A Creative Puzzle.What Are We Doing? The first part of the project required eighth-grade students to complete a simple task. I thought it would be a great idea to give only a few directions. I felt the students' spontaneous reactions would intensify in·ten·si·fy v. in·ten·si·fied, in·ten·si·fy·ing, in·ten·si·fies v.tr. 1. To make intense or more intense: their creativity, compelling them to really think about their project. They were given a 3 1/2" (9 cm) square and a ruler. Each student was instructed to measure a 1" border around two of the squares sides. It was imperative for the two sides chosen to form a perpendicular configuration. Once this step was completed, students were instructed to draw a line along each border. They were not allowed to think too long about the line that they were about to use. The two lines drawn had to start and end in a corner, were not to overlap one another, and had to touch the border. Using scissors scissors Cutting instrument or tool consisting of a pair of opposed metal blades that meet and cut when the handles at their ends are brought together. Modern scissors are of two types: the more usual pivoted blades have a rivet or screw connection between the cutting ends , students cut out their traced lines. The two cutout cut·out n. 1. Something cut out or intended to be cut out from something else. 2. Electricity A device that interrupts, bypasses, or disconnects a circuit or circuit element. 3. pieces were attached on the opposite side. The geometric shape that students started with was now turned into an interlocking interlocking /in·ter·lock·ing/ (-lok´ing) closely joined, as by hooks or dovetails; locking into one another. interlocking Obstetrics A rare complication of vaginal delivery of twins; the 1st organic shape. Students then traced their newly formed shape on a piece of sketch sketch, a rapidly executed kind of pictorial note-taking. The sketch is not usually intended as an autonomous work of art, although many have been considered masterpieces in their own right. paper. What Do You See? As students began to look at their traced shape, I reminded them to continuously turn the sheet of paper and look for different features that could be associated with people, animals, and familiar objects. This step forced students to carefully look at their shape, turning empty space into a detailed design. The task became difficult at times because students really had to think about what they were looking at. The designs created inside could not exceed the perimeter of their shape. Refining refining, any of various processes for separating impurities from crude or semifinished materials. It includes the finer processes of metallurgy, the fractional distillation of petroleum into its commercial products, and the purifying of cane, beet, and maple sugar Stage Students were given a fine-point marker to refine their design. Craftsmanship Craftsmanship Alcimedon a first-rate carver in wood. [Rom. Lit.: Vergil Eclogues, iii. 37.] Argus skillful builder of Jason’s Argo. [Gk. Myth.: Walsh Classical, 29] Athena (Rom. was greatly emphasized. The final step would involve color. Before students could begin, it was important for them to go back and erase all of the remaining pencil lines. Students were shown how to gradually blend colored pencil and they applied the technique to their outlined design. Looking at the Master Students set their designs aside and were introduced to M.C. Escher and the art of tessellation In surface modeling and solid modeling, the method used to represent 3D objects as a collection of triangles or other polygons. All surfaces, both curved and straight, are turned into triangles either at the time they are first created or in real time when they are rendered. . In groups of three, they looked at prints of Escher's work and made general observations in their journals. Students were instructed to pay close attention to the transforming figures, the horizontal/vertical movement of each shape, and the artist's use of value. At the conclusion of this activity, students were given a sheet of Bristol board Bristol board n. A smooth, heavy pasteboard of fine quality. [After Bristol, England.] . Their objective was to create an interesting configuration by repeatedly tracing their design nine times. The emphasis was placed on repetition, pattern, balance, and composition. The students used a marker to outline their design and finished with colored pencil. Evaluation Evaluation is based on the following criteria: * Overall design/originality * Arrangement and composition * Gradual changes demonstrated through the use of colored not of the white race; - commonly meaning, esp. in the United States, of negro blood, pure or mixed. See also: Color pencil Craftsmanship--details are included; there are no smudges; lines are refined with a marker; and shapes are consistently filled in. * Students' understanding of M.C. Escher and tessellation. Materials 3 1/2" (9 cm) poster board (pre-cut), sketch paper, Bristol board, rulers, scissors, masking mask·ing n. 1. The concealment or the screening of one sensory process or sensation by another. 2. An opaque covering used to camouflage the metal parts of a prosthesis. tape, pencils, colored pencils, fine point black marker. Students learned hew hew v. hewed, hewn or hewed, hew·ing, hews v.tr. 1. To make or shape with or as if with an ax: hew a path through the underbrush. 2. to: * Transform negative space into positive space. * Create a composition through the use of repetition, balance, and pattern. * Gradually blend colored pencils from light to dark. NATIONAL STANDARD Students select and use qualities of structure and functions of art to improve communication of thier ideas. Jason Kerkusz is an art teacher at Springfield Middle School in Royersford. Pennsylvania. Card 1 Give students a 3 1/2" (9 cm) piece of poster board. Using a ruler, show them how to measure a 1" border along two of the shape's four sides. Emphasize that the two lines should form a perpendicular arragement. Instruct in·struct v. in·struct·ed, in·struct·ing, in·structs v.tr. 1. To provide with knowledge, especially in a methodical way. See Synonyms at teach. 2. To give orders to; direct. v. the students to draw a spontaneus (without thought) line along each borderline borderline /bor·der·line/ (-lin) of a phenomenon, straddling the dividing line between two categories. borderline . Let them know that each line drawn should start and end in a corner. 1 TESSELLATION DRAW A 1 INCH BORDER ON TWO OF THE SHAPES FOUR SIDES. THE TWO 1" LINES SHOULD FORM A PERPENDICULAR CONFIGURATION. [ILLUSTRATION OMITTED] DRAW 2 SPONTANEOUS LINES. EACH LINE SHOULD START IN A CORNER AND END IN A CORNER. YOUR LINES CAN SLIGHTLY OVERLAP THE 1" BORDER [ILLUSTRATION OMITTED] Card 2 Have students carefully cut out each shape. They should have three pieces when they are finished cutting. Show students how to slide their cutouts (without flipping Flipping Buying shares in an initial public offering (IPO), and then selling the shares immediately after the start of public trading to turn an immediate profit. flipping them) to the opposite sides and attach with a piece of tape. At the conclusion of this step, students should be able to recognize the positive (piece added) and negative (piece removed) space on each side of their shape. 2 CAREFULLY CUT OUT EACH SHAPE. YOU SHOULD BE LEFT WITH THREE PIECES. SLIDE EACH CUT-OUT TO THE OPPOSITE SIDE AND ATTACH WITH A PIECE OF MASKING TAPE. DO NOT FLIP OR TURN THE CUT-OUTS. THE POSITIVE (PIECE ADDED) AND NEGATIVE SPACE (CUT-OUT) SHOULD BE VISIBLE AT THE COMPLETION OF THIS STEP. [ILLUSTRATION OMITTED] Card 3 Students will trace their shape on a piece of sketch paper, filling the inside with a design. Their design cannot exceed the edge of the shape and should be drawn at a fairly large scale. Show students how to refine their design with a black fine-point marker and carefully erase pencil lines. Give a demostration to students on gradually blending colored pencils. Have students use as many colors as possible. Stress the importance of lifting your pencil as you get lighter with each color. Show students how to refine the rough edges with a light circular motion In physics, circular motion is rotation along a circle: a circular path or a circular orbit. The rotation around a fixed axis of a three-dimensional body involves circular motion of its parts. . 3 TRACE YOUR SHAPE AND FILL IN THE VACANT SPACE WITH A DESIGN. THE DESIGN CANNOT EXCEED THE PERIMETER OF YOUR SHAPE. USE COLORED PENCIL TO FINISH THE DESIGN. THE FOCUS SHOULD BE TO BLEND EACH COLOR GRADUALLY. TRY TO USE AS MANY COLORS AS POSSIBLE. [ILLUSTRATION OMITTED] Card 4 Give students a piece of Bristol board. Show them how to fill the surface by repeatedly tracing each shape. Stress the importance of drawing everything lightly. Each shape should interlock A device that prohibits an action from taking place. , fitting like a puzzle piece when it is traced. Use a light table to show the students how to consistently transfer their design inside each shape. Have students outline the entire design with a black fine-point marker and erase all pencil lines. Gradually use colored pencils to finish project. 4 1 TRACE THE SHAPE ON A SHEET OF PAPER, AND REPEAT UNTIL THE PAPER IS FILLED. 2 TRANSFER YOUR FINAL DESIGN INSIDE EACH SHAPE. 3 OUTLINE WITH A BLACK FINE POINT MARKER. 4 GRADUALLY COLOR THE ENTIRE DESIGN. [ILLUSTRATION OMITTED] |
|
||||||||||||||||||||||
Printer friendly
Cite/link
Email
Feedback
Reader Opinion