Students will learn about the life and work of artist Stephen Wiltshire. Using his incredibly detailed drawings of buildings and cityscapes, students will create a mini architectural drawing that they will then transfer onto foil.
We begin by diving into the fascinating art of CJ Hendry. Hendry expresses having no formal art training and considers herself “not very creative.” Yet she’s a dedicated, innovative artist whose works are primarily hyper-realistic, large scale pencil drawings of (mostly) luxury objects that sometimes take 200 hours to complete. Working with pencil on paper her pieces are achieved through layers of what she refers to as scribbles. Watching her work (you can see some fun videos of her at work here: https://youtu.be/KB8vc9M4QWs and https://youtu.be/KixMpzhMS-o) students become awe-struck by the way her tireless pencil strokes become such lifelike, more-than-photographic representations of real-life objects. They wonder aloud how she does it, exclaiming that they would love to draw like Hendry. I tell them that this unit will give them a foundation for getting there.
Students will practice a variety of painting techniques (including color mixing and brush effects) for acrylic painting, practicing these for various effects. Students will then choose a nature postcard to use as a reference for their own painting. Students will eventually create at least two different paintings in acrylic of two different nature scenes, trying to use the techniques learned to recreate specific textures and effects.
Observing the distorted gestural figure sculptures of Alberto Giacometti (1901-1966), as well as the elongated, rhythmic figure paintings by Ernie Barnes (1938-2009) that both emphasize and exaggerate long limbs, students will create similarly distorted, gestural sculptures primarily out of wire.
Students discovered the work of Joan Miró (1893-1983), a modern artist who blended thoughtful, “high art” concepts with spontaneous, playful designs that captured the imagination and challenged then-current notions of what constituted “good” art. A Miró tableau employed a muted, sparsely colored background with childlike doodles, geometric shapes and blocks of mostly primary color as foreground.
Guided by a similar sense of play, whimsy and surprise, students reproduced similarly styled, playful designs of their own.