Art Art and More Art

Sixth Grade Take On Homer

2012-03-02T00:53:00.001-08:00

Six Graders take on Homer today. They approached the project with a quietness that took them away and into the world of art. I enjoyed watching as they worked to create this world by the sea where lighthouses guide the way to safety. Beautiful work!

Thank you Mrs. Hennessey and Mrs. Spencer for your guidance and attention.

First Grade Raise Their Sails with Winslow Homer

2012-02-28T15:21:00.000-08:00

An afternoon in 2-1 is all one needs to secure a smile worth it's weight in gold. These young and inspiring art students had lots to express. They drew using a black crayon and created a sail boat on the water. Learning to shade and work with line made each and everyone of their worlds on the water come to life.

They later shared what they did in a critique with the whole class and got encouraging feed back from their class mates. I was inspired by their enthusiasm for art and their wonderful ability to see the wonder and freedom in creating.

Thanks to Mrs. Ellersick and Mrs. Peabody for their love and dedication to our art program... Oh and of course to the master, Winslow Homer, who shared his process so we could learn more about art.

Eighth Grade Lighthouses Guide Us From Darkness To Light

2012-02-28T14:53:00.001-08:00

Both Eighth grade classes met in the hall this morning to draw lighthouses and explore the way the light shines down on their seascapes. Using a graphite pencil they worked on value and the changing pressure that creates a dark or light line without the change of color. Value can never be discussed enough. The visual lightness or darkness we see as we learn to shade using our pencils. It is an amazing thing to see a finished work of art done only in graphite. The possibilities of expression without the uses of color will surprise you into thinking there is color. This is a masterful challenge for the future. Right now we must practice the concept by doing it. Learning how to draw with a pencil and not just write, is a passion for some and an assignment for others. Here are some of the many beginnings of visual expression, the language of an artist, by our eighth graders.

Thanks to Mrs. Avila and Winslow Homer for todays lesson.

Third Grade Sets Sail With "Winslow Homer"

2012-02-23T18:28:00.001-08:00

Putting the boat out to sail was the focus of today's art project. Value is the lightness or darkness of a color. These third graders learned how the lightness or darkness of their drawing pencils when put to paper can create shadows as well as create light when strong contrasts in value are put next to one another. They thought about the focus or subject of there drawings. They added value to rocks, water and sky to create depth and form. In the end it was a fun day and with the help of a few birds the project was complete.

The Value of Dark and Light With "Winslow Homer", 5th Grade

2012-02-23T13:22:00.001-08:00

Fifth grade continues to explore the power of dark and light values in drawing and creating space on the picture plane. Dark comes forward and light falls away. Strong contrasts of dark and light with sharp edges come forward and draws the viewers eye to that contrast first. Soft edges between shapes with closer values fall to the background and are less important and less distracting. So when drawing the most important part of your drawing, the thing you are wanting to communicate to the viewer, it gets the strongest contrasts of value. Black and white side by side is more interesting and visually powerful than mid grays side by side.
So here is 5th grade.

Kindergarten Works In Black And White With "Winslow Homer"

2012-02-21T20:00:00.000-08:00

One of the hardest concepts in art to comprehend is value. So it is good to start young. It is a word these kids will hear in art for years to come.

Lighthouses in The Landscape With "Winslow Homer's" Influence by 7th grade

2012-02-21T10:26:00.000-08:00

Today the lesson was to create a lighthouse in the landscape with a graphite pencil. They used shape and line. Most importantly they learned about value. Value is the degree of dark and light. Sometimes refered to as shading.
The wonderful gift of the Art Masters program are the dedicated volunteers that come and share their love and enthusiasm for art. Thank you.
So here is a glimpse at 7th grade exploring Winslow Homer.

Value the Winslow Homer Way

2012-02-16T13:27:00.001-08:00

Second graders learned about value through observing the direction of light. Shadow is the absence of light. Light closest to the light source is the lightest. The second graders worked on the value of light using different pressure with their crayon to change the degree of dark to light to create shading and space.

First Graders Enjoys Winslow Homer Value Project

2012-02-16T11:03:00.001-08:00

Using a black crayon and white paper these art students discover the wonder of aerial perspective to create distance. The key to this is shading or a better vocabulary word, "value". Value is the darkness or lightness of a color.
Here they are sharing their work and discussing the project. Way to go first grade!

Artists!

2010-07-14T22:32:00.000-07:00

2010-07-14T22:30:00.000-07:00

2010-07-14T22:29:00.000-07:00

2010-07-14T22:28:00.000-07:00

The White Wash Stage Of Paper Mache

2010-07-14T22:26:00.000-07:00

2010-07-14T22:25:00.000-07:00

2010-07-14T22:24:00.000-07:00

2010-07-14T22:23:00.000-07:00

Just Doing Art

2010-07-14T22:19:00.000-07:00

Working With Clay

2010-07-14T22:17:00.000-07:00

More Zentangles

2010-07-14T22:15:00.000-07:00

Zentangles - A Journal of Designs

2010-07-14T22:14:00.000-07:00

Color Theory and Marbles

2010-07-14T22:12:00.000-07:00

Contour Line and Watercolor

2010-07-14T22:09:00.000-07:00

Paper Weaving For Balance and Composition

2010-07-14T22:07:00.000-07:00

Shapes In Our Landscape - Oil Pastel

2010-07-14T22:05:00.000-07:00

Me,Myself and I - Self Portraits

2010-07-14T22:03:00.000-07:00

Design Project Using Letters And Numbers In Our Lives

2010-07-14T22:00:00.000-07:00

Summer School 2010

2010-07-14T21:56:00.000-07:00

And A Good Time Was Had By All

2010-02-02T20:41:00.000-08:00

More Degas

2010-02-02T20:39:00.000-08:00

Edgar Degas

2010-02-02T20:37:00.000-08:00

6th Grade Goes Crazy With More Miro

2009-11-19T16:04:00.000-08:00

First Grade Miro, go, go, go!

2009-11-19T16:02:00.000-08:00

More Miro!!!! 5th Grade

2009-11-19T15:50:00.000-08:00

Third Grade Miro Project

2009-11-14T23:05:00.000-08:00

Way to go third grade! Third grade is always the first to try out our art projects. They set the standard with fabulous work. Take a look and see for yourself.

Joan Miro Assembly and Workshop

2009-11-12T16:40:00.000-08:00

This week our students and Art Masters Volunteers learned about the life of Spanish painter Joan Miro. Along with the assembly, volunteers were taught the project that they will introduce to students in class over the next 3 weeks. Learning the project is lots of fun and makes teaching the students easy and successful. Below are photos of the Miro project and our volunteers of Art masters.

Thanks so much for your devotion to the arts here at Holy Family.

Moving Into Our Next Project- Nov. 11 Assembly

2009-11-05T08:59:00.000-08:00

JOAN MIRO (1893-1983)

click on name for a view of his artwork

Wednesday, November 11 at 8:15 we will have our second assembly

in this years series. Workshop will follow at 9:00 with Lora Gamberg.

I have attached links for you to read about Joan Miro and his work.

See you on Wednesday.

Click here for biography information

Click here for more info http://en.wikipedia.org/wiki/Joan_Miro

Also, some of you have asked how to comment or leave

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Click on the word and it will take you to an area to write

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Happy Halloween!

2009-10-29T16:25:00.001-07:00

It's that time of year when the air feels cool and the winds stir up Autumn fun. Our classrooms are filled with creativity for the season. So watch out, have fun and enjoy "trick or treating".

First Grade Sheeler

2009-10-29T16:16:00.001-07:00

Shapes, shapes, shapes!!!!! Great job first grade.

Third Grade Sheeler

2009-10-29T15:59:00.000-07:00

Sheeler 5th and 6th Grade

2009-10-25T21:41:00.000-07:00

The fifth through eighth grade Sheeler project is to create a Precisionist" drawing using templates designed by the students to create a technically drafted finished assignment. The basis of this project is shape, therefore the project begins with the square, rectangle, triangle and circle. Once establishing there shapes in a composition, students begin shading by using color and value to create form. Chalk pastels add a soft atmospheric dimension to the sky and the illusion of smoke bellowing from the industrial turbines. The project gives the students the freedom to create with specific elements to achieve.

Sheeler - Kindergarten

2009-10-24T13:29:00.000-07:00

Sheeler Workshop

2009-10-23T13:48:00.000-07:00

Today we had our first assembly and learned about "precisionist", Charles Sheeler. Volunteers learned how to teach the project. It is a very good project to start the year. We once again visit shape, value, overlapping, and composition.

Glad to be back with a whole new year of art. Keep looking because I will be posting work done by our students in the weeks to come.

thanks for stopping by art art and more art.

student work 5th Grade

primary example

Art Masters Assembly Schedule

2009-09-10T09:32:00.000-07:00

2009-2010

*Presentation Dates*	*Location*	*Artist*
October 14	All in the hall.	Sheeler
November 11	8:15 assembly	Miro
January 13	9:00-10:15 workshop	Degas
February 10		Seurat
March 10		Wyeth
April 14		Mondrian

Classroom schedule will post next week.

These are the days of the week the class will be taught, the dates are in the process of approval and will follow next week.

K Wednesday 1:30

1 Tuesday 10:00

2 Tuesday 12:30

3 Thursday 12:50

4 Thursday 12:30

5 Thursday 11:00

6 Thursday 1:10

7 Tuesday 8:15

8 Tuesday 1:10

ART MASTERS for October 14- Charles Sheeler (1883-1965)

2009-08-26T18:42:00.000-07:00

Art Institute of Chicago

Charles Sheeler (1883–1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative painting, and applied art at the School of Industrial Art in Philadelphia, and having studied at the Pennsylvania Academy of Fine Arts, Sheeler fully absorbed the lessons of each discipline and forged his own singular approach.

Equally gifted as a photographer and painter, Sheeler analyzed the relationships between photography and traditional artistic methods such as painting and drawing with more rigor and intellectual discipline than perhaps any other American artist of his generation. Like a well-conceived scientific experiment, his practice of using fully realized photographs explicitly as the basis for paintings and drawings led to results that crystallized both the differences and similarities between them. The brilliance and scope of Sheeler’s approach is evident in the way his works in one medium often manage to function as autonomous objects while being inextricably linked to works in other media.

- From "American Visions: The Epic History of Art in America", by Robert Hughes

The ungainly name "Precisionism" was coined by the painter-photographer Charles Sheeler, mainly to denote what he himself did. It indicated both style and subject. In fact, the subject was the style: exact, hard, flat, big, industrial, and full of exchanges with photography. Photography fed into painting and vice versa. No expressive strokes of paint. Anything live or organic, like trees or people, was kept out. There was no such thing as a Precisionist pussycat. Sheeler's work records the displacement of the Natural Sublime by the Industrial Sublime, but his real subject was the Managerial Sublime, a thoroughly American notion. And though Precisionism broadened into an American movement in the late twenties and early thirties, Sheeler's work defined its essential scope and meaning.
"The son of a steamer-line executive in Philadelphia, Sheeler took his first art classes under William Merritt Chase at the Pennsylvania Academy in 1903 and, in the now familiar pattern of other American modernists-to-be, he experienced his conversion to Cézanne, Picasso, Braque, and Matisse during a trip to Paris in 1908. Back in Philadelphia he took up commercial photography to support his painting. He worked with Morton Schamberg until the latter's early death in 1918. Sheeler's talent for high-definition photography, with stark, plain, and well-Judged masses of tone, shied away from human documentary: he avoided figures in favor of near-abstract subjects, images of anonymous architecture, such as the sides of barns in Bucks County, Pennsylvania - plain American vernacular. This preference would inform his later work. Sheeler's interest in old structures and tools wasn't antiquarian. It came from his belief that a common line of empirical functionalism was the "unseen soul" of American tradition, linking the old barn to the new industrial plant.
"In 1920 he and the photographer Paul Strand made a short experimental film together - one of the first American "art" films. It was meant as a portrait of the city, and its title (as well as its silent-movie captions) was quoted from Walt Whitman.
"Despite the lines from Whitman's poems, Manhatta is not really Whitmanesque in feeling, because it either omits the people of New York or sees them as molecules in a crowd, abstract parts of "one-million-footed Manhattan, unpent," but with none of the social richness that stirred Whitman's soul. Strand and Sheeler's Manhattan is a hard, clear, abstract place: not always as grim in its alienation as Strand's 1915 photo of businessmen trailing long black chains of morning shadows as they scurry to work past the blank, tomblike windows of the Morgan Guaranty Trust Building, but depopulated enough to act as a series of signs only for itself.
"The film bred paintings, as Sheeler's still photographs would continue to do through the 1920s and 1930s. One shot in Manhatta looked down at a train on the Church Street elevated railway sliding into view; Church Street El, 1920, takes this image, colors it and cleans it up, abstracts it, but leaves it essentially recognizable. His vision was dour and romantic at the same time. You often feel, in Sheeler, the presence of an artist who wanted to submit himself to structures and ideologies larger than himself, as though - whatever doubts he might have had about them - they promised security. And the ideology of American managerial industrialism underwrote that promise. So he set out to become its artist laureate.
"It is difficult, today, to imagine the enthusiasm with which Americans (and especially American managers) in the 1920s embraced the idea of the machine as a model and regulator of working life. It grew out of Henry Ford's use of the production line in mass car manufacture. Ford declared in 1909 that he was going to democratize the auto, that "when I'm through everybody will be able to afford one, and about everyone will have one." He produced millions of identical cars in exactly the same way, by breaking down each stage of their making into small repetitive units of work, each of which could be performed, hundreds of times a day, not by a craftsman but by an ordinary worker in charge of a single, specialized machine. These work-molecules flowed into the river of the production line, watched over by a hierarchy of managers. In 1914, the year full production-line assembly began at the Ford plant in Detroit, the basic black Model T cost $490, a quarter of what the cheaper sort of American car had cost ten years before, and 248,000 Fords were sold; by 1924 the car was down to $290, and in 1919, on the eve of the Wall Street crash, American automakers produced 4.8 million units. The sales graph had gone almost vertical.
"Ford, omnipotent crank that he was, believed he had invented something like a new religion, based on industry. It would lead to a United States of the World, with himself - the complete anti-humanist, serene and objective in his understanding of process, the literal deus ex machina - as its messiah. "The man who builds a factory builds a temple. The man who works there, worships there." Even the defective human body, a meat machine, would in time be fixed with interchangeable parts. History, he famously pronounced, was bunk, and "machinery is accomplishing in the world what man has failed to do by preaching propaganda or the written word." And doubters were to Ford - as skeptics about one-world "Interactivity" are to Internet votaries today - contemptible Luddites, dust beneath the pneumatic tires of the certain future.
"In 1927 the Ford Motor Company hired Charles Sheeler to spend six weeks in its River Rouge plant, taking photographs. Sheeler was so deeply impressed that he would echo Ford's bizarre pieties about industrial religion: "Our factories," wrote the artist, "are our substitute for religious expression." And so, in Sheeler's photographs of River Rouge, they became. The interiors of the mighty factory buildings are high, clean, invested with a numinous light, and free of all human presences except when they are needed to give scale. His image of a stamping press expresses the fantasy of the machine as cult object, with no hint of the often boring, dehumanizing, and dangerous character of factory work: impassive and objective, the godlike engine is served by its tiny acolyte. And in 1929, not long after he made his photograph of crisscrossing conveyors at the Ford plant, he took a similar one of a much earlier form: the flying buttresses at the crossing of Chartres Cathedral.
"But the painting that most succinctly expressed his feelings about big industry is American Landscape, 1930. It holds no nature at all, except for the sky (into which a plume of effluents rises from a tall smokestack) and the water of a dead canal. Whatever can be seen is man-made, and the view has a curious and embalmed serenity, produced by the regular cylinders of silos and smokestack and the dark authoritarian arms of the loading machinery to the right. The sphere, the cube, and the cylinder are no longer things to be sought in nature, as Cezanne had once recommended: in the mighty abstraction of process and product, they have replaced nature altogether. The ancient tension between nature and culture is over. Culture has won. It has colonized all the space in the American imagination that nature once claimed. The world of Thomas Cole is finally, irreparably, concreted over. One human figure remains, and you can hardly see him, or it, at first: a tiny, scurrying ant, on the tracks by the canal, between the uncoupled boxcars."

A Job Well Done

2009-07-17T18:36:00.000-07:00

Today was the last day of our summer art program. It is so amazing how 4 weeks can fly by. All of you did an amazing job of staying on task and completing projects. Beyond that you did some incredible work. I am a lucky teacher to have had such motivated students. Every one of you brought with you a desire to create art and a passion to enjoy the process.

Keep up the drawing and the Zentangles. I would love to see what you're doing and help you with any art projects you might be working on. Come by and share what your are doing and don't forget about the blog. I plan to add to this throughout the year and would be delighted to post your self motivated art work. I will be featuring student work from our Art Masters Program as well.

So stay safe and have a wonderful summer. I will see you in September.

Period 1

Period 2 with teaching assistant, Spencer, with the beard

You've Got To See It To Believe It....Observation

2009-07-16T15:41:00.000-07:00

Today the students went out to observe and draw. Learning to draw what you see is important. Most often we draw what we know based on our thinking side of the brain. We have a lot of stored information in our brains that keep us from drawing what we see. Our brains cause us to question what we are observing and we tend to go back inside our heads to draw what we have stored in memory. Finding your creative side takes time , but can be done with practice.

In order to learn to draw what you see it is important to observe and draw from the elements of art. These elements are at the root of all art. It is like the concept or idea before you create a writing assignment. Understanding the structure in writing is critical to a well written story as understanding line, shape, value, composition and color, for a few, is important to a good painting or drawing. All of this takes PRACTICE...practice. If you practice something everyday for just a little while you are going to get better at doing it, right. So often we try something new and get intimidated when others do it better. Chances are they have been doing it longer than you and are confident.

So I suggest using your eyes to crawl in and out of what you want to draw. Pretend you are an ant and go slowly and methodically along the edge of what your drawing. So find your creative side and enjoy art. You might just be surprised at how good you will get.

The Show of Shows... The Gallery Show in 7 -1

2009-07-15T22:03:00.000-07:00

Wow! What a fine exhibit of student work. I must say I was very proud to hear them explaining the process it took to create all this wonderful art. It is important to understand the process. Most visitors to an art gallery appreciate the finished work of an artist, but don't know how they created it. I always appreciate knowing the background process and love the work even more by knowing what the artist did to create the work I am appreciating. These students experienced the process and were able to share that with the spectators that came to the show. Way to go artists!

We have had wonderful feed back from all who attended. Thanks for coming. See you again next year.

Random Zennnnnnnnnnnnnnn

2009-07-14T15:43:00.000-07:00

The books of Zentangle designs are almost complete. Here are a few random peeks into the world of zen design by students.

Head For The Hills

2009-07-14T14:33:00.000-07:00

What a fun project. These landscapes started with small pieces of cardboard dipped in black acrylic paint and used to stamp lines on the white paper surface. The lines were to create layers of atmosphere that we see when looking out across the landscape to the hills and mountains and then the setting or rising sun. The next step to do was the "wet into wet" application of watercolor. Using plain water in one area at a time that was applied with a

brush, we then laid down color on the watery surface. We used salt to get some interesting effects. Salt when sprinkled on wet watercolor causes a chemical reaction and pushes the pigment in the water away from the salt. This causes modeling in the paint that continues to morph until the project is dry. Lots of wonderful textures. A small sponge was used to dab on foliage and a different type of texture for our landscapes. When they were all done I was pleased to say they all turned out simply amazing. Take a look for yourself by clicking on any photo to enlarge it.

Aidan

Michaela

Michael

Mckenna

Maryann

Maria

Marcos

Luke

Katie

Jordan

John

Joey

Colin

Chris

Anthony

Andrew

Amanda

We've Got Character, Yes We Do!

2009-07-10T14:38:00.000-07:00

We certainly have character in our class. After brilliant planning, construction and finish work, we have some really fun and interesting 3 dimensional characters. This project took time, patience, problem solving, concentration and total creative focus. I can't tell you how much fun I had watching these projects come together. Great job once again artists!

Just click on a photo to enlarge.

McKenna

Becky

Michaela

Michael

Maria

Marcos

Luke

Katie

Jordan

John

Joey

Colin

Chris

Catrina

Anthony

Andrew

Amanda

Aidan

ART Show Go Go Go!

2009-07-09T14:43:00.000-07:00

Next Wednesday, July 15, this years summer school classes will be putting on a show of their art portfolio. Come out and see the wonderful work they have done.

In Gallery 7.1

Times as follows (25 min. sessions):

9:25 - 9:50 and 11:20 - 11:45

More Zen to Tangle With

2009-07-09T14:37:00.001-07:00

Katie

Michaela

Maria

Luke

Jordan

Joey

Chris

Amanda

We're Under Contruction

2009-07-09T14:01:00.000-07:00

We are well on our way to creating some very interesting characters. It is amazing what you can do with a plastic water bottle, newspaper, starch, paint, brushes and a Styrofoam ball. You will have to wait and see. We got a lot done, but have the very important finishing touches to complete before we can introduce you. We'll be done soon so check back! Thanks for stopping by.

Oh, Georgia on My Mind

2009-07-04T14:58:00.000-07:00

It was Friday, the end of the week and students were finishing up projects. A few were done and wanting to do more. So with Georgia O'Keeffe in mind we set out to draw a small section of a botanical illustration. Using a view finder that was 1" by 1" They looked through it to find the part they wanted to do. They then enlarged it to 10" by 10" keeping it proportionate. Once drawn they used colored pencils to finish. Very nice job. You are motivated students!

Michael

McKenna

Marcos

Katie

Joey

Colin

Catrina

Anthony

Chris

Michaela

Amanda

Luke

Maria

Happy 4th of July!

2009-07-04T14:31:00.000-07:00

Zen Zen Zennnnnntangles!!!!

2009-07-04T14:00:00.000-07:00

These are just one of many Zentangle designs done by students in class. The practice of drawing everyday is very important in the development of an artist. Being on the "Right Side of the Brain" is an important step to being creative. Many artist practice these exercises before starting an art session. It is meditation to clear the mind of everyday stuff that stops us from being creative.

Almost everyday we work on these. Learning new designs from books or just coming up with one on our own. This is an on going project that will come together as a book of designs. My hope is that everyone will keep drawing and keep those creative juices flowing long after summer school has ended. Take them with you on vacation, in the car, waiting around, just for fun and when there is nothing to do. All that is needed is 3 1/2" x 3 1/2" white paper, pencil, fine point marker and colored markers or pencils, which is optional. So enjoy being creative!!! You will be seeing more of these.

Joey

Andrew

Chris

Michaela

Michael

McKenna

Maryann

Maria

Marcos

Luke

Katie

Jordan

John

Catrina

Becky

Anthony

Amanda

Aidan

To Too Toucan

2009-07-03T16:58:00.000-07:00

This was a multi step project starting with a stylized Toucan on a branch rough draft drawing. The Toucan drawing was divided up with repeated patterns. From there the drawing was transferred to white construction paper and painted with watercolor. The next step was ink line work. That involved outlining first and then going into areas and creating patterns and designs. To protect the bright watercolor in the next step, we made a mask of the bird by cutting out the bird in our rough draft to put on top while we applied a spray acrylic. We used a blue spray and a yellow spray to create a greenish overall color for the background. Last, leaves were drawn on a lime green construction paper and painted on with green and yellow tempera paint to give the leaves texture. After cutting out the leaves they were glued on to create a very lush green rain forest where, our friend the Toucan, can live.

This took many steps, but boy it was worth it! This was made for framing. What a talented group of artists.

These photos do not do this project justice. You will just have to see them in person at our "Summer School Art Exhibit", Wednesday, July 15. More information to come.

Catrina

John

Andrew

Michaela

Michael

McKenna

Maryann

Maria

Marcos

Luke

Jordan

Katie

Joey

Becky

Anthony

Amanda

Aidan

Things To Remember To Bring In For Next Monday, 7/6

2009-07-01T21:17:00.000-07:00

Next week we will be starting on a 3 dimensional project and the students need to bring in the following from home:

*20 oz. ( or close) empty soda or water plastic bottle (required for project)

Newspaper for paper mache

Empty paper towel and/or toilet paper rolls

Optional items:

We will be making people/characters. You may bring in anything you might think of that you would like to add for hair or clothes (string, yarn, old fabric, etc.). I will have a number of things for the students to add to there characters, so don't stress. Please don't go out and buy anything.

Thanks,

Mrs. Dewberry

Banyan Oh Banyan

2009-07-01T14:59:00.000-07:00

Students learned about the Banyan Tree and it's many trunks and roots. They drew and painted the tree with black tempra paint to create a wonderful negative space surrounding the tree to color with oil pastels. This makes the negative area the stronger area of interest. The tree and it's branches works as a way to divide the space. It is just amazing how different they look. They all have their own style. Absolutely fantastic work!

John

Andrew

Michael

Michaela

McKenna

Maryann

Maria

Marcos

Luke

Katie

Jordan

Joey

Catrina

Becky

Anthony

Amanda

Aidan

Blooming Van Gogh

2009-06-28T19:40:00.001-07:00

In this project the students used the work of Vincent VanGogh, "Sunflowers" as a starting point to study shape. They drew on black construction paper with pencil and then went over the lines with white glue creating strong lines between shapes. When the glue dried they applied Ambrite chalk pastels to the black paper and blended softly with a tissue. Just look at the results. Great job everyone.

Maria

Christopher

Amanda

Joey

Katie

Michaela

Jordan

Michael

McKenna

Maryann

Marcos

John

Catrina

Anthony

Andrew

Aidan

Becky

Letters and Numbers Gone Wild

2009-06-28T18:57:00.000-07:00

Chris

Andrew

Becky

Michaela

Maria

Joey

Amanda

Katie

Jordan

McKenna

Maryann

John

Catrina

Anthony

Michael

Aidan

Marcos