LEARNING MODULE

PROGRAM OUTCOMES:

In pursuance of the above-stated mission, the objectives of the College are as follows:

In pursuance of the above-stated mission, the objectives of the College are as follows:
In pursuance of the above-stated mission, the objectives of the Bachelor of Elementary
Education are as follows:

1. acquire basic level literacy, communication, numeracy, critical thinking, learning and
ICT skills needed for lifelong learning;
2. demonstrate deep and principled understanding of the learning processes and the role of
the teacher in facilitating these processes in their students;
3. manifest a meaningful and comprehensive knowledge of the subject matter they will
teach;
4. cultivate direct experience in the field/classroom (e.g . classroom observations, teaching
assistance, practice teaching);
5. demonstrate and practice the professional and ethical requirements of the teaching
profession;
6. facilitate learning of diverse types of learners, in diverse types of environment, using a
wide range of teaching knowledge and skills; and
7. show creativity and innovative thinking of alternative teaching approaches and evaluate
the effectiveness of such approaches in improving student learning.

COURSE TITLE:TEACHING ARTS IN THE ELEMENTARY GRADES

COURSE DESCRIPTION: This course deals with the educational foundations of Arts as these
apply to teaching and learning in the elementary grades. Various teaching strategies and
assessment appropriate for each area shall be given emphases in the course.

COURSE OUTCOMES:

In this course, you should be able to:

1. develop art experiences that stimulate visual awareness, personal expression, self-
evaluation, and ease in using art media.
2. criticize presented artworks of famous artists;
3. compare own designed output through a most advanced product of arts;
4. utilize art media to covered with activities classified in order of difficulty: clay, collage,
crayon, drawing, masks, mobiles, mosaics, murals, painting, paper,stitchery, three-
dimensional art, and weaving. Other practical resources include tools and materials
necessary for a complete art program;
5. discuss the characteristics of a well-conducted art class and to ways for motivating and
evaluating student’s experiences with art;
6. label artworks produced by the students.
 Module 2

Introduction to Elements of Art

Introduction:

Line is a mark made using a drawing tool or brush. There are many types of lines: thick, thin,
horizontal, vertical, zigzag, diagonal, curly, curved, spiral, etc. and are often very expressive.
Lines are basic tools for artists—though some artists show their lines more than others. Some
lines in paintings are invisible—you don't actually see the dark mark of the line. But they are
there, shown in the way the artist arranges the objects in the painting.

Module Learning Outcomes:

In this module, you should be able to:

1. analyze types of lines used in various works of art to help students understand how artists
use line to convey movement and mood;
2. create an abstract line art piece based on an activity they enjoy to do or watch.;
3. aid the students in the important need for developing individual creativity.

Lesson 1

Line

I. Learning Outcomes:

In this lesson, you should be able to:

1. develop individual creativity through art experiences the abilities toward visual
awareness, personal expression,self-evaluation, and ease in using art media;
2. Identify and describe a variety of line types.

II. Pre – Assessment:

“Agree or disagree” / “I Already Knew That” / “Now I Know”

Instruction:Read the following questions, beside each question are boxes for you to
check whether youagree or disagree and if youalready knew it or you know it just
now.

I Already Now I
Questions Agree Disagre Knew That Know
e
1.Is line was the first visual element in an artwork?
2. Are diagonal lines look like they are falling or getting up?
3. Are zigzag lines give the feeling of excitement?
4. Is thin line expresses strength?
5.Are vertical lines suggest distance and calm?

Lesson Map:
 EXAMPLE

III. Core Content:

ENGAGE: (Starts with Verb + ing)

Activity 1 (Instruction)

EXPLORE:(Starts with Verb + ing)

Activity 2(Instruction)

Lines in art express different things. View the slideshow below and have students answer the
questions beneath each image:

Slideshow: Exploring Lines in Works of Art

EXPLAIN:(Starts with Verb + ing)

Activity 3 (Instruction)

Line is a mark made using a drawing tool or brush. There are many types of lines: thick, thin,
horizontal, vertical, zigzag, diagonal, curly, curved, spiral, etc. and are often very expressive.
Lines are basic tools for artists—though some artists show their lines more than others. Some
lines in paintings are invisible—you don't actually see the dark mark of the line. But they are
there, shown in the way the artist arranges the objects in the painting.

Line is the foundation of all drawing. It is the first and most versatile of the visual elements. Line
in an artwork can be used in many different ways. It can be used to suggest shape, pattern, form,
structure, growth, depth, distance, rhythm, movement and a range of emotions.

We have a psychological response to different types of lines:

 Curved lines suggest comfort and ease

 Horizontal lines suggest distance and calm
 Vertical lines suggest height and strength
 Jagged lines suggest turmoil and anxiety

The way we draw a line can convey different expressive qualities:

 Freehand lines can express the personal energy and mood of the artist
 Mechanical lines can express a rigid control
 Continuous lines can lead the eye in certain directions
 Broken lines can express the ephemeral or the insubstantial
 Thick lines can express strength
 Thin lines can express delicacy
 Line as Tone and Form

HENRY MOORE (1898-1986)

Sheep, 1972 (intaglio print on paper)

In 1972, while preparing for a major retrospective exhibition of his sculptures in

Florence, Henry Moore would relax by drawing the sheep in a field outside his studio. As a
sculptor, Moore was fascinated by the subtle variations in the cushioned forms of their woolly
fleeces and he recorded these observations in a sketchbook using a ballpoint pen. Some of these
images were later reworked as etchings like the one above.

The vocabulary of scribbled and hatched lines that Moore developed for these drawings is very
compatible with their subject. His swirling scribbles correspond perfectly to the bouncy texture
of a fleece. He gradually builds up the density of line to render the darker areas of tone and
reduces it to suggest the lighter. In the background of the work he uses hatched lines to draw the
row of trees and the gate but any inconsistency in their style is immediately concealed in a haze
of scribbles.

In this etching a singular style of line multi-tasks to express form, tone and texture with such
empathy for the subject that you almost feel you could pull on the end of a line to unravel the
entire drawing like a ball of wool.
 

Line as Texture

PETER DOIG (1959-)

The Architects Home In The Ravine, 1991 (oil on canvas, 200x275cm.)

'The Architects Home In The Ravine' is an enchanting painting by Peter Doig based on

photographs and childhood memories of Beaumont House, the home of the famous Canadian
architect, Eberhard Zeidler. This is a vast postmodern landscape that draws on many different
artistic influences and ideas. You can see its Canadian heritage in the art of Tom Thomson and
the Group of Seven. The painting is as much about surface as it is about depth, recalling the
woodland scenes of Paul Cézanne and Gustave Klimpt; it is as much about abstraction as it is
about representation, evoking both the dense dribble and spatter of a Jackson Pollock and the
isolation and emptiness of an Edward Hopper; and it is as much about the relationship between
man and his environment, with nature reclaiming its own habitat as the architecture is
menacingly encircled by the encroaching forest.

Detail of 'The Architects Home In The Ravine'

Viewed from a high eye-level, an impenetrable weave of frosted branches glisten with snow and
hang like a veil, obscuring the ice-cold building and its frozen pool. If an artist from an earlier
and more traditional era had painted this picture, he or she would have started with the distant
features of the background, building the image layer upon layer until they finished in the
foreground with the veil of branches. Doig, however, establishes this dense tracery of lines
earlier in the painting process and uses it as a device to pull your eye to the surface of the work.
He then begins to explore the expanse of that surface by painting between the branches to
develop a rich patchwork of color and texture that focuses on the abstract and expressive
qualities of the medium. 'The place is a kind of portal to possibilities in painting. The painting is
what it becomes, and when I start I don’t know what that will be. That’s what makes the process
so fascinating.' [1]

Line as Structure

ROBERT DELAUNEY (1885-1941)

Eiffel Tower, 1910 (oil on canvas)

Line can be used to generate the fundamental forces in the composition of an artwork. In Robert
Delaunay's image of the Eiffel Tower, one from a series of eleven painted between 1909-11
when the tower was the tallest man-made structure on the planet, the artist uses the rhythmic
lines of its structure to suggest its staggering power as it ascends into the skies. The contrasting
curves of the clouds double up as billowing dust as this colossal construction bursts through the
municipal buildings to become the global symbol of modernity at the onset of the Modernist age.
 Line as Movement

KATSUSHIKA HOKUSAI (c.1760-1849)

The Great Wave off Kanagawa, 1823–29 (woodblock print from '36 Views of Mount Fuji')

All the lines in Hokusai's woodcut sweep with tremendous force, rising to a crescendo on the
crest of the 'Great Wave'. The swell of each wave is reinforced by the contour lines that
describe the density of its wall, while the breaking surf claws the air to maintain its seismic
energy. The power of this movement is further amplified by the helpless boats, cast adrift on the
merciless sea. To heighten the drama, Hokusai freezes the action just at the critical point where
the 'Great Wave' breaks, threatening to engulf the distant peak of Mount Fuji.
Line As Emotion

PABLO PICASSO (1881-1973)

Weeping Woman, 1937 (oil on canvas)

Picasso's 'Weeping Woman' was the last of nine paintings and twenty seven drawings on the
tragic theme that was developed from 'Guernica', his vast monochromatic masterpiece of the
same year. It symbolized the grief and suffering of the innocent victims of Guernica, the Basque
town that was bombed by the German Luftwaffe and the Italian Fascist AviazioneLegionaria in
support of General Franco during the Spanish Civil War.

In 'Weeping Woman', Picasso combines a synthetic cubism with a stained glass like structure.
Jagged lines, fractured shapes and acid colors set the despairing tone of the work. The desolate
woman's tortured emotions are heightened by the artist's careful balance of bold lines,
exaggerated color and simplified drawing. Picasso uses strong dark lines to pull the fragmented
image together and to subdue the optical shock of opposite colors (red/green, yellow/purple,
blue/orange). Despite this, his heavily laden pigments can still generate enough chromatic
intensity to provoke a state of alarm. The woman's eyes are like shattered leadlights, pierced by
the fractured shards of the handkerchief; her chattering teeth gnaw convulsively on its cloth.
These combine in a pale aqueous blue - a dramatic contrast of monochrome against color. Her
coat is a cloak of thorns and all is sharp and angular in this visual definition of despair.

 
Line as Energy

REMBRANDT VAN RIJN (1606-1669)

Two women teaching a child to walk, c.1635-37 (red chalk on paper)

This sketch by Rembrandt is a masterful study in line done for the simple joy of the subject. To
be able to capture the sensitivity of this tender moment with such economy of means is not only
a remarkable testament to the power of line as an expressive force but also an illustration of
Rembrandt's outstanding drawing skills. Although it does not contain a great deal of detail, this is
a work of intense observation and energy. In a quick sketch that took less than a minute to
complete, Rembrandt manages to capture the unsteady balance, the emotional bond and the
generational relationship of the figures. He also achieves remarkable accuracy in the drawing of
the child's hat which has been recognized as a contemporary model designed to protect young
children from falls. In the hands of a great master like Rembrandt, a simple line sketch can
communicate more in a minute than the average artist can convey in a month.

 
Line as Form

ALEXANDER CALDER (1898-1976)

Edgar Varèse and Unknown Man, 1929-30 (wire sculpture)

Before Alexander Calder developed a reputation as one of the great abstract sculptors of the

20th century, he created figurative works with wire and pliers. He would bend, twist and crimp
wire to form three-dimensional  portraits of celebrities and friends that had all the vitality and
spontaneity of a line drawing in space. These works had an element of caricature about them but
they still retained a remarkable likeness to their subjects who often received them as tokens of
friendship. Calder would suspend these 'portraits' from twine which allowed them to rotate
slowly, revealing a surprising impression of volume for such limited means and demonstrating
that unique control of line that is so often seen in the drawings of sculptors.

 Line as Abstraction
 PABLO PICASSO (1881-1973)
Bull - plate 11, January 17 1946 (lithograph)

At the top of this page we said that line was the first visual element in an artwork. In Picasso's
'Bull' it is also the last. This drawing is the last in a series of eleven studies that lead you through
a process of abstraction, refining form, tone and texture to extract the essence of the 'Bull' in a
single line.

EXTEND: “Challenging Myself to Draw Using Lines”

Activity 4:

Instructions are enclosed the picture. You are given a space below to do the activity. Then
answer the questions that follow.
“Give it a shot”
 Questions:

1. What do you feel while doing the activity?

______________________________________________________________________________
______________________________________________________________________________
_____________________________________________________________________________.

2. How would you describe your drawing?

_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
3. What does your drawing remind you of?
EVALUATE: Experience Check

Activity 5:

Art Self-Evaluation-How well did you do?

I can list 3 things that I did well and things that I need to improve on my artwork.

1. I think I did 3 things well:

1.______________________________________________________________________
________________________________________________________________________
________________________________________________________________________
2.______________________________________________________________________
________________________________________________________________________
________________________________________________________________________
3.______________________________________________________________________
________________________________________________________________________
_______________________________________________________________________

2.Here is an idea for how I can do better:

_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
________________________________________________________________________
I can do this by:
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
3.This is what I learned from doing this activity:
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________

V. Post - Assessment:
IV. Topic Summary:

V. References:

Books:

From the Web:

-https://www.nga.gov/education/teachers/lessons-activities/elements-of-
art/line.html#:~:text=Line%20is%20a%20mark%20made,their%20lines%20more%20than
%20others.

-https://www.artyfactory.com/art_appreciation/visual-elements/line.html

--https://www.teacherspayteachers.com/Product/Elements-of-Art-Notes-and-Worksheets-301850

-http://thehelpfulartteacher.blogspot.com/2013/12/fun-with-one-point-perspective-boxes.html

-End-