Fractured Chairs: Exploring Distortion
(High School Art Lesson)
Overview of the Lesson The lesson introduces and explores the concept of distortion and abstraction as a form of expression.
Big Idea: Artists shape their artistic investigations, following or breaking established conventions, in pursuit of images that represent their unique view of the world.
Goals. To demonstrate:
o understanding of the characteristics of distortion as a technique that involves exaggeration and a twisting of the image for a specific purpose.
o knowledge of David Hockney and his unique ideas about time, viewpoint, and multiple images.
o understanding that objects can be symbols for self (chair paintings by Van God and Gauguin) and comparison with the chair artworks created by David Hockney.
Objectives of the lesson: The learner will
1) Identify and describe the characteristics of abstraction and distortion (Artistic Perception)
2) Demonstrate increased knowledge of technical skills in observational drawing
(Creative Expression)
3) Create an artwork that shows distortion and that gives a feeling of movement
(Creative Expression)
4) Discuss the purposes of art in the works of selected artists who abstracted and/or distorted
their images (Historical and Cultural Context)
5) Explain the intent of a personal work of art and draw possible parallels between it and the
work of a recognized artist (Aesthetic Valuing)
6) Establish criteria to use in selecting works of art for a specific type of art exhibition
(Connections/Relationships/Applications)
Big Idea: Artists shape their artistic investigations, following or breaking established conventions, in pursuit of images that represent their unique view of the world.
Goals. To demonstrate:
o understanding of the characteristics of distortion as a technique that involves exaggeration and a twisting of the image for a specific purpose.
o knowledge of David Hockney and his unique ideas about time, viewpoint, and multiple images.
o understanding that objects can be symbols for self (chair paintings by Van God and Gauguin) and comparison with the chair artworks created by David Hockney.
Objectives of the lesson: The learner will
1) Identify and describe the characteristics of abstraction and distortion (Artistic Perception)
2) Demonstrate increased knowledge of technical skills in observational drawing
(Creative Expression)
3) Create an artwork that shows distortion and that gives a feeling of movement
(Creative Expression)
4) Discuss the purposes of art in the works of selected artists who abstracted and/or distorted
their images (Historical and Cultural Context)
5) Explain the intent of a personal work of art and draw possible parallels between it and the
work of a recognized artist (Aesthetic Valuing)
6) Establish criteria to use in selecting works of art for a specific type of art exhibition
(Connections/Relationships/Applications)
Vocabulary: distort (distortion), abstract (abstraction), viewpoint, rhythm, balance, movement, unity, craftsmanship. Review: proportion, overlap, placement, contours, negative space, observational drawing.
Visuals: Art prints, books, e-images showing artists' interpretation of chairs (Van Gogh, Gauguin, Hockney). If possible, as a culminating activity, show the video Behind the Scenes showing David Hockney's "walk around a chair."
Visuals: Art prints, books, e-images showing artists' interpretation of chairs (Van Gogh, Gauguin, Hockney). If possible, as a culminating activity, show the video Behind the Scenes showing David Hockney's "walk around a chair."
Art Supplies:
scratch paper
pencils and erasers
large drawing paper:
1 piece 18” x 24”and the other 15” x 20”
marking pens & markers (black and colored)
scissors
glue or library paste
colored pencils and/or oil pastels/markers
newspapers
Teaching Procedure:
Suggested Teaching Strategies: Don’t tell students in the beginning of the lesson that they are going to be cutting up their drawings! Student examples are to be kept “secret” until the initial observational drawings are complete.
(Introduction) Today we’re going to do something you’ve never done before. But first we’re going to do some observational drawing. Carefully look at the chair or stool that has been placed near or on your table. Carefully draw the contours of the chair on large (15: x 20:) paper; the drawing should be so large that it touches or nearly touches the top, bottom, and maybe even the sides of your paper.
scratch paper
pencils and erasers
large drawing paper:
1 piece 18” x 24”and the other 15” x 20”
marking pens & markers (black and colored)
scissors
glue or library paste
colored pencils and/or oil pastels/markers
newspapers
Teaching Procedure:
Suggested Teaching Strategies: Don’t tell students in the beginning of the lesson that they are going to be cutting up their drawings! Student examples are to be kept “secret” until the initial observational drawings are complete.
(Introduction) Today we’re going to do something you’ve never done before. But first we’re going to do some observational drawing. Carefully look at the chair or stool that has been placed near or on your table. Carefully draw the contours of the chair on large (15: x 20:) paper; the drawing should be so large that it touches or nearly touches the top, bottom, and maybe even the sides of your paper.
When you are satisfied with your drawing, erase any lines that you don't need. Draw in details that you see. Color in the lines and shapes of your drawing. Select and use a palette of arbitrary colors of equal intensity. Use as many colors as you like. Do not put any color in the background or negatives spaces of your drawing.
(This next step comes as a surprise for the students):
At the beginning of the second part of the lesson: Before continuing, discuss the drawings, pointing out the realistic elements (proportion, appearance of depth). Then give directions for the next portion of the lesson:
Cut your drawing into at least six irregular pieces and place them on the larger (18" x 24") drawing paper. Put the drawing back together again like a jigsaw puzzle.
(This next step comes as a surprise for the students):
At the beginning of the second part of the lesson: Before continuing, discuss the drawings, pointing out the realistic elements (proportion, appearance of depth). Then give directions for the next portion of the lesson:
Cut your drawing into at least six irregular pieces and place them on the larger (18" x 24") drawing paper. Put the drawing back together again like a jigsaw puzzle.
Pull the pieces apart, arranging them with spaces in between.
You can twist some or all of the pieces. Plan how you will reconnect the pieces in the gaps you've left behind.
Paste the pieces in place. Use a marker to reconnect the cut and twisted parts.
Fill in the connecting parts so that they are the same color as the two parts or "ends" that they connect.
At the beginning of the next session:
Once all the parts are connected, Plan your background (the negative spaces). You want to create a colorful and energetic background -- one that complements your drawing and doesn't overwhelm it by being too bold or too busy.
Remember: the colors and/or patterns of the negative spaces should help to unify the parts of the artwork. You want to create unity or harmony when designing your negative spaces.
Display the artworks on a bulletin board and ask students to consider how distortion makes objects more interesting than their original careful and realistic drawings of a chair.
How does the finished artwork show movement and energy? What visual elements cause this sense of movement?
What "rules" or conventions of drawing did students break in converting their drawings into an image that is innovative and unique?
Ask students to identify what they like (and what they would change) about their distorted chair drawings.
During the classroom discussion, call on students to point out which drawings:
- use distortion effectively to create energy and impact;
- capture a sense of movement;
- use the negative space (background) to unify the drawing:
- show careful craftsmanship and skillful application of color.
Question for students to consider: How has distorting the image made the artwork more exciting and expressive? (Have students write their individual thoughts in a reflection about the art activity.) See the end of this sample lesson for excerpts from three students' journal entries.
If art reproductions (of chairs by Van Gogh, Gauguin, and/or Hockney) have been introduced earlier, ask students to identify the ways the artists' work was distorted or abstracted. What "rules" or conventions did he break in his composition? What unique view of the chair did each artist present? How did he accomplish this? Discuss the artist's purpose in selecting and arranging the objects in his artwork. (Van Gogh and Gauguin used their chair paintings as personal symbols; Hockney wanted to give a sense of moving through space and seeing the chair from different viewpoints and at different times).
Students need to know from the start what their artwork should include and how it's being scored. Usually the rubric is given out at the beginning of the lesson, but because of the "surprise" element, the Rubric for Fractured Chairs should be distributed when the initial drawings are "complete" and before the drawings are cut into pieces and rearranged.
How does the finished artwork show movement and energy? What visual elements cause this sense of movement?
What "rules" or conventions of drawing did students break in converting their drawings into an image that is innovative and unique?
Ask students to identify what they like (and what they would change) about their distorted chair drawings.
During the classroom discussion, call on students to point out which drawings:
- use distortion effectively to create energy and impact;
- capture a sense of movement;
- use the negative space (background) to unify the drawing:
- show careful craftsmanship and skillful application of color.
Question for students to consider: How has distorting the image made the artwork more exciting and expressive? (Have students write their individual thoughts in a reflection about the art activity.) See the end of this sample lesson for excerpts from three students' journal entries.
If art reproductions (of chairs by Van Gogh, Gauguin, and/or Hockney) have been introduced earlier, ask students to identify the ways the artists' work was distorted or abstracted. What "rules" or conventions did he break in his composition? What unique view of the chair did each artist present? How did he accomplish this? Discuss the artist's purpose in selecting and arranging the objects in his artwork. (Van Gogh and Gauguin used their chair paintings as personal symbols; Hockney wanted to give a sense of moving through space and seeing the chair from different viewpoints and at different times).
Students need to know from the start what their artwork should include and how it's being scored. Usually the rubric is given out at the beginning of the lesson, but because of the "surprise" element, the Rubric for Fractured Chairs should be distributed when the initial drawings are "complete" and before the drawings are cut into pieces and rearranged.
Evaluation of the Teaching Process (ETP) Ten questions to consider:
1. Were teaching procedures and demonstrations successful in leading students to fulfill
objectives?
2. How well did planning and teaching support student learning?
3. How well did students fulfill objectives?
4. How well did products in general fulfill expectations?’
5. How did the closure go? Were students able to answer questions and demonstrate
understanding of their work?
6. Do the students' journals (reflective writing) indicate thoughtful and substantive
understanding of the concepts?
7. Was there sufficient time to complete all parts of the lesson?
8. What are the recommendations for the next time the lesson is taught?
9. What might be a direction for a follow-up lesson or unit?
10. List some suggested modifications for the next time the lesson is taught.
1. Were teaching procedures and demonstrations successful in leading students to fulfill
objectives?
2. How well did planning and teaching support student learning?
3. How well did students fulfill objectives?
4. How well did products in general fulfill expectations?’
5. How did the closure go? Were students able to answer questions and demonstrate
understanding of their work?
6. Do the students' journals (reflective writing) indicate thoughtful and substantive
understanding of the concepts?
7. Was there sufficient time to complete all parts of the lesson?
8. What are the recommendations for the next time the lesson is taught?
9. What might be a direction for a follow-up lesson or unit?
10. List some suggested modifications for the next time the lesson is taught.
Selected Excerpts from Student Responses to Reflective Questions: How has distorting the image made the artwork more exciting and expressive?
1. At first, I didn't want to cut up my original drawing, but the final result was worth it -- and much more interesting than our first drawings. As our teacher suggested: if I wanted to have something that looked exactly like the stool, I could take a photograph of it. Because I used broken lines and arbitrary colors, my final drawing was very colorful and expressive. All the distorted drawings the students made were very colorful and exciting -- they seemed to move on the page. And each one was different and interesting in its own way. The drawings were unique in a way that the original drawings weren't.
1. At first, I didn't want to cut up my original drawing, but the final result was worth it -- and much more interesting than our first drawings. As our teacher suggested: if I wanted to have something that looked exactly like the stool, I could take a photograph of it. Because I used broken lines and arbitrary colors, my final drawing was very colorful and expressive. All the distorted drawings the students made were very colorful and exciting -- they seemed to move on the page. And each one was different and interesting in its own way. The drawings were unique in a way that the original drawings weren't.
2. I know I'm supposed to think my distorted stool drawing is more exciting -- and it is. But that's because a stool is a pretty boring subject in the first place. Just about anything we did would make the stool more interesting. But when it comes to other subject matter -- such as portraits -- I still prefer artwork that looks real.
Distorting a person's face (like the Cubists did) is interesting in a superficial way, but I think artists who paint realistically can express as much (or more) of a person's character and personality as an artist who purposefully distorts his images, and that can be just as exciting and expressive as a distorted portrait. (Original drawing of the stool at the left).
3. Creating an artwork that is super realistic is difficult to do, at least for a beginner, but going one step beyond and making an artwork that is unique is much more satisfying. Everyone's distorted stool was different, and every artwork was expressive and exciting. The colors and fractured shapes made the images shimmer and jump as if they were moving to a jazzy rhythm. After distorting my drawing of a stool -- and seeing the other students' artwork -- I have a much better idea why artists do that.
This lesson was originally developed and used as part of The Educationally Interpretive Exhibition: Rethinking the Display of Student Art (an exhibition and publication by the National Art Education Association). The purpose of the exhibition and the publication were to encourage the understanding of the relationships between thinking and the creation of art.
To view additional examples of student artwork by high school students, go to
the "Student Work" section of this site.