Lesson: Cubist Contour Still Life

Grade Level: High School - Art I/Beginning Art

Overview:

The students will learn about still life and cubism in this lesson. They will each bring in an object for the teacher to assemble one still life for the center of the room. The students will sit in a circle around the still life. They will have a designated amount of time to draw in the contour lines of the still life from that angle. They when time is up they must move four seats to the right and begin drawing from a new angle. This will be repeated 5 times for 5 different drawings. From there the students will use the multiple angles of the drawing in a collage like a cubist artwork in which fractures the picture plane into multiple angles. They will then choose an appropriate limited color palette to complete the artwork.

Objectives:

The student will be able to…
Knowledge

• Identify styles and techniques used in Cubist artwork
• Use 5 different views of the still life in the drawings

Skill

• Draw 5 still life contour drawings from the class still life
• Construct a cubist composition of multiple sides using all 5 contour drawings
• Compose a unified negative space to accompany the contour drawings

Value

• Discuss their thoughts and opinions on the Cubist style
• Select their own object to bring in and add to the class still life
• Choose a color palette for their composition (complementary, analogous, etc.)

• Standard 1: Student Choice and Vision - Students' emerging interests are at the core of visual literacy and an arts curriculum that promotes voice and ownership in learning.
• Standard 2: Critical and Creative Thinking – Students coordinate artistic processes to imagine, create, realize and refine ideas in both conventional and innovative ways.
• Standard 3: Authentic Application and Collaboration - Students engage in artistic production individually and collaboratively to address genuine local and global community needs

Vocabulary:

• Cubism
• Pablo Picasso
• Contour Line
• Drawing
• Collage
• Juxtaposition
• Still Life
• Planes
• Fractured
• Planes
• Complementary
• Analogous
• Tertiary
• Monochrome
• Primary
• Secondary

Materials:

• Objects for still life
• Water color paper
• Pencils
• Scissors
• Glue
• Water colors
• Paint brushes

Teaching Instructions:

1. Prior to the lesson the students are asked to each bring in an object for a still life.
2. Introduction: "Who knows who Pablo Picasso is?" "What is he known for?" "Did you know he began training as an artist at the age of 7?"
3. Show examples of his early works. "In the early years, he painted in a realistic manner. As he got older his style changes as he experimented with various types of media and techniques."
4. Show examples of his cubism: Portrait of Daniel-Henry Kahnweiler, Bread and Fruit Dish on a Table, and Still Life with Chair Caning.
5. "Cubism is a style of painting Picasso developed with artist, Georges Braque using monochrome colors. He took apart objects and looked at them in terms of their shapes, fracturing the planes into sections."
6. Ask students, "What objects do you see in these paintings?" "How has be broken up those objects?" "What colors did he choose?"
7. Transition, "Now lets look at Picasso's line drawings.
8. Show students a few examples of his line drawings.
9. Ask students, "What do you notice about these drawings?"
10. Explain that these are contour line drawings because the shape is what the artist is focusing on, not the shading or shadows.
11. Instructions: "You will pick a seat around the still life, and take your 5 pieces of water color paper, a pencil, and an eraser with you. I want you to draw a portion of the still life that you see from the seat you are at. Focus on completing a contour drawing. I will give you 10 minutes to make the drawing. When the time is up, I will ask you to rotate four seats to your right, and take a seat. You will begin on the next piece of paper, a contour drawing from this angle. In the end you will have five drawings of the still life from 5 different angles."
12. "It is important that you only focus on the contour lines, no shading."
13. By the end of class the students will have their 5 contour drawings completed.
14. The students will cut out each of their contour drawings how they please along the lines.
15. After all of the objects are cut out the students will arrange them on their sixth piece of paper in a composition showing the fractured planes of the objects.
16. The students will glue down the pieces when they have decided on a composition.
17. They will then choose a color palette to color their collaged contour drawing.
18. Remind students of the color wheel.
19. Show the color wheel, and ask students, "What are the primary colors, what are the secondary colors, what are the tertiary colors, what is monochromatic, what is analogous, what is complementary?"
20. Tell students, "Choose one of these types of color palettes to paint your collage.
21. The students will begin to paint in their drawing with the desired color palette.
22. Tell students, "Keep in mind the negative space on the paper. What could you do with the negative space to make it look like part of the painting?"
23. Closure: The students will hang their paintings on the wall for a class critique. Each student will talk about the successes and troubles with the project and process. They will also say what they could add or remove or do different to make their project better.

Extensions/Modifications:

• For students who may need extra assistance I can allow them to focus on one object in the still life each time they rotate seats. I can have a printout of one of Picasso's contour drawings so they can refer to it to remind them to only draw the lines. When choosing a color palette, I will show the student what they look like together and have them pick which one they want to use.
• For advanced students, they can add other materials to their collage, such as printed papers, fabrics, etc and explain that Picasso played around with collage frequently experimenting with other objects. The students must have a specific choice for using such materials and they should complement the composition.

Resources:

Images:

• Portrait of Daniel-Henry Kahnweiler
• Bread and Fruit Dish on a Table
• Still Life with Chair Caning

Books:

• Picasso Line Drawings and Prints, by Pablo Picasso
• Projector and Computer: to show images

Lesson: 1, 2, 3 Point Perspective

Grade Level: High School - Drawing/Art II

Overview:

This lesson provides students the opportunity to develop the basic drawing knowledge and understanding of perspective. The students will be introduced to one, two, and three point perspective and learn the characteristics of each type of perspective. This technique is the foundation for realistic drawing and drafting. It is used across many professional careers too. The students will have a chance to practice their skills using a worksheet in which they draw perspective boxes within a circle. This exercise will increase their understanding of perspective so they can apply it to their perspective project.

The students will have the choice of drawing their final project in one, two, or three point perspective. Once they have chosen which perspective they want to draw in, they will apply the skills they have developed on their Circle Worksheet to their final project. The students will draw as intricately as they wish various size boxes, some with overlap some not (imagine a 3-dimensional Tetris).

After they have completed the drawing they will add appropriate shading to their drawing. They can choose pencil or colored pencil for shading. The students will be introduced to light, and how it affects shades. They will apply this knowledge to their drawing, adding three tones of shading: light, light gray, dark gray, and black.

Objectives:

Objectives: The student will be able to…
Knowledge

• Distinguish the changes in value from the effect of one light source on the drawing.

Skill

• Show an understanding of 1, 2, and 3 point perspective by completing the 3 Perspective Circle Practice Worksheets.
• Illustrate a final perspective drawing accurately in the student's choice of 1, 2, or 3 point perspective.
• Construct 4 levels of shading in their perspective drawing in respect to the student's chosen direction of light.

Value

• Practice excellent craftsmanship by cleaning up any inconsistencies in their final artwork.

Ohio Department of Education Standards:

• Standard 3: Critical and Creative Thinking – Students coordinate artistic processes to imagine, create, realize and refine ideas in both conventional and innovative ways.

Vocabulary:

• 1 Point Perspective
• 2 Point Perspective
• 3 Point Perspective
• Direction of Light
• Shading
• Reflected Light
• Distort
• Vanishing point
• Horizon line
• Horizontal
• Vertical
• Secondary

• (27) Illustration board (8x10)
• (27) Drawing Pencil Set of 4 (2H, HB, 3B, 6B)
• (27) Rulers
• (27) Erasers
• Colored Pencils (optional)

Teaching Instructions:

1. Introduction – ask students, "What is perspective?" Assess students' prior knowledge of perspective. Ask students, "What is one-point perspective?" "Two-point?" and "Three-point?"
2. Ask students, "Where do we see perspective in our everyday lives?"
3. Ask students, "What type of professionals use perspective?"
4. Show students web sites of examples of one, two, and three point perspective. Point out where the vanishing points are. Ask students to point out where vanishing points are too.
5. Show M. C. Escher images. Point out where the vanishing points are, and show students how Escher distorted perspective and also applied perspective to realistic and abstract objects. Ask students to identify what type of perspective Escher is using in various examples.
6. Introduce Perspective Circle Worksheet to students.
7. Read instructions as a class for each.
8. One-point perspective: If you hold a box in front of you it is in one point perspective. This means all lines appear to converge at one point on the horizon. (Draw a one-point box on the board).
9. Two-point perspective: Turn the box so that you are looking at the edge of the box. The two sides appear to converge in opposite directions, or to two points on the horizon. (Draw a two-point box on the board).
10. Three-point perspective: Look down on or up at the box now. The lines appear to converge at three different points. (Draw a three-point box on the board).
11. Have students start with Two-Point perspective, then One-Point, then finish with Three-Point worksheet.
12. Demonstrate to the class how to draw in the first box for each worksheet.
13. Tell students, "The horizontal line represents the horizon line." Ask students, "Who can tell me what the horizon line is?"
14. Tell students the purpose of the circle. "Whenever you draw things in perspective, you will find it helpful to imagine a circle, and to draw within the circle. If you draw things outside this circle they appear distorted and don't seem real."
15. Demonstrate a distorted box outside the circle to explain.
16. Tell students some of the common errors when drawing boxes in perspective: "Vanishing points should appear behind the box. Parallel lines should go to the same vanishing point. Vertical lines should be vertical, never slanted. Horizon line always is horizontal."
17. Have students begin two-point worksheet.
18. Have students begin one-point worksheet.
19. Have students begin three-point worksheet.
20. Have students choose which perspective they feel most comfortable with to use for their final drawing project.
21. When students have completed the 3 worksheets, have them individually get the materials to begin the final drawing.
22. Assist with drawing in the vanishing points.
23. They may tape their drawings down to a large piece of scrap paper to extend their vanishing points off the page and to help when drawing.
24. The students will be drawing various size boxes in a well thought out composition similar to a 3-d version of Tetris. (Long boxes, short boxes, hollow boxes, solid boxes, intersecting boxes, overlapping boxes, etc.)
25. Once the majority of the students are almost through the line drawing, introduce shading.
26. "We are going to add shading to our drawings from one direct light source. You can choose to stay with pencil, or choose colored pencil."
27. Explain to students, "We see everything because of a light source reflects off the surface of something. In this case we are using one imaginary ray of light reflecting off of multiple boxes."
28. "The light produces various tones on the surface of something. The closer to the direct light an object is the light the tone; the farther from the light an object is, the darker it is."
29. Ask students, "If my light source is coming from the top, what would my lightest and darkest areas be?"
30. Ask students, "If my light source is coming from the left, what would my lightest and darkest areas be?"
31. To simplify this idea I want you to use just 4 shades: light, light gray, dark gray, and black. If you are using colors, apply this concept to colors.
32. You can apply shading in many ways to incorporate a type of style to a drawing: solid shading, dots, and lines, cross hatching.
33. Tell the students, "Once you have your drawings completed, you can begin shading them in."
34. "If you want to practice first on your worksheets you can do so."
35. Walk the room continuously to observe the progress students are making and call students' attention to areas that are inaccurate and ask them what needs corrected.
36. Challenge students who are grasping the concept to add realistic or abstract elements like Escher does, and see how those objects relate to the space and perspective.
37. Remind students to refer to the rubric while they are working to make sure their project aligns to the objectives of the project.
38. At the end of the project students will display their work for a critique where they can explain the challenges, their likes and dislikes, etc. Have students point out where the vanishing points are in each others work.
39. Students will turn in their final drawings for grading."

Extensions/Modifications:

• Students can add realistic or abstract elements within their perspective drawing.
• Students can practice the various types of perspective in Adobe Illustrator to render an object.

Resources:

Book:

• Hanks, K., & Belliston, L. (1990). Rapid viz: A new method for the rapid visualization of ideas. Menlo Park, CA: Crisp Publications, Inc.

Web Sites:

• One Point Perspective: http://www.boostinspiration.com/photography/one-point-perspective-black-and-white-photography/
• Two Point Perspective: http://www.flickr.com/groups/1261090@N24/
• Three Point Perspective: http://www.flickr.com/search/?q=3+point+perspective&f=hp
• M.C. Escher: http://www.google.com/search?q=m.+c.+escher+perspective&hl=en&rls=com.microsoft:en-us:IE-SearchBox&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=6_4_T4LcNYH1ggf32YGGCA&ved=0CCkQsAQ&biw=1024&bih=571

Projector and Computer: to show websites and images

Lesson - Modern Sculpture with Hose

Grade Level: Art I/Studio Art/3-D/Sculpture

Overview:

The students will use thick wire or a metal coat hanger to create a form that demonstrates movement. The will cover the form with hosiery to make it a solid form. From there, the students will choose at least one more element and principle of art and design to add to the exterior of the sculpture. They will attached the form to a base with glue, and then choose a color to paint the sculpture. The students will keep in mind the elements and principles when they color the sculpture. They can consider a texture, value, or pattern to the form.

Objectives:

The student will be able to…
Knowledge:

• Use excellent craftsmanship by thoroughly painting, showing no glue, no hose, no wire and no wood through his/her modern sculpture.
• Illustrate 2-4 thumbnail sketches of ideas with color for his/her modern sculpture.

Skill:

• Display evidence of at least one other element & principle of art.
• Arrange the wire to show a clear evidence of shape/form in his/her sculpture.

Value:

• Verify his/her artistic choices by completing the personal reflection worksheet.
• Identify 3 images of modern sculpture chosen by student and print them out for class discussion.

Ohio Department of Education Standards:

• Standard 1: Student Choice and Vision - Students’ emerging interests are at the core of visual literacy and an arts curriculum that promotes voice and ownership in learning.
• Standard 2: Critical and Creative Thinking – Students coordinate artistic processes to imagine, create, realize and refine ideas in both conventional and innovative ways.
• Standard 3: Authentic Application and Collaboration - Students engage in artistic production individually and collaboratively to address genuine local and global community needs.

Vocabulary:

• Line
• Shape/form
• Color
• Value
• Texture
• Space/perspective
• Pattern
• Rhythm/movement
• Proportion/scale
• Balance
• Unity
• Emphasis
• Abstract
• Freeform
• Henry Moore
• Modernism

Materials:

• Thick wire or wire coat hanger
• Block of wood for base
• Knee high hose
• Acrylic paint
• Wire cutter
• Nail and hammer
• Scissors
• Hot glue gun
• Various materials for texture

Instruction:

1. Have overhead projector ready with connection to computer to show modern sculpture.
2. Have wood blocks pre-drilled with 2 holes per block.
3. Students will be seated in their assigned seats
4. Have two samples of final projects available.
5. Have rubric printed for students before they begin so they know what they will be graded on.
6. Remind students of procedures and classroom rules to make the classroom rule smoothly and effectively.
7. Introduction: Discuss modernism, show Henry Moore sculpture, and discuss the elements and principles of art in the work.
8. Discussion of what modernism is. Ask students, “Who can tell me what the work modern means?” Rejecting realism, make new, work that experiments with form and draws attention to the processes and materials.
9. Transition: “Let’s look at modernism in sculpture.” Show Henry Moore work.
10. Discussion of what makes his work modern.
11. Discussion of elements and principles of art in modern sculpture.
12. Ask students, “What elements and principles of art do you see in his sculptures?”
13. Transition: “Our next project is going to be inspired by modern sculpture.”
14. Homework: “Do some additional research of modern architecture for homework, and bring in 3 images that you like, and we will discuss them as a class. Be sure you identify the title and the artist for each.”
15. “We will use these 3 examples as well as your own creativity to create modern sculptures.”
16. When students bring in examples, lead a discussion with the class on what elements and principles of art are evident in the work, and why they liked these particular examples.
17. Transition: “I will go over a demonstration of how we will create the modern sculptures.”
18. Go over materials the class will use.
19. Have pre-cut with 2 holes to use as a base for the sculpture. Use hammer and nail to create one or two holes in the block of wood.
20. “First you will use wire cutters and pliers to cut off the hook end of a wire hanger. Make sure you bend the wire to straighten it out a little bit before starting the form.”
21. “Once you have the hook cut off and straightened, put the ends of the wire into the holes in the wood.”
22. “Come see me for the next step, which is gluing the wire to the base.”
23. “Once the wire is set up, you may begin bending and twisting the hanger to achieve the desired shape.”
24. “Like modern sculpture, shape and form are at the forefront of the design. Make sure you keep this at the forefront of your sculpture.”
25. “Once you have the form, we will need to give it a surface. Pull the hose over the top of the wire, then down over the wire form, and over the wooden block.”
26. “You will cut the extra hose from the bottom of the wooden block, and hot glue the hose underneath the base.”
27. “You need to be under my supervision during this step.”
28. “When you have the shape and form complete, this is where you can start to get even more create. We will paint the surface with acrylic paint.”
29. “You will need to incorporate at least one more element and principle of art to your sculpture.”
30. “What could you do to the surface to incorporate more elements and principles of art?”
31. Apply paint like Jackson Pollock, add texture with various materials like string, beads, sand, gesso, etc, apply value to the color you paint the sculpture, add pattern, rhythm.
32. “Do you have any questions about the process?”
33. Transition: “Before you get started on your sculpture, you will use your 3 examples and your own creativity to sketch 2-4 thumbnails of your ideas for your sculpture. Make them big enough that you can add color and detail.”
34. “When you have the thumbnails completed come see me so you get credit and I will approve them so you can start the sculpture.”
35. Students will work on project.
36. Closure: When the students are almost completed with their project, introduce the Reflection Worksheet.
37. “When you are done with your sculpture, get a Reflection Worksheet from me to discuss your sculpture.”

Formal Assessment/Evaluation of Objectives:

• The student’s final sculpture will be their summative assessment that will be graded with a rubric.
• The student’s will be evaluated during the project at checkpoints to make sure they are on track, and this will be the students’ formative assessment.

Extensions/Curricular Connections:

• Advanced students can create multiple sculptures showing transformation (abstract to realistic, size/scale, etc).
• Students can apply various objects to the sculpture such as beads, string, and anything else to make their sculpture have texture or a collage quality.
• To simplify the assignment, the teacher will glue the wire into the base for the student.

Resources:

Books:

• Read, Herbert. Modern Sculpture: A Concise History.
• Elsen, Albert E. Origins of Modern Sculpture: Pioneers and Premises

Web Sites:

• Henry Moore, http://www.henrymoore.com/art.shtml
• More artists, http://www.modernsculpture.com/sculpture.htm

Projector and Computer: to show websites, images, and artists

Lesson - Critique: Ads, Art, and Females

Grade Level: High School - Graphic Design

Overview:

In our day-to-day lives we see advertisements. Some simply promote the product, but others try another tactic by "selling" the product to consumers using idealistic and desirable fantasies. One form of this is the socially damaging stereotyping of females in advertisements. In this lesson, students will begin by looking at, analyzing, discussing, and sharing some of these types of work. They will first watch an introductory video from PBS called, Consuming Images. They will then look at various famous works of art in which the female form is generalized, stereotyped, or used as an object. They will then take what they have learned and find more current instances in advertising in which this idealism is evident. They will critique these works, and pull apart the messages that the advertisement is trying to say. After they have critiqued the famous works of art and the advertisements, the students will choose one ad that he or she has found an alternative way to advertise the product. The class will regroup once the revised ads are completed to compare and contrast the old and new ad.

Objectives:

The student will be able to…
Knowledge

• Reconstruct a new design concept that avoids the simplifying and stereotyping of people and the values that were portrayed in the original.
• Categorize his/her 3 ads into the given groups on the board.
• Interpret the stereotypes and simplifications of females in the class critique.

Skill

• Show the product in the redesigned advertisement.
• Show the original slogan and fine print in the redesigned advertisement.
• Accurately create an 8"x10" ad.
• Prepare a final ad with all printers' markers.
• Prepare a final ad with 1/8" bleed.
• Identify 300 dpi images and use those images in the redesigned ad.
• Reproduces a new design concept in the appropriate Create Suite program suitable for the new design.
• Present his/her redesigned and original ad to the class.

Value

• Discuss the stereotypes and/or simplifications of females in his/her original advertisement.
• Discuss the choices made in the redesigned advertisement that avoid the stereotypes and/or simplifications of the female.
• Practice excellent craftsmanship by using 1/8" bleed, 300 dpi images, and all printers' marks.

 Ohio Department of Education Standards:

• Standard 1: Student Choice and Vision - Students' emerging interests are at the core of visual literacy and an arts curriculum that promotes voice and ownership in learning.
• Standard 2: Critical and Creative Thinking – Students coordinate artistic processes to imagine, create, realize and refine ideas in both conventional and innovative ways.
• Standard 3: Authentic Application and Collaboration - Students engage in artistic production individually and collaboratively to address genuine local and global community needs.

Vocabulary:

• Advertisement
• Feminism
• Idealized
• Stereotyped
• Simplified

Materials:

• Computers with Creative Suite, Photoshop, Open Source Photo editing software
• Assortment of magazines, newspapers, ads, etc.

Teaching Instructions: 

1. Introduction: "I am going to first show you all a video. Make mental notes or write notes of what you find surprising or interesting."
2. Show the video, Consuming Images. 
3. After viewing the video the students will begin sharing what they found surprising or interesting with the class. The teacher will make a list on the board of their reactions. The teacher can add to the list as well.
4. Explain how, "advertisements are created and that they are not snapshots of what the people really look like."
5. Homework: For a homework assignment have students collect and bring in at least 3 advertisements showing one female selling a product. They can be torn out or printed from the Internet. Indicate the name of the publication and the type of publication it is (Seventeen: a magazine for teenage girls).
6. "Let's look at works from various artists like: Vincent can Gogh, Salvador Dali, Pablo Picasso, Leonardo da Vinci, and more and see if you can find anything in common." "Direct your analysis towards things that you find similar between these artworks and the images that you brought in of females in magazines."
7. Ask students, "What do you see in these images?" "What is similar/different from what we saw in the video?"
8. Transition: "Now that we have an understanding of how to interpret the artwork, let's try characterizing the examples you have brought in. To begin I will write categories on the board, and you will bring up your examples and use a magnet to place your under the category you think it belongs."
9. Categories for the board: (classic beauty, wholesome/sweet, dreamy/whimsical, seductive, sporty/athletic, self-confidence, controversial, domestic/motherly, friendly, and miscellaneous).
10. Once the students have categorized their ads, first ask then to do a walk through to view all of the ads and look at how they have been categorized.
11. Ask students, "Do you see any the you feel belong somewhere else?" "Do you think there needs to be another category, or does a categories title need to be change." "Are there any in the miscellaneous that you can place in a category?" "Are there more ads in certain categories than in others?" "Which ones, and why?"
12. Conclude this portion of the lesson by asking the students, "What messages and meanings do you think these advertisements in the major categories are trying to deliver?"
13. In conclusions of the section tell students, "These types of advertisements carry messages and meanings about who we think we want to be, and are selling dreams more than selling the product for what it is."
14. Transition: "Now that you all have deconstructed these stereotypes in advertisements, I want you to become the advertisers for these products and use what you have learned to recreate an advertisement that avoids these stereotypes."
15. Ask students, "What might you, the advertising director, do to avoid simplifying and stereotyping people and the values portrayed in the ad?"
16. "Your project is to be the advertising director and redesign one of the ads you brought in, but avoiding the simplifying and stereotyping of people and the values portray in the ad? Try to think of another way to deliver the message to the audience."
17. The teacher will go over the objectives for the assignment:
18. "We will use the Creative Suite to create an 8"x10" magazine ad using the tools we have learned in class thus far."
19. "Show the product in the ad."
20. "Use the slogan that is in the ad, but redesign the concept."
21. "Retype the fine print."
22. "You must use 300 dpi images or above."
23. "Have a 1/8" bleed."
24. "The final printout must have ALL printer marks."
25. "Along with the final printout, you must present your redesign to the class and explain your process and how your redesign ad delivers the message to the audience without using stereotypes or simplification of the person."
26. Independent practice: The students will begin by choosing the ad they with to redesign.
27. They will then make 5 different concept sketches before working on the computer.
    Once approved, the student will begin rendering one final concept on the computer using the Creative Suite.
28. The students will prepare their file for print by exporting the file as a .PDF applying all printers marks, making sure they have used only 300 dpi images (from the internet or original photos), and printing out the .PDF file showing printers marks.
29. The students will present their ad to the class and compare and contrast it to the original ad explaining what stereotypes or simplifications are evident in the original and how they removed those stereotypes or simplification in their redesign.

Extensions/Modifications:

• Advanced students can examine other stereotypes in advertising such as males, teenagers, elders, homosexuals, etc.
• Advanced students can create public service campaigns on a chosen stereotype and create an ad campaign.
• To simplify the assignment, the students can hand draw the advertisements and either paint or color it in.

Resources:

Video:

• Consuming Images, The Public Mind with Bill Moyers, PBS
• http://gailpellettproductions.com/consuming-images/

Web Sites:

• 10 Paintings on Women Immortalized by Famous Artists:
• http://www.culturazzi.org/art/10-paintings-on-women-immortalised-by-famous-artists

Projector and Computer: to show websites and images

Welcome to DeaArtEd. This blog is intended to collect a variety of what I believe are effective and best practice art lessons either posted by me, or found online. Enjoy!