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Learning Goals:
Learning Goals:
Planning
I can explain the key principles of surrealism and apply them to my sculpture.
I can identify and discuss the work of Leonora Carrington and describe how it influences my own artistic choices.
I can design and build an armature that provides structure for my papier mache sculpture.
Creation
I can create realistic textures (at least 2) using papier mache techniques to enhance the visual and tactile qualities of my sculpture.
I can demonstrate proper papier mache application techniques, including layering and shaping.
Evaluation/Revision
I can describe my artistic process and explain the choices I made in creating my sculpture.
I can provide constructive feedback on my peers' sculptures using appropriate art vocabulary.
I can reflect on my own work and identify areas for improvement or further exploration.
TEKS
TEKS
(c)(1)(A) Consider concepts and ideas from direct observation, original sources, experiences, and imagination for original artwork.
(c)(1)(B) Identify and understand the elements of art, including line, shape, color, texture, form, space, and value, as the fundamentals of art in personal artwork.
(c)(2)(A) Use visual solutions to create original artwork by problem solving through direct observation, original sources, experiences, narrations, and imagination.
(c)(2)(F) Demonstrate effective use of art media and tools in drawing, painting, printmaking, sculpture, ceramics, fiber art, design, and digital art and media.
(c)(3)(A) Compare and contrast historical and contemporary styles while identifying general themes and trends(c)(4)(A) Interpret, evaluate, and justify artistic decisions in artwork by self, peers, and other artists such as that in museums, local galleries, art exhibits, and websites.
(c)(4)(B) Evaluate and analyze artwork using a verbal or written method of critique such as describing the artwork, analyzing the way it is organized, interpreting the artist's intention, and evaluating the success of the artwork.
In Level II, students might focus more on §117.303. (c)(2)(D) Create artwork using a selection of materials and tools while exploring personal interests, experiences, and imagination.
In Level III, §117.304. (c)(1)(D) Make judgments about the expressive properties such as content, meaning, message, and metaphor of artwork using art vocabulary accurately would be more emphasized.
In Level IV, §117.305. (c)(4)(D) Analyze, evaluate, and justify artwork and personal artwork using critical processes such as artistic intent, formal and contextual properties, and aesthetic qualities would be a key focus.
Vocabulary
Vocabulary
Papier mâché – in French, it means “chewed paper”. This versatile technique of molding paper into permanent shapes originated in China, was learned by the Europeans in the 18th century.
Armature - a framework around which a sculpture is built
Tactile texture - is a physical quality of a surface that can be felt by touching it. It's also known as actual texture.
sur·re·al
sur·re·al
/səˈrēəl/
adjective
having the qualities of surrealism; bizarre.
"a surreal mix of fact and fantasy"
What is Surrealism?
What is Surrealism?
-An Art Movement that started in the 1920's that wanted to release the creative potential of the unconscious mind.
Influenced by Dada and abstractism.
Often incorporates dream like imagery
Realist imagery presented in a distorted, unrealistic manner.
Artists: Salvador Dalí, René Magritte, Pablo Picasso, Frida Kahlo, Leonora Carrington
Inspiration Artist: Leonora Carrington
Inspiration Artist: Leonora Carrington
Leonora Carrington painted dreamlike scenes that made space for feminine rhetoric within the Surrealist movement.
The artist created her first Surrealist works amid the fervor and angst of interwar Europe. She fled the continent during World War II and settled in Mexico City, helping build a vibrant artistic community and allowing her practice to blossom---she incorporated regional myths and Catholic imagery into her visions of a fantastical, matriarchal universe.
What recurring themes or symbols can you identify in Carrington's work? What might these represent?
Discuss the role of animals and hybrid creatures in Carrington's art. What might these symbolize?
How does Carrington's work challenge the boundary between reality and imagination?
In what ways does Carrington's art explore the concept of identity and transformation?
Surreal Creature Inspiration:
Surreal Creature Inspiration:
Project Steps
Project Steps
Encyclopedia of Animals - You can search through groups of animals
You can search through animals
Visual Dictionary Online
Images of all kinds of stuff and how they are made
A Bug Directory with images of different types of bugs
Step 1: Brainstorm
Step 1: Brainstorm
Brainstorm in your sketchbook - unusual combinations of animals, plants and human made items. (There are some resources to the left)
Do you have any show up in your dreams? Did you have an imaginary pet or friend growing up?
Use your imagination and come up with at least 10 different ideas of at least 3 or more combinations. (At least 1 must be alive)
Then choose your top 2 ideas.
Quick sketch your 2 best ideas in your sketchbook (at least 4" x 4" each). When done, ask your classmates, friends or family members for their opinions and ideas...which one is more interesting? How would they alter them? Are they strange and unusual enough? Would you want to meet them in their natural habitat?
Take a picture of your sketchbook work (list of different combinations AND your 2 sketches) and submit it in Google Classroom Today.
Step 2: Reference Images
Step 2: Reference Images
Look on the internet for reference photos (of real things) covering all of the "parts" (animals/plants/items) you combined together.
You want to have images of animals in the actual positions you will use (ie: sitting, crawling, running, sleeping...)
Add the images to the Google Doc /Google Classroom assignment and turn in for a grade.
~Collections of Images that are 'Free Public Domain'
~Collections of Images that are 'Free Public Domain'
A public domain image is one that is free of known copyright around the world. Still be cautious; most competitions do not allow ANY work that is not totally of your own creation. Free domain images have their use, but they should be a springboard, not a crutch.
Free Image Search Engine (Searches many other sites at one time)
Free Public Domain Resources
Huge Collection of historical photos and prints
All kinds of maps throughout history
Strange & Unusual images/art from the museum
Collections from California's great libraries, archives, and museums.
Freely-usable images, great for sketchbook technique practice
Lots of images, make sure to toggle for royalty free
Step 3: Sketch out 2 Points of View
Step 3: Sketch out 2 Points of View
Now that you have chosen your creature combinations, you need to plan out all the little details.
Draw out your ideas, EXACTLY how you want your creature to look...
How big is it?
What do all of the legs/arms look like? Hands? Hooves?
What kind of textures will need to be made, and where? Scales, fur, slime, spines?
What colors are you going to use and where?
What position will your creature be in? Standing, running, flying, cowering, attacking?
Does it have a tail? Horns, antlers, wings?
What temperament does your creature have? Sad, angry, hungry, easily lead?
Use your full sketchbook page and draw out at least 2 views.
Plan out your colors and textures/finishes as well.
You will need to build from your sketch, so make sure you figure out what you want before you start. Once you are done with your armature, you can't really change it.
Once you are done, take a photo and submit in Google Classroom. If you have time, you may begin on your armature.
Step 4: Building an Armature
Step 4: Building an Armature
Today you will begin building your armature.
Only begin this stage if your sketch has been completed and turned in.
To the right, you will find a padlet full of armature examples, not all of the ideas will work for your sculpture, but they are there for ideas. You will need to be creative! You will use tape, chipboard, cardboard and newspaper.
Hints to keep in mind.
Do not compact the newspaper in the body, it gets heavy!
Make sure your sculpture's legs will hold the body up without collapsing.
Use several X's of tape to hold on arms/legs/heads etc.. rather than wrapping tape around the joint.
The papier mache glue doesn't stick to tape as well as paper, use just what you need.
Lots of tape will cause weird edges and bends on the surface of your sculpture
Characteristics such as ears, beaks or horns can be cut from chipboard and attached with tape. Small items such as small teeth, warts, or nostrils can be created out of papier mache later on in the process with paper towels/napkins dipped in the paste and sculpted onto the base....if you add them early, they will disappear under under the papier mache.
There should be NO movement of your armature (unless it should be moving in the final artwork)
When you are done with your Armature, take a photo and submit it for a major grade.
Step 5: Papier Mache Process
Step 5: Papier Mache Process
Dip strips of torn newspaper (not cut - cut edges do not blend as well) into the prepared paste, then pull the wet strips between two fingers to remove the excess paste. (This step is important to avoid having your sculpture become too wet.)
Lay dampened strips on the form, overlapping or extending over the piece next to it, and smoothing the edges as you cover the entire body with one layer. Everything on your mask/head, including ears, teeth, horns etc must be carefully wrapped with the papier mâché around them.
(The first layer is the hardest…stick with it!)
Cover your whole sculpture with 2-3 layers of papier mâché, allowing it to dry as much as possible between layers.. Smooth the surface before you leave it to dry each day!!!
Once you have created a strong shell in all areas of your sculpture with NO HOLES OR GAPS (and it has dried), add any last smaller chipboard features.
Add one last layer of papier mâché, making sure to use paper towels (covers up the newsprint and is more pliable) and smooth the paper down so that it is easier to paint later.
Finally it is time to use paper towels or napkins dipped into the paste to form low relief sculptural elements (lips, eyelids, warts, small teeth, etc…) of any small characteristics needed to finish off your mask/head.
Step 6: Painting or Finishing
Step 6: Painting or Finishing
Take a look at the other inspiration artists below, they finish their work in many different ways!
Once your sculpture is complete and all parts are COMPLETELY DRY, you may begin painting.
Use white acrylic paint/gesso to prime your sculpture. You do not need a thick layer to be effective, a thin coat is better.
Then use acrylic paint to complete your artwork, making sure to meet all requirements:
Full and solid coverage, including the underarms, under the tail, EVERYTHING
Full range of values from the lightest to the darkest of your colors
Realistic visual textures that make sense to the animal/object/plant it is painted on
When your sculpture is complete, take photos of 2 points of view of your work as well as at least 1 detail photo and submit all of them to Google Classroom.
**As an alternate option - you can add colored paper as a final layer instead of or as well as painting.
Papier Mache Inspiration Artists
Papier Mache Inspiration Artists
Rubric
Rubric
Use the Rubric (what I will be looking for when I grade your work) to make sure you will receive the most points on your grade.
Deep Thinking Questions
Deep Thinking Questions
Before the Lesson:
What do you know about surrealism? How does it differ from other art movements?
How can we define "reality" in art? What makes something "surreal"?
What emotions or ideas do you associate with surrealist art?
During the Lesson:
How does Leonora Carrington's work inspire you? What elements of her style do you find most intriguing?
In what ways can we combine realistic textures with unrealistic forms to create surreal effects?
How does the process of building an armature influence the final shape of your sculpture?
What challenges are you encountering while working with papier mache, and how are you overcoming them?
After the Lesson:
How did your initial concept evolve throughout the creation process?
In what ways does your sculpture reflect elements of surrealism?
How does the tactile nature of sculpture enhance the surreal qualities of your artwork?
If your creature could speak, what would it say? What story does it tell?
Critical Thinking and Analysis:
How does creating a 3D surreal creature differ from creating a 2D surreal painting or drawing?
In what ways does your sculpture challenge the viewer's perception of reality?
How might different viewers interpret your sculpture? Does this align with your intentions as the artist?
Cultural and Historical Context:
How does surrealism reflect or respond to the historical context in which it emerged?
In what ways is surrealism still relevant in contemporary art and society?
Personal Reflection:
How has this project changed your understanding of sculpture or surrealism?
What was the most surprising discovery you made during this project?
If you could create another surreal creature, what would you do differently?
Peer Critique:
What elements of your classmates' sculptures do you find most effective in creating a surreal effect?
How do the textures in your peers' work contribute to the overall impact of their sculptures?
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