreal elements like faces within the landscape.
Ks3 art __project_book___hundertwaseser_year_7Dena Outram
This document is an art project booklet about the artist Friedrich Hundertwasser for a Year 7 student. It includes information about Hundertwasser's life and artworks, such as his interest in spirals found in nature and use of bright colors. Students are prompted to design trees, clothing, homes, and windows in Hundertwasser's distinctive style. The booklet also provides self-assessment criteria for the student to evaluate their work and progress.
During this project, students will investigate the work of architect Friedensreich Hundertwasser and apply their understanding to designing ecological buildings inspired by his style. Students will learn about Hundertwasser's "five skins" concept and investigate his use of spirals, circles, and color relationships. They will develop net shapes for building parts and decorate them using Hundertwasser-inspired patterns, showing an understanding of color theory. The goal is for students to collaborate on designing a three-dimensional Hundertwasser-style building that incorporates ecological elements and reflects his artistic and environmental philosophies.
The document outlines a design homework assignment with multiple levels of requirements. Students are asked to redesign a previously imagined building, making it more ecological by considering options for power generation, water harvesting, sewage treatment, temperature control, food production, and building materials. Level 4 requires an annotated line drawing, level 5 adds color and texture details inspired by Hundertwasser's work, level 6 includes additional views or diagrams, and level 7 necessitates research on energy savings.
This document provides information about Friedensreich Hundertwasser, an Austrian artist and architect known for his colorful, organic style. Students will study Hundertwasser's work, including his Transautomatism painting style. They will investigate his ecological ideology and develop drawings inspired by his vision of integrating nature and architecture. Students will also reflect on Hundertwasser's belief that art can heal by reconnecting people to nature and their surroundings.
The prompt asks the student to create a line drawing of a house inspired by the Austrian architect and painter Friedensreich Hundertwasser. The drawing must include no straight lines, three details, one pattern, nothing identical, and plants. It further instructs the student to go over the pencil lines with a metallic marker, color three parts with the metallic marker, and use at least five colors of oil pastels to color the rest.
The document outlines a design homework assignment. Students are asked to redesign a building drawing with ecological ideas, and style it to resemble works by Hundertwasser. Ideas should consider generating power from solar and wind, harvesting water, treating sewage, controlling temperature without fuel, and in-home food production using recycled materials. Higher grades require more detailed and colorful drawings, along with views/diagrams of green designs and research on energy savings.
During this project, students will investigate the work of artist and architect Friedensreich Hundertwasser, focusing on his artistic and ecological ideology that inspired unique building designs incorporating nature. Students will research Hundertwasser's Transautomatism painting style and develop their understanding of color and mark-making to design their own buildings and create work inspired by Hundertwasser's vision of living in harmony with nature.
The lithograph "Drawing Hands" by M.C. Escher depicts two hands emerging from a sheet of paper and facing each other in an impossible act - each hand is drawing the other into existence. The hands remain flat on the page while rising from the wrists. This 1948 work uses one of Escher's signature techniques of incorporating paradoxes and impossible scenes into his artwork.
This document provides an overview of lessons for a movement-themed art curriculum. It includes 12 lessons that focus on techniques like figure drawing, portraiture, and experimental mark-making to convey movement. Students will analyze works by artists like Balla, Hume, Bacon, and Hockney. They will complete observational drawings of decaying apples over 8 weeks. The curriculum aims to teach students how to approach artwork in various ways and develop their ability to suggest movement through different materials and techniques.
This document outlines an art project that explores past, present, and future techniques through a journey theme. It involves taking a sketchbook on a journey around the school, making observational drawings. Students will also complete mono-prints, take photos on their journey home, and draw from those photos. The project then introduces artists like Matisse, Hartill, Heckel, and Rauschenberg and their techniques like cut paper collages, embossing, linocuts, and collage. Students will experiment with these techniques, creating their own cut paper journey, relief prints, single and multicolor linocuts, and collages with lino prints. They will combine their best works in a final grid piece.
This document provides instruction for a series of drawing exercises focused on still life and observational drawing techniques. Students are asked to complete drawings of shoes from different perspectives, as well as contour and tonal drawings of everyday objects. Techniques for creating tone like hatching and cross-hatching are demonstrated. Later exercises involve drawing collections of objects in jars from different viewpoints, and replicating the styles of artists like Lichtenstein, Matisse, and Picasso in still life compositions. The document outlines homework assignments incorporating these techniques over a 13 week period.
This document provides instructions for four oil pastel techniques to include in an art journal:
1. Apply a thick layer of lighter colored oil pastel, then cover with thick black paint and carve a pattern using a paper clip or nail.
2. Start with a thick coating of color and continue outward with an analogous color, blending with a lighter color or your finger.
3. Apply various colors thickly and use tape to rub or paint color, peeling back the tape for a sharp edge.
4. Create pointillism by adding dotted colors on a background to create value and texture by mixing on the paper.
This document provides choices for a surreal combinations task. Choice 1 involves collecting small objects from around the house, arranging them on a page, drawing around them to create an image, photographing the combinations, and presenting them alongside the original drawing in a sketchbook. Choice 2, for those unable to photograph and print in time, involves choosing 2 unrelated everyday objects, putting them together in a surreal composition, and filling the page with a drawing using at least 8 tones and color.
This document provides instructions for a lesson on still life drawing and painting. It begins with defining still life as inanimate objects arranged in a particular way to practice drawing and painting skills. Students then create small abstract sculptures and arrange them in a still life to draw using different techniques within time limits, including gestural drawing in 60 seconds, continuous line drawing without lifting the pencil, and contour outline drawing. The lesson concludes with students creating a detailed observational drawing of their still life arrangement using the techniques practiced, while looking at the real objects. Feedback is provided through questions about strengths and areas for improvement.
This document provides instructions for a lesson on producing a tonal ink study from observation of a still life object. It defines a tonal ink study as an artwork created using multiple layers of ink without outlines but containing light and dark areas. The lesson objective is to produce a tonal ink study from a single viewpoint using three tones and adding a shadow under the object. Examples from past students and an analysis of the artist Jim Dine's work are also referenced.
The document discusses the Eco-Visionaries exhibition which examines humanity's impact on the planet through climate change, species extinction, and resource depletion. It presents innovative approaches from architects, artists, and designers that reframe our relationship with nature. Through various media like film, installation, and photography, the works interrogate how architecture, art, and design are reacting to an increasingly changing world beyond mainstream notions of sustainability.
The document provides instructions for a drawing assignment that involves exploring mark making using unconventional tools and drawing the interior structure of a red cabbage. Students are asked to:
1) Make their own drawing tools out of provided materials to experiment with different mark making techniques.
2) Draw the interior structure of a red cabbage in their sketchbook, paying attention to color nuances.
3) Create a composition loosely based on the cabbage, using effects from mark making experiments and tools other students have made.
The document discusses non-objective art and abstraction through a series of disjointed phrases and instructions. It touches on key artists like Paul Klee, techniques like line drawing, and exercises focused on sensory awareness and drawing one's mouth from inner perception. The overall content explores abstraction and experimental approaches to seeing, thinking, and representing visual experiences through drawing.
The document provides instructions for different types of drawing exercises: contour drawing, gesture drawing, modelled drawing, and tone drawing. It details tasks for each type of drawing exercise, including the subject matter, time limits, and objectives. For example, contour drawing tasks involve drawing objects for 20 seconds or 10 minutes focusing on details without looking at the paper. Gesture drawing captures the overall form within seconds using full-body movements. The document also outlines a study tour schedule dividing the types of drawing exercises between locations in Dublin and at home.
This 5-day painting workshop provides instruction on color theory, techniques for acrylic and watercolor painting, and guidance on creating abstract paintings based on historical artworks. Day 1 covers brush etiquette and introduces artist Hilma af Klint. Day 2 focuses on color theory, mixing, and artist Robert Colescott. Day 3 involves guided art history research. Day 4 teaches abstraction methods. Day 5 reviews starting a painting and the workshop requirements of researching an artwork, creating an abstracted version with a limited palette conveying ideas.
Gcse Art and Design "Movement" Scheme of WorkRWFortismere
This document provides an outline for a series of art lessons focused on movement. Lesson 1 involves students presenting their summer work and understanding different approaches to artwork. Lesson 2/3 includes figure drawing exercises of people in sports poses to understand expressive drawing. Lesson 4/5 involves overlapping portraits using charcoal to suggest movement. Homework assignments include researching artists like Anton Bragaglia and Edward Muybridge who studied movement. Later lessons explore color theory, experimental drawing and painting techniques, 3D wire sculptures, and response artworks based on artists like Francis Bacon who depicted the human form in motion.
1) The Green Team's goal for 2009 is to create public art from recycled materials to raise environmental awareness and get families and friends involved.
2) Examples of public art that promote social or political messages are shown, including the works of Banksy, Scott Wade, and Andy Goldsworthy.
3) For their project, students will design and build sculptures of the Earth out of recycled materials following certain criteria, such as using at least four materials and textures in creative ways. Mrs. Heyden will visit to answer any questions and provide guidance.
The document outlines a design homework assignment with multiple levels of requirements. Students are asked to redesign a previously imagined building, making it more ecological by considering options for power generation, water harvesting, sewage treatment, temperature control, food production, and building materials. Level 4 requires an annotated line drawing, level 5 adds color and texture details inspired by Hundertwasser's work, level 6 includes additional views or diagrams, and level 7 necessitates research on energy savings.
This document provides information about Friedensreich Hundertwasser, an Austrian artist and architect known for his colorful, organic style. Students will study Hundertwasser's work, including his Transautomatism painting style. They will investigate his ecological ideology and develop drawings inspired by his vision of integrating nature and architecture. Students will also reflect on Hundertwasser's belief that art can heal by reconnecting people to nature and their surroundings.
The prompt asks the student to create a line drawing of a house inspired by the Austrian architect and painter Friedensreich Hundertwasser. The drawing must include no straight lines, three details, one pattern, nothing identical, and plants. It further instructs the student to go over the pencil lines with a metallic marker, color three parts with the metallic marker, and use at least five colors of oil pastels to color the rest.
The document outlines a design homework assignment. Students are asked to redesign a building drawing with ecological ideas, and style it to resemble works by Hundertwasser. Ideas should consider generating power from solar and wind, harvesting water, treating sewage, controlling temperature without fuel, and in-home food production using recycled materials. Higher grades require more detailed and colorful drawings, along with views/diagrams of green designs and research on energy savings.
During this project, students will investigate the work of artist and architect Friedensreich Hundertwasser, focusing on his artistic and ecological ideology that inspired unique building designs incorporating nature. Students will research Hundertwasser's Transautomatism painting style and develop their understanding of color and mark-making to design their own buildings and create work inspired by Hundertwasser's vision of living in harmony with nature.
The lithograph "Drawing Hands" by M.C. Escher depicts two hands emerging from a sheet of paper and facing each other in an impossible act - each hand is drawing the other into existence. The hands remain flat on the page while rising from the wrists. This 1948 work uses one of Escher's signature techniques of incorporating paradoxes and impossible scenes into his artwork.
This document provides an overview of lessons for a movement-themed art curriculum. It includes 12 lessons that focus on techniques like figure drawing, portraiture, and experimental mark-making to convey movement. Students will analyze works by artists like Balla, Hume, Bacon, and Hockney. They will complete observational drawings of decaying apples over 8 weeks. The curriculum aims to teach students how to approach artwork in various ways and develop their ability to suggest movement through different materials and techniques.
This document outlines an art project that explores past, present, and future techniques through a journey theme. It involves taking a sketchbook on a journey around the school, making observational drawings. Students will also complete mono-prints, take photos on their journey home, and draw from those photos. The project then introduces artists like Matisse, Hartill, Heckel, and Rauschenberg and their techniques like cut paper collages, embossing, linocuts, and collage. Students will experiment with these techniques, creating their own cut paper journey, relief prints, single and multicolor linocuts, and collages with lino prints. They will combine their best works in a final grid piece.
This document provides instruction for a series of drawing exercises focused on still life and observational drawing techniques. Students are asked to complete drawings of shoes from different perspectives, as well as contour and tonal drawings of everyday objects. Techniques for creating tone like hatching and cross-hatching are demonstrated. Later exercises involve drawing collections of objects in jars from different viewpoints, and replicating the styles of artists like Lichtenstein, Matisse, and Picasso in still life compositions. The document outlines homework assignments incorporating these techniques over a 13 week period.
This document provides instructions for four oil pastel techniques to include in an art journal:
1. Apply a thick layer of lighter colored oil pastel, then cover with thick black paint and carve a pattern using a paper clip or nail.
2. Start with a thick coating of color and continue outward with an analogous color, blending with a lighter color or your finger.
3. Apply various colors thickly and use tape to rub or paint color, peeling back the tape for a sharp edge.
4. Create pointillism by adding dotted colors on a background to create value and texture by mixing on the paper.
This document provides choices for a surreal combinations task. Choice 1 involves collecting small objects from around the house, arranging them on a page, drawing around them to create an image, photographing the combinations, and presenting them alongside the original drawing in a sketchbook. Choice 2, for those unable to photograph and print in time, involves choosing 2 unrelated everyday objects, putting them together in a surreal composition, and filling the page with a drawing using at least 8 tones and color.
This document provides instructions for a lesson on still life drawing and painting. It begins with defining still life as inanimate objects arranged in a particular way to practice drawing and painting skills. Students then create small abstract sculptures and arrange them in a still life to draw using different techniques within time limits, including gestural drawing in 60 seconds, continuous line drawing without lifting the pencil, and contour outline drawing. The lesson concludes with students creating a detailed observational drawing of their still life arrangement using the techniques practiced, while looking at the real objects. Feedback is provided through questions about strengths and areas for improvement.
This document provides instructions for a lesson on producing a tonal ink study from observation of a still life object. It defines a tonal ink study as an artwork created using multiple layers of ink without outlines but containing light and dark areas. The lesson objective is to produce a tonal ink study from a single viewpoint using three tones and adding a shadow under the object. Examples from past students and an analysis of the artist Jim Dine's work are also referenced.
The document discusses the Eco-Visionaries exhibition which examines humanity's impact on the planet through climate change, species extinction, and resource depletion. It presents innovative approaches from architects, artists, and designers that reframe our relationship with nature. Through various media like film, installation, and photography, the works interrogate how architecture, art, and design are reacting to an increasingly changing world beyond mainstream notions of sustainability.
The document provides instructions for a drawing assignment that involves exploring mark making using unconventional tools and drawing the interior structure of a red cabbage. Students are asked to:
1) Make their own drawing tools out of provided materials to experiment with different mark making techniques.
2) Draw the interior structure of a red cabbage in their sketchbook, paying attention to color nuances.
3) Create a composition loosely based on the cabbage, using effects from mark making experiments and tools other students have made.
The document discusses non-objective art and abstraction through a series of disjointed phrases and instructions. It touches on key artists like Paul Klee, techniques like line drawing, and exercises focused on sensory awareness and drawing one's mouth from inner perception. The overall content explores abstraction and experimental approaches to seeing, thinking, and representing visual experiences through drawing.
The document provides instructions for different types of drawing exercises: contour drawing, gesture drawing, modelled drawing, and tone drawing. It details tasks for each type of drawing exercise, including the subject matter, time limits, and objectives. For example, contour drawing tasks involve drawing objects for 20 seconds or 10 minutes focusing on details without looking at the paper. Gesture drawing captures the overall form within seconds using full-body movements. The document also outlines a study tour schedule dividing the types of drawing exercises between locations in Dublin and at home.
This 5-day painting workshop provides instruction on color theory, techniques for acrylic and watercolor painting, and guidance on creating abstract paintings based on historical artworks. Day 1 covers brush etiquette and introduces artist Hilma af Klint. Day 2 focuses on color theory, mixing, and artist Robert Colescott. Day 3 involves guided art history research. Day 4 teaches abstraction methods. Day 5 reviews starting a painting and the workshop requirements of researching an artwork, creating an abstracted version with a limited palette conveying ideas.
Gcse Art and Design "Movement" Scheme of WorkRWFortismere
This document provides an outline for a series of art lessons focused on movement. Lesson 1 involves students presenting their summer work and understanding different approaches to artwork. Lesson 2/3 includes figure drawing exercises of people in sports poses to understand expressive drawing. Lesson 4/5 involves overlapping portraits using charcoal to suggest movement. Homework assignments include researching artists like Anton Bragaglia and Edward Muybridge who studied movement. Later lessons explore color theory, experimental drawing and painting techniques, 3D wire sculptures, and response artworks based on artists like Francis Bacon who depicted the human form in motion.
1) The Green Team's goal for 2009 is to create public art from recycled materials to raise environmental awareness and get families and friends involved.
2) Examples of public art that promote social or political messages are shown, including the works of Banksy, Scott Wade, and Andy Goldsworthy.
3) For their project, students will design and build sculptures of the Earth out of recycled materials following certain criteria, such as using at least four materials and textures in creative ways. Mrs. Heyden will visit to answer any questions and provide guidance.
The document summarizes the art movement De Stijl, which was founded in 1917 and promoted a geometric style using only horizontal and vertical lines and primary colors. It then discusses three poster ideas for an upcoming exhibition on De Stijl, including using stained glass, shapes forming an art display, and simple geometric shapes with exhibition details. A schedule is outlined assigning tasks like the background, title, and text placement. The final poster design is shown, and an evaluation notes its adherence to De Stijl styles and readable text. Areas for improvement include creating their own background and using a bolder font. Problems encountered and solved in the process are also summarized.
The document discusses key principles of the design process, including:
- Design is the planning and organization of visual elements to communicate an idea. The design process involves seeking visual solutions to problems.
- Sources of inspiration include nature, artifacts, history, and culture. Designers look to these sources as well as revising their own work through trial and error.
- Effective design balances the content, or message, with the form, or visual presentation. Design communicates through the arrangement of visual elements.
- Critique is an essential part of the process, allowing designers to improve their work through feedback and revision. Constructive criticism examines the work through description, analysis, and interpretation.
This document provides information on various art movements including Impressionism, Post-Impressionism, and the Group of Seven. It discusses key artists and styles within each movement. Impressionism began in the 1870s and featured short brushstrokes and mixing colors optically on the canvas. Claude Monet was influential and painted landscapes with lily pads. Edgar Degas painted dancers and everyday scenes. Mary Cassatt painted women and children. Post-Impressionism built on Impressionism but emphasized form and expression over light. Pointillism used dots of color. Van Gogh used expressive brushstrokes and color. The Group of Seven painted Canadian landscapes in a looser style inspired by Thomson and Post-Impression
The painting "Salt on Mina Mina" by Dorothy Napangardi depicts an Aboriginal Dreaming story. Aboriginal art tells Dreaming stories, which are cultural traditions describing how ancestral beings created the world. Napangardi was granted the right to paint the Mina Mina Dreaming by the Walpiri people. Her abstract painting reflects her ancestral past and ensures future prosperity. It tells the story of ancestral women spirits who danced joyously across Mina Mina while carrying digging sticks, as described in the complex Dreaming narrative.
This document outlines a lesson plan focused on site-specific art and design. It introduces key concepts like site-specific art, public art, environmental art, and installation art. Students are tasked with designing an object that reflects their identity and could fit into their neighborhood. The lesson encourages students to consider how design can influence people and explores using color and shape outdoors. Students are given opportunities to reflect on their work and its representation of their identity and culture within their neighborhood's built environment.
Student of Dezyne E’cole College ,www.dezyneecole.com
Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories. Modern fashion design is divided into two basic categories: haute couture and ready-to-wear. The haute couture collection is dedicated to certain customers and is custom sized to fit these customers exactly. In order to qualify as a haute couture house, a designer has to be part of the Syndical Chamber for Haute Couture and show a new collection twice a year presenting a minimum of 35 different outfits each time.
Ready-to-wear collections are standard sized, not custom made, so they are more suitable for large production runs. They are also split into two categories: designer/createur and confection collections. Designer collections have a higher quality and finish as well as an unique design. They often represent a certain philosophy and are created to make a statement rather than for sale. Both ready-to-wear and haute-couture collections are presented on international catwalks.
This document summarizes research on the art movement De Stijl from 1917. It discusses key figures like Piet Mondrian and Theo van Doesburg who founded De Stijl. The style is characterized by primary colors, black lines, and geometric shapes like rectangles. Mondrian further simplified the style to only primary colors and values arranged at right angles. Van Doesburg emphasized the importance of lines in Mondrian's work. The document also provides brief biographies of Mondrian and van Doesburg, describing their early works and influence on De Stijl.
Artists and designers organize visual elements in relationships to create meaningful objects and experiences that engage multiple senses. Good design requires passion, visual sensitivity, knowledge, open-mindedness, and inventiveness. The Bauhaus school pioneered the approach of using specific exercises to encourage student discovery in design foundation programs. Design education focuses on developing observation, comparison, connection-finding, and context skills through hands-on projects to help students become informed thinkers.
This document discusses the four frames for analyzing visual art: structural, subjective, cultural, and postmodern. It provides examples and explanations of each frame. The structural frame focuses on how the artwork was made and the materials/techniques used. The subjective frame considers the emotional response and meaning an artwork holds. The cultural frame examines how the time period and culture influenced the artwork. The postmodern frame explores contemporary art that challenges conventions and traditions through parody, irony, and new technologies. The document uses examples like Van Gogh's self-portrait and works by Picasso and Dali to demonstrate applying the different frames.
This document provides instructions for an art class. It begins by listing supplies students should bring and general classroom rules. It then discusses the units of study, including drawing, printmaking, ceramics, stencil art, and architecture. Students will explore materials, techniques, and artist influences for each unit. The document emphasizes developing skills in line, movement, and following the design process. Proper use of tools and respectful behavior are also highlighted.
The document provides information on different art movements including Impressionism, Post-Impressionism, the Group of Seven, and contemporary activist art, outlining their key characteristics such as subject matter, style, and how artists used their work to bring awareness to social and political issues. Impressionist artists painted outdoor landscapes and scenes of everyday life using loose brushstrokes and bright colors, while Post-Impressionists and the Group of Seven built upon this style to incorporate more expression and abstraction. Contemporary artists discussed use their artwork as a form of activism to address topics like environmentalism, violence, and global concerns.
A Place in Question powerpoint Rowena Fry RowenaFry
- The document describes the process of developing and producing ideas for a design brief and final outcome. It discusses researching the client Amazon.com, generating initial ideas inspired by artists like Rita Furstenau, and exploring different design approaches.
- Key decisions are described, such as removing a pattern to simplify the final print design. The final design combines three initial ideas into a multi-layer screen print that can be scaled for different products while conveying the concept of glass reflections.
- Producing the final outcome involved deciding this approach would best meet the versatile brief requirements, and choosing screen printing techniques that effectively delivered the layered design.
Organization is a foundational component of design that implies order. Unity is achieved when the whole is more important than the parts, and can be created through proximity, repetition, and other techniques. Variety and repetition can create dynamic partnerships, with unification providing order and variation creating interest. Symmetry, asymmetry, proportion, scale, and other principles provide tools to organize visual elements and create emphasis, rhythm, and harmony in design.
Transcending Commonplace Art Making MaterialsNancy Walkup
The document provides instructions for creating paper sculpture projects with students in various grade levels. For second graders, it describes how to make a pop-up construction by folding paper to create a mouth that opens and closes, then cutting out a face shape and gluing it to create a pop-up. For fourth graders, it provides a rubric for assessing diorama projects on ecosystems that depict habitats and include camouflaged animals. The document aims to engage students in creative expression while meeting art and science objectives.
This document outlines a multi-day lesson plan on expressive painting. It includes pre-assessments, reading assignments, research activities, demonstrations on techniques like value and color mixing, discussions on topics like deforestation and its impacts, and opportunities for student artwork incorporating expressive elements. The lessons incorporate interdisciplinary connections to other subjects and encourage community involvement through a collaborative mosaic project. The overall goals are to build students' painting skills while increasing awareness of environmental and social issues.
The document discusses principles of good design according to Dieter Rams. It explores concepts like aesthetics, Gestalt psychology, the Swiss design movement, and color theory. It emphasizes that good design is intuitive, honest, and environmentally friendly. It also stresses using grids, consistency, hierarchy, and other techniques grounded in human perception and cognition.
This document provides instructions for art class. It begins by outlining classroom expectations such as bringing necessary supplies, labeling artwork, cleaning up, and being respectful of others. It then discusses specific art units that will be covered, including drawing, printmaking, ceramics, stencil art, and architecture. Students will explore concepts, artists, materials, techniques, and design processes. The visual diary is an important part of documenting and organizing work, and will be worth 50% of the grade. Safety and respectful use of tools is emphasized.
Pictorialism, Photo-Secession, and Straight Photography were three major photographic movements between 1870-1930. Pictorialism aimed to express feelings and engage the senses through manipulated images focused on beauty rather than facts. The Photo-Secession movement was founded by Alfred Stieglitz in 1902 and sought to elevate photography to an art form while respecting its mechanical origins. Straight Photography emphasized photography's technical capabilities to sharply depict scenes in focus and detail without manipulation. Major figures included Edward Weston, Ansel Adams, and Imogen Cunningham who were part of the f/64 group that further developed Straight Photography.
Year 7 SoW examining the work of Yinka Shonibare and the idea of what it is to be an alien. Students work towards creating an alien from found materials.
This document outlines steps for a school project where students will create alien sculptures using found materials. They will first learn about the artist Yinka Shonibare and how he represents cultural identity. Students will then design their alien, create a model, and build an armature before fully constructing their sculpture. The document provides guidance on construction techniques and safety. It also introduces the artist Dilomprizulike as additional inspiration for representing cultural issues.
This document provides a challenge for students to transform a toilet roll into something from their favorite film for the Easter holiday. Students can use various materials like paint, pen, pencil, card or fabric to depict characters, soundtrack, setting, genre, location, or quotes from a movie on the toilet roll. Examples shown include representations from The Shining, The Lego Movie, and Paddington to inspire students' creative interpretations.
This document provides instructions for researching and presenting a social issue using a mind map format. Students are to choose a social issue assigned by their teacher, create a mind map that diagrams the key individuals involved and arguments for different perspectives on the issue. The mind map should include images and text to thoroughly convey researched information on the definition of the issue, its causes and affected groups, supporting facts and statistics, and existing systems to address it, as well as how others can help. An outstanding submission will have in-depth, well-supported research presented in a dynamic visual format using color, drawings, pictures and personal insights.
This document outlines the lessons and homework for Year 11 GCSE exam students over the first 2 weeks focusing on the themes of "Broken", "Extreme Contrast", and "Personal Space". Students should bring in an object related to their chosen theme for observational drawings. Homework includes researching 3 artists on the theme and creating a written profile and practical response for each in their sketchbook. Future lessons involve creating additional studies of objects using different mediums like inks, watercolor, chalk pastels, and single line drawings.
This document provides instructions for students to draw a profile of themselves within a silhouette on a phone, filling it with words, doodles, pictures that illustrate their desires, wishes for the future, friends, fears, beliefs, family, and to think carefully about any text and to fill the entire silhouette with no white spaces and in full color.
This document discusses the relationship between modernist art movements in the early 20th century and photography. It provides examples of key modernist photographers and artworks that pushed the boundaries of photographic representation, making artificial or fabricated images that depicted reality in unconventional ways, as the art form evolved during this period. Modernist movements discussed include Futurism, Vorticism, Constructivism, Dada, and Surrealism, with examples such as Muybridge, Marey, Duchamp, Boccioni, Lewis, Tatlin, Lissitzky, Moholy-Nagy, Duchamp, Outerbridge, de Chirico, Bayer, Man Ray, and Dali.
This document provides step-by-step instructions for creating a lino print using multiple colors. It explains that the process involves making successive cuts to the lino printing plate to reduce the areas that will print, and layering different colored inks on the plate to create an image where the lighter colors show through the darker ones. The instructions are divided into sections for the initial cutting, the first print, the second cutting, the second print, the third cutting, and the final print.
The early history of photography began with artists in the Renaissance seeking to capture realistic representations of nature which led to the development of tools like the camera obscura. In the 18th century, scientists discovered ways to capture shadows using light-sensitive chemicals, laying the foundations for photography. The first permanent photograph was created by Joseph Niépce in 1826, while Louis Daguerre later invented the daguerreotype process in 1839, producing sharp metal plate images. Around the same time, William Henry Fox Talbot invented the calotype process using paper negatives, allowing images to be reproduced. Early photographers focused on portraiture and landscapes but their subjects expanded over time.
Photography began in the early 19th century when scientists discovered ways to capture images through chemical reactions on light-sensitive surfaces. The first permanent photograph was made in 1826 by Joseph Nicéphore Niépce in France, using a primitive camera to expose bitumen coated plates to light. By the late 1830s and 1840s, improvements in photographic processes and equipment allowed photography to become available for widespread experimentation and use.
A simple drawing machine can be made using elastic bands wound up and felt pens to quickly and visibly mark a surface. Students are asked to take their homemade drawing machines to class to have them create a drawing and explore the types of marks they are capable of making. Examples of drawing machines are provided for inspiration but the goal is for students to quickly construct a new drawing device in class that can record marks without needing many components.
The document discusses various techniques and exercises for abstract art, including blind contour drawing to describe textures by feel alone, using unorthodox tools to create unique brush marks, and contemplative drawings exploring the sensory experience of drinking water and the interior of one's mouth. Students are encouraged to experiment freely with mark making and non-traditional methods to develop their artistic practice.
Students in the Art department should be respectful of other students' artwork by not touching it, as damaged work could affect grades. They should also be respectful of materials by using fragile items carefully and following safety instructions when using sharp equipment. The sink area must also be kept dry and clean to prevent slips or water damage to artwork. Students are expected to bring a sketchbook to class to apply their best efforts and take risks in exploring different ways of working.
Fortismere welcomes the recipient to their school. They provide two art tasks for the summer holiday involving creating drawings with different mediums on various surfaces based on themes, as well as visiting specified art exhibitions. Expectations for art lessons include being punctual, prepared, engaged, and cleaning up. Outside of lessons, independent art engagement is encouraged through gallery visits and keeping up with the art world. Resources for wider art reading and theory are recommended, including books, magazines, and apps. The first project this term is on abstraction, exploring techniques and receiving feedback. The second project focuses on diversity and developing a personal response over several weeks.
This document provides instructions for three blind drawing tasks. It begins by having students put their hand in a bag to feel an object without looking, then use descriptive words to create a blind drawing. In the second task, students examine a new object for 5 minutes before creating an ink drawing with their arms outstretched. The third task has students choose a section of their ink drawing to enlarge and develop into a painted composition using color theory concepts like advancing/receding and complementary colors. The overall document guides students through a series of blind drawing and painting exercises intended to heighten descriptive abilities and understanding of texture through non-visual means.
The document provides instructions for several mindfulness exercises focused on slowly experiencing water and mapping the interior of one's mouth through senses and drawing.
The first exercise has one slowly smell, taste, and feel water in their mouth before swallowing. The second asks one to draw the shape and textures felt inside their mouth using different media over three, one-minute drawings.
The third exercise invites revisiting mapping the mouth interior with eyes open, the non-dominant hand, varied papers and media, and different drawing speeds to further contemplation and sensory awareness.
The document provides instructions for making homemade drawing tools to create unique and textured marks that cannot be achieved with conventional brushes. It instructs the reader to photograph their homemade tools, use them to make marks on a grid to explore the different effects, and then apply the best marks and tools to create a large abstract piece, focusing on rhythm and balance.
The document discusses the work of Paul Klee, a German-Swiss artist. It quotes Klee's definitions of a drawing as "a line going for a walk" and a line as "a dot that went for a walk." It then lists two references to Klee - a 2005 work about his ideas and teaching, and an interview where musician Faris Badwan discusses encountering Klee's work. It concludes by mentioning Mister Maker's child-friendly explanation of Klee's art history.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
SWOT analysis in the project Keeping the Memory @live.pptx
Hundertwasser part 2 2016
1. Lesson 6
Learning Objective:
Recap and develop understanding of Hundertwasser’s theory about the five skins.
Investigate the designs and inventions that Hundertwasser and other architects create to
make the way we live more ecological.
Learning Outcome:
Apply this knowledge to your own ecological designs in response to Hundertwasser’s
ideas.
3. Five skins recap
What was Hundertwasser’s idea behind the ‘five skins’?
Like the layers of an onion we are made
up from many parts that create the
whole. Hundertwasser believed that
without each layer we are not whole.
5. Five skins recap
1: Skin
Keeps our organs, our
thoughts, memories and
creativity together.
6. Five skins recap
2: Clothes
Hundertwasser was surprised- even
angry sometimes- that people all dress
the same and wear such boring clothes.
He wanted clothing to express a
person’s beauty and uniqueness.
7. Five skins recap
3: Houses
Our houses are the outer covering of
our private living space and should
express the individuality of the people
who live within.
8. The Fourth Skin: Identity (Hundertwasser says...)
In 1972 Hundertwasser came to a turning-point in his career. He became much more
sensitive to the social environment and to the identity problems linked to a group,
community or nation.
As Austrian Jews, many relatives from Hundertwasser’s mother’s family were deported
and executed in the Nazi concentration camps, with the remainder of the family having
to go into hiding.
What could Hundertwasser’s art and Fantastic architecture be an
expression of?
New skins we haven’t discussed….
9. The Fourth Skin: Identity (Hundertwasser says...)
In 1972 Hundertwasser came to a turning-point in his career. He became much more
sensitive to the social environment and to the identity problems linked to a group,
community or nation.
As Austrian Jews, many relatives from Hundertwasser’s mother’s family were deported
and executed in the Nazi concentration camps, with the remainder of the family having
to go into hiding.
Hundertwasser’s art and Fantastic architecture could be an expression of freedom
against artistic, political and social standardisation – the type he and his family, and
Austria and Germany as a whole, experienced during Nazi occupation.
New skins we haven’t discussed….
10. The Fifth Skin: Earth
Since Hundertwasser’s earliest childhood he had displayed a hypersensitivity to his
surroundings. He believed that nature is the supreme reality, the source of universal
harmony; his immense respect for nature very soon aroused in him the desire to protect it
against the attacks made on it by man and industry.
New skins we haven’t discussed….
11. In nature there are many sorts of cycles.
Can you name a cycle that occurs in nature?
A cycle is something which always comes back to the beginning again.
Cycle and Recycle
12. In nature there are many sorts of cycles.
Can you name a cycle that occurs in nature?
A cycle is something which always comes back to the beginning again.
Cycle and Recycle
Photosynthesis
Water cycle
Agricultural Astronomy Life cycle of humans, plants and animals
Food chain Seasonal Geophysical
Energy
13. When vegetation falls to the
ground it rots, decomposes
and becomes earth once
more.
If the vegetation
doesn’t get to fall to the
ground because you have
eaten it (eg. an apple)-
what happens then?
14. A pile of poo, of course!
Hundertwasser believed that just as apples and
leaves can become humus so can our poo. Humus is
a special sort of earth which is rich in nutrients. We
form part of the cycle of nature if our poo is allowed
to be transformed into humus.
But it doesn’t work if we flush it down
the loo. We interrupt the cycle, we are
no longer part of nature.
Hundertwasser created a toilet to
recycle poo and solve this problem. He
said:
“I built it to show how you can turn
your poo into gold, to make me
pleased and to see that it really
works- that way, I can sleep more
peacefully at night.”
15. The dirty water must flow through the
root portion of the plants and through
the colonies of decomposing bacteria;
in this way it is purified naturally. The
dirt is converted in part to vegetable
matter and in part to mineral sediment.
16. What would you include in an ecological building design?
WATCH THIS- Earthships- ecological design
Make a list of all the ideas in the clip.
17. What would you do in order to create an ecological building?
1. Power generation- solar power, wind power.
2. Water harvesting.
3. Sewage containment and treatment.
4. Controlling temperature without using any fuel.
5. In-home food production.
6. Building materials- recycled materials.
What could you add to your
building drawn from your
imagination? Experiment with
ideas in your sketchbook.
18. Design Homework
1. Redesign the building drawn from
your imagination (previous
homework).
2. Include your ideas to make it more
ecological.
3. Adapt your drawing so that it
resembles a Hundertwasser pieces of
architecture.
Remember to consider:
1. Power generation- solar
power, wind power.
2. Water harvesting.
3. Sewage containment and
treatment.
4. Controlling temperature
without using any fuel.
5. In-home food production.
6. Building materials- recycled
materials.
Level 4: Line drawing of your design annotated with ideas
how you might make it more ecological.
Level 5: In addition to the requirements for Level 4 your
design will be in colour and include detail, pattern and
textures that resemble Hundertwasser’s work.
Level 6: In addition to all the requirements above, your
drawing will show different views or detailed diagrams of your
green designs.
Level 7: In addition to all the requirements above, you will
include research into how your ideas will save energy.
Design Homework
1. Redesign the building drawn from
your imagination (previous
homework).
2. Include your ideas to make it more
ecological.
3. Adapt your drawing so that it
resembles a Hundertwasser pieces of
architecture.
Remember to consider:
1. Power generation- solar
power, wind power.
2. Water harvesting.
3. Sewage containment and
treatment.
4. Controlling temperature
without using any fuel.
5. In-home food production.
6. Building materials- recycled
materials.
Level 4: Line drawing of your design annotated with ideas
how you might make it more ecological.
Level 5: In addition to the requirements for Level 4 your
design will be in colour and include detail, pattern and
textures that resemble Hundertwasser’s work.
Level 6: In addition to all the requirements above, your
drawing will show different views or detailed diagrams of your
green designs.
Level 7: In addition to all the requirements above, you will
include research into how your ideas will save energy.
19. Lesson 7
Learning Objective:
Develop skills in working collaboratively.
Synthesise understanding from previous lessons.
Learning Outcome:
Collaborate with a partner and design a building that is ecological AND reflects the style of
Hundertwasser.
20. In pairs, design a Hundertwasser
inspired building that saves
energy and resources or benefits
the environment in some way.
21. Print and enlarge to A3
Names:
What design elements are you taking from each student?:
How do the designs reflect Hundertwasser’s style?:
Which ecological inventions will you use?:
Experiment with combining
some of your designs below.
Once you are happy draw the
complete building here……
22. Lesson 8
Learning Objective:
Develop understanding of how to translate a two dimensional design into three dimensions.
Investigate how to simplify a free design into geometric forms using net shapes.
Build on negotiation skills within partnership.
Learning Outcome:
Create net shapes for the different parts of the building.
23. "DIE HOELZERSIEBEN is an architecture game,
building blocks for adults who still can and still want
to dream and for children who have not yet had their
creativity taken away from them."
Hundertwasser, November, 1999
24. Net Shapes
Hundertwasser used simple geometric shapes
covered with his distinctive patterns to create
the forms in the game.
25. Simplify the design into geometric shapes
1.Work this out through drawings first
2.Use the net shapes provided to make small maquettes (3D sketch)
3.Decide on a maximum of four shapes that you will use.
26. These are over
complicated but you
can see how the basic
shapes accumulate to
create something more
complex.
31. Lesson 9
Learning Objective:
Adjust 3D net shapes to create the best possible outcome.
Apply knowledge of Hundertwasser’s style to sketchbook designs and develop patterns for the
separate shapes.
Continue to build negotiation skills within partnership.
Learning Outcome:
Create final net shapes for the different parts of the building.
Decorate the net shapes as per Hundertwasser’s style.
34. In your pairs, list at least three
features of Hundertwasser’s style.
Designs should have already been worked out
during the initial building design homework. Use
these and examples of his work to cover your net
shapes. Make sure you are in agreement with
you partner.
35.
36. Think carefully about your colour combinations when you
design your patterns.
Complementary or Analogous (contrasting
colours sit opposite each other on the colour
wheel).
Harmonious colour relationships.
COLOUR RECAP
37. Lesson 10
Learning Objective:
Apply knowledge of Hundertwasser’s style and colour relationships to complete patterns for
the separate shapes.
Continue to build negotiation skills within partnership.
Learning Outcome:
Complete the decoration on the net shapes as per Hundertwasser’s style.
41. Cover lesson 1
Students should use magazines to
create buildings in the style of
Hundertwasser.
Equipment: Scissors and glue
Materials: Magazines
42. Cover lesson 2
Students should design a town of buildings
inspired by the work of Hundertwasser.
The buildings should be shaded in with biro, pencil
or black pen.
The sky must be filled with bright, Hundertwasser
patterns.
Equipment: pencils, pens and colour crayons and
rulers.
Materials: paper for those who do not have their
sketchbooks.
43. Ecology Homework
Create a poster in the style of Hundertwasser that
will persuade the community to live in a greener
way.What do we mean by style of Hundertwasser? Make notes below:
What shapes?
What colours?
What imagery?
Style and amount of writing?
Level 4: Poster shows an understanding of colour, the issue is clear
and the text is in the style of Hundertwasser.
Level 5: In addition to the requirements for Level 4 there are
examples of harmonious and complementary colour relationships,
spirals, circles within circles; all organised in a composition that
takes up the whole page.
Level 6: In addition to all the requirements above, posters must
incorporate recognisable objects associated with the issue. Do not
forget to fill these with colours, patterns and shapes that mirror
Hundertwasser’s style.
Level 7: In addition to all the requirements above, posters can
incorporate more surreal elements such as faces and people within
the landscape not as a separate part.
Hundertwasser is naturally “green”, just as he is naturally a painter, Austrian, cosmopolitan or pacifist. Since his earliest childhood he had displayed a hypersensitivity to his surroundings. Nature is the supreme reality, the source of universal harmony; his immense respect for nature very soon aroused in him the desire to protect it against the attacks made on it by man and industry.