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Surrealism

C on these Work Related see how to approach an art movement from our workshop.

H here are two essential components of the educational work: teaching thinking and teaching to see ...

R onduct a tour of Surrealist painters as _ A. Breton, Klee, Miró, M. Ernst, Dali, Masson ....

Exercise No. 1 :

iscover D images by mechanical means in which randomness. E
ste exercise was developed Miró, Paul Klee, André Breton.

U SIN G pen and ink hand let go quickly forming a marañade roleof delas lines which begin to develop or suggest imágenesquese state are suggestive.

P oco by little I fugure suggestions or objects, and I'm bringing order to the compasición.

E mpezaremos without a picture or plan in mind, just draw and pine fast for own impulses. E
xplicaremos metamorphosis sed worm, using the word metamorphosis to the drawing: "on when the line is on the verge of becoming something else" (Masson)

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RESOURCES USED IN OUR WORKSHOP

R. ENVIRONMENTAL dela sketches analyze situations and daily life.

R. AUDIOVISUAL

Technical Audiovisules: Proyecciión slide.

A. Graphics: Presentation of drawings, sculptures, made in previous years and other contributions.

A. Concrete: Analysis of any work or equipment brought by a students.

A. Documentary: Clippings of articles, search for journals, libraries ... but mainly technical books and use of materials.

TYPES OF WORK THAT THE TEACHER IS GOING TO MAKE

1 .- Work Motivator:

participating will be developed with the teams themselves, attempt to present the most compelling work possible.

2 .- Type Guiding

will not be starting any concrete work (unlike the free-running) without explaining and provide photocopying and graphics all técnnica in a clear, leaving open the idea for the students themselves.

3 .- Type Information:

They submit all literature and scripts elcentro silspone to continue in the work.

4 .- Type Reviewer:

Students will have knowledge of planned activities to give more importance to them more carefully. Notebook
shall always available to consult and have easy access to and knowledge of them and their partners.

The steps of the evaluation are:

1 .-
rating will
Interest 2 .- 3 .- Aesthetics and assimilation techniques applied.

4 .- 5 .- Expression Creation: Practice Tests
6 .- 7 .-
Perception Using material Vocabulary
8 .- 9 .- Concepts

10 .- Knowledge or implementation of other materials

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rhythmic pattern and its variations

C hen the ornament created requires a certain repetition of rhythmic patterns appear.

R epetir himself created without limits our way by a ground line It basically comes down to occupy any space.

ntentaremos I create spaces in an original rhythm, alternating between flat and curved forms.

E schemes n Rhythm Rhythmic forms merge with the following areas alternating filled and empty areas, following the rhythmic movement of the hand.

R onduct the largest number of variations on the same array, then we will represent a one big change.

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WORKSHOP

LIFE IN THE WORKSHOP

U na performed work of a child in the workshop, is very different from what they do at home.

E l shop should have sufficient room for students to freely organize themselves in groups, to use any form of artistic expression, and thus work.

ORGANIZING THE WORKSHOP

U na area with tap water, proper drainage, sinks accessible for washing at any time.

Z ona to create sculptures with clay, plaster ... and a drying room for them.

E stanterías paint: wax, pens, pencils ... small plastic buckets.

U na small room near the reservoir for secondary materials: a mop, boards, panels, materials that children can always bring it worth to do something ... (Egg cups, plastic bottles ...).. brushes of all kinds of sizes, easels, and if possible near a room with different tools: hammers, nails, saws .

L as tables: large order to make a team, sometimes as the class is spacious ground can be used for many occasions.

C omo this is very close, they can move from one place to another to do their job.

U corner No single art library, and technical books, books no models to copy.

U No corks to put space with interesting photographs of class, or cultural visits made, and information exposures that can visit, and a broader exposing their work to go.

E stanterías to store each work.

CARE AND ORDER IN THE WORKSHOP

L as people who use the workshop should be responsible for order and cleanliness, making before entering the cleaning services because they are the only ones who know what worth and to be thrown.

Since they are in the tables in groups every day one is responsible for passing up the same mop and clean the board for next year and ensure that their shelves and work are in order.

METHOD TO BE

H ay to give clear information on the techniques we use, we must get into the work without giving the conclusions and ideas of ways so we give them the initiatives and contributions original.

I ntentaremos achieve their emotions.

P ara that the workshop will try to be more dynamic that each group does a different job

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THE SCRIBBLE

P t seems to do a doodle, is a very simple thing.

ero P is not a doodle what we're trying to do, but different scrawl different curves and reverse curves and to calculate the movements.

H arem scribbles using different procedures and then deleting and adding some and then choose to combine our love for their combination surprising solutions arise .

U nce made these drawings put a piece of white paper before coloring in that piece to make a drawing in gray.

l E drawing can be a template made by them earlier of a real object or a portrait of him previously explain all parts of the head to come out provided.

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Doodle Colors and character

merger is REAL

R and present and create an imaginary being merged for example an elephant and a different animal, and if valid is to be a vegetable.

can change the internal parts of the external forms that we mix.

P odemos desarticular las distintas partes para volver a cambiándolas de otro modo, creando una cantidad de imágenes ilimitadas.

A l final pueden poner también el personaje que han creado y presentarlo en clase oralmente.

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COMO USAR PLANTILLAS

S i made freehand drawings have infinite possibilities for our creations of art, but not the only method for performing a plastic working.

P demos or use stencils or silhouettes that allow us to work a varied and thorough.

T e have to make templates with a consistent material and cut with scissors.

S or use is very simple: just move to where we want in our personal support, and move freely to be varied.

U nce done all the path that we should just paint the intercessions of the lines.

S and can make multiple templates and switch, and ensuring that the exercises are finished with the most experienced plastic.