Art Foundation III
Learning Targets
LINE
5 Line b. practice “no Peeking” blind contour line drawings using continues line while moving from one area to
another.
5 Line c. Complex blind contour line drawing with some areas having a lot of structural details and other areas with
none.
5 Line d. Attempt blind contour lines drawings of classmates (family member) or of a still object.
5 Line e. Compare 2 drawings 1) using no peeking technique 2) looking back and forth. “which drawing is more
interesting and magical?”
5 Line f. Political cartoons – use blind contour drawings as a means to exaggerations and distortion in facial features,
5 Line g. Abstract - recognize visual distortion (exaggeration) used by cartoonist and abstract artist
5 Line h. Create a distorted work of art – appreciate the lack of proportional realism
5 Line i. discuss why distortion is important in creating - how do artist use distorted lines to make exaggerated.
6 Line b. create a cross contour line drawing of curved objects. Emphasize dark (dip) areas by making lines closer
together and space lines further apart to create lightness (bulges)
6 Line c. experiment with repeatedly changing the thickness of thinness of lines in producing 3-D cross contour line
warped illusion
6 Line d. demonstrate how cross contour lines follow the curve or structure of objects
6 Line e. observe and discuss contour lines in topographic maps. – how line spacing shows the height or steepness of
terrain.
6 Line f. show how the line can define foreground, middle ground and background.
6 Line g. study how artist use lines or stripes to show the folds found in clothing.
6 Line h. use cross contour lines and line design to define and decorate an object
SHAPE/FORM
5 Shape a. practice simplify pictures from books, artworks, or magazines into basic geometric and organic
shapes
5 Shape b. combine a variety of geometric and organic shapes to create futuristic objects
(such as spaceships, a car, dream homes, a new toy…)
5 Shape c. explore combining basic geometric and organic shapes in producing cityscapes and landscapes,
showing shape repetition, overlapping and the illusion of depth.
5 Shape d. Study simplified shapes in landscapes. Produce shape based landscapes showing self-
expressionism and personal style.
5 Shape g. simplify an image into basic shapes. (such as flowers, cars, airplanes …)
TEXTURE
5 Texture a. study examples of implied texture.
5 Texture b. mimic visual texture using by combining lines, dots, and shapes using pencil or pen
5 Texture c. using line, dots, shapes and value to make the illusion of common textures (such as brick, grass, pebbles)
[advanced- apply textures to an unusual object ( such as brick texture on a flower.]
COLOR
5 Color a. show understanding of colors in a color wheel by correctly labeling the colors and finding these colors in
the environment, mixing color to create secondary and
5 Color b. explore the effects of specific colors on Mood. ( e.g. blue feels sad, yellow feels happy)
5 Color c. cool/warm - connect atmospheric color concepts to own artwork, showing warm colors in foreground and
cool/blue-gray colors in the background.
5 Color f. Explore the personal choice of Aesthetics using specific colors to symbolize ideas or moods.
6 Color a. label and correctly color each section of a color wheel: primary, secondary and tertiary colors
6 Color b. use monochromatic color schemes to explore the effects of specific color on mood.
6 Color d. value - Demonstrate understanding of how compliments affect one another when mixed together [red
darkened by green, blue darkened by orange …)
6 Color e. Emotion - Analyze how color impacts senses and emotions
6 Color f. explore the color formula Pointillism
PERSPECTIVE
5 Perspective- a. recognize 1pt perspective in photographs and environment.
5 Perspective- b. using 1 pt. perspective – make a series of shapes (cubes) on, above, and below the horizon line.
5 Perspective- c. Depth - use perspective to create depth
5 Perspective - d. Project edges of object back to the vanishing point.
5 Perspective- e. identify the artists eye level line (horizon line) and follow the architectural slants to find the vanishing
point.
5 Perspective- f. draw a 1 pt. perspective scene ( i.e. railroad tracks, road fence…)
5 Perspective- h. using 1 pt. perspective rules construct an imaginary room.
​6 Perspective a. study past masters artworks showing 2 pt. perspective used to create the illusion of depth. Identify
the horizon line, and vanishing points used by the artist.
6 Perspective b. experiment with 2 pt. perspective by drawing a box in various locations in relation to the horizon line.
Vary the sizes of the cubes to further create the illusion of depth.
6 Perspective c. demonstrate the rule that all 2 pt. perspective structures start with a corner line.
6 Perspective e. practice using the 2 pt. perspective steps to create “worm’s eye view” and “bird’s eye view” images of
objects in relation to the horizon line.
6 Perspective f. use 2 pt. perspective to recreate objects in the classroom/ a simple street scene
6 Perspective g. use 2 pt. perspective to create a drawing that - portrays some unique aspect of the student’s life/an
imaginary world / futuristic city.
SHADOW
​6 Stand 1- obj. 1 f. Fuse cast shadows that overlap.
6 Stand 1- obj. 1 g. Draw cast shadows to describe the form or surface upon which they fall; e.g., the cast shadow of a
pole falling on stairs, a cast shadow falling on a ball, the cast shadow of a pencil falling on a pile of
blocks.
6 Stand 1- obj. 1 h. Use highlight, halftone, shadow side, shadow edge, and reflected light to shade objects.
6 Stand 1- obj. 1 e. Show cast shadows as darker directly under the object casting them
6 Stand 1- obj. 1 j. Render cast shadows as darker, grayer, and less intense versions of whatever color they fall on.
SPACE
6 Stand 1- obj. 1 b. Depth - Portray distant objects higher on the drawing paper.
6 Stand 1- obj. 1 c. Use the horizon line to represent eye level in artwork. x Strategy example: When drawing a scene
from life, draw a horizon line on the paper and place objects relative to it in the same way they
relate to the eye level in the real scene; e.g., above, below, directly on.
6 Stand 1- obj. 1 d. Create the illusion of depth by portraying parallel lines that move away from the viewer to converge
at a point on the eye level.
6 Stand 1- obj. 1 e. Depth - Render objects in the distance as grayer and/or bluer than those in the foreground.
6 Stand 2- obj. 2 f. Create the illusion of depth in works of art.
6 Value a. Depth - Demonstrate how light objects seem to advance in pictures and darker objects recede.
6 Value b. explore value in relation to depth by shading objects in the distance lighter(grayer) and with less value and
texture.
VALUE
6 Stand 1- obj. 1 a. Create an artwork that has five distinct value changes from light to dark.
6 Stand 2- obj. 1 b. Differentiate and identify colors by value and intensity within works of art.
6 Stand 2- obj. 2 c. Modify the value of colors in artwork to create intentional effects.
6 Value a. observe a variety of objects and identify the different values of each from the lightest to darkest
6 Value b. make a variety of geo. designs using a ruler and practice filling in each shape with a different value, going
from light to dark.
6 Value c. Practice getting the correct local value in comparison to real images. [cutting a picture in half and matching
the values from the picture to complete the image. ]
6 Value e. show value transitions from light to dark by spacing pen and ink techniques close together.
6 Value f. Produce the illusion of form by using Pen & Ink techniques to create shading.
6 Value g. Produce a change in value and shading by using Pen & Ink techniques.
6 Value h. demonstrate application of Pen and Ink shading by adding the Ink to a (water)color image to further darken
and add texture tot eh image.