An idiom is a phrase or an expression that has a figurative, or sometimes literal, meaning.
Teaching figurative language can be a lot of fun! Using these fun and engaging activities your students will be figurative language masters in no time.
Learn new ideas for helping English Language Learners understand and practice figurative language. Plus get a free figurative language poster.
Learn new ideas for helping English Language Learners understand and practice figurative language. Plus get a free figurative language poster.
I love teaching figurative language! It can be a really fun way to encourage students to make their writing come alive. It also makes the writing process
Figurative language is one of my favorite topics to teach! I love witnessing students find their creativity and have fun experimenting with different figurative language devices in their writing. I created mini anchor charts to cover some of the most common types of figurative language that are taught in elementary: simile, metaphor, personification, onomatopoeia, hyperbole ... Read More about Figurative Language
A figurative language anchor chart is a great resource to use to teach young students about the different types of figurative language.
Learn new ideas for helping English Language Learners understand and practice figurative language. Plus get a free figurative language poster.
Go beyond literal meanings with figurative language. Discover the different types of figurative language and how to liven up your writing with examples.
Middle school students are at their best when teachers understand their needs and provide opportunities for movement in the classroom.
Click and learn Figurative Language Round Up in this post!
Help your students understand figurative language with these bright and colorful posters! This product includes 48 individual posters to help you teach and explain common idioms to your students. Each poster includes: -idiom -illustration of the idiom -an explanation of what the idiom means -a written example showing the idiom used in context Each Poster can be printed in the following options: -Full Page -Mini Posters (four to a page) -Black and White -Color ________________________________________________________________ Copyright © The Stellar Teacher Co. LLC www.stellarteacher.com Permission to copy for single classroom use only. Please purchase additional licenses if you intend to share this product.
Metaphor, simile, onomatopoeia, alliteration, hyperbole, personification, and more!
This Figurative Language poster serves as a great visual for students who are learning about figurative language. Shrink it and they can glue it right into their notebooks! I personally hang mine up on a skill focus wall. Enjoy!
How using pictures to teach can increase comprehension and understanding
English Idioms are a type of figurative language. An idiom is a common phrase that does not mean what it says. Improve your speaking and writing by learning about English idioms!
1592 The Flatterers by Pieter Bruegel the younger I guess as early as 16th century europe, "kissing ass" was a thing
I’m sitting here in the studio today looking over many months of my watercolor figure paintings and I am struck by how varied they are, many of them I would not do them same way today. It is…
20 Original Artworks curated by Rebecca Wilson, New This Week 6-22-2015. Original Art Collection created on 6/6/2015.
Chris Gwaltney’s work might be thought of as poetry as opposed to prose. He builds and sketches on the canvas, taking away what is unnecessary, paring down and crystallizing the visual language. In that way, and with his interest in color relations, he might be compared to Milton Avery, although he is more likely to site artists like Diebenkorn, Oliveira and Joan Mitchell, with a nod to Cy Twombly for his mark-making. For Gwaltney, the figure is expressed as a gesture, a presence simply articulated with line and stroke, often seen as walking alone or in relation to one or more figures. He begins with making smears or marks on the canvas. Gwaltney once said, “some paintings are a conversation, others are an argument.” Through the process of painting, he sets up situations that seek resolution in the work. In the end, the work becomes “a testament to time well spent.”
Stage One the gesture and foundation of the painting. Painted with charcoal powder and gesso. I love to paint the figure, and more often than not the gestural under painting is the stage that excites me the most. It is the core of the emotion that moves the piece forward and in a way it is the foundation on which the other stages, layers, and marks will rest. I am working on this particular painting as a triptych, 3 panels of gallery wrapped canvas each being 48 inches by 24 inches in size. The figures will be slightly smaller than life size, so I don't intend to include the entire body on any of the panels. The thought process behind these paintings is that I want to create three distinct figures that are unique in character but are not defined by detail. It is in the painting of the details that often we lose the thrust of a painting. I feel that if I give too much detail or information that I will limit the amount of room I leave for a viewer to inhabit the painting. In simple words I want the painting to be relative or to resonate with the viewer and not be a specific person or place or time for that matter. I want the figures to relate to one another as well, not only in form but in some lyrical way that will unite them and give them a presence that sets them apart from other pieces in Medusa Complexities Exhibition. Stage Two below gives the first layers of paint on top of the gestures in stage one. Adding acrylic paint to the mixtures of charcoal powder and gesso at this point. Stage three the design and palette are being established. Redefining the shapes as well as working on the design of the environment or backgrounds of each piece. I began to add some different hues to the paintings, I have been quite enamored with the using hues of orange and have found it cropping up in my work recently. I like to sully my orange with other pigments to give it a character all it's own, I almost never use tube colors by themselves. I choose my palette for each piece of work, but often I use the same palette for years adding and subtracting only one or two hues at a time. I think many artist do this and it gives their work uniformity to some degree, it also just feels very comfortable and forces you to create new and interesting colors by mixing instead of buying every tube color that comes on the market. I used gesso as my white paint at this point, but in the later stages will switch to white acrylic paint. I am trying to think of ways to relate the three figure shapes and make them work as one painting, yet still retain enough strength to stand alone as three separate paintings as well. It is at this point they are looking like figures at a dance to me and I am thinking that could be the relationship for them. They appear solitary in each panel giving them a formality,so I think I will put gloves on the hands, no wait; I will put long gloves on them as this feels unusual and even more distinctive. I am thinking this will be a commonality that will serve to link them together. I then begin to think about gloves and their significance or relativity to my life, now the story is beginning to gel and surface behind these figures. The Deep South is where tradition runs deep in the arteries and veins of many women and is taken very seriously, and it is only as I have gotten older that I look back on many of these traditions and wonder how they ever got taken so seriously. I remember back to a time when many of my friends made their debuts and had their coming out festivities and Debutante Dances. I was not in that particular segment of society that was expected to perform this act, but I knew how important it was to the girls that were in it; and how much fun it was for them to don their white gowns and white gloves and partake of the societal games in which their predecessors had before them. This piece will be a bit of a play on societal games and social mores. I feel like at this point in my life, I see with much more clarity that we often perform acts just to conform to what is deemed as proper. There must be some point at which we have to recollect and wonder, how much of this is truly important in the scheme of our short lives . I have my thoughts firmly stated so I am now ready to proceed further with this piece. I choose to make the gloves black, instead of white to give this a more intense feeling, it adds a bit of mystique to the whole debutante concept and the dark mystery of history and the relevance of this performance. The position of the hands is important to me as they are quite literally dancing across the canvas each in its own expressive cotillion of movement of shape. I like the feeling the piece is getting at this point but I have to sleep so I will let the paintings rest for the night and approach them tomorrow with new eyes. I awake to see the girls still lurking in my studio black gloved and featureless but familiar and hauntingly interesting to me. Stage 4 and the shapes of the figures are being refined and finessed as the piece progresses. In my latest series; The Medusa Complexities, I have taken many liberties with shaded eyes and the anonymity factors I employ in my figures. This triptych that I am working on now is yet another in the series and will be included in my solo show in November 18, 2010 at Jackson Street Gallery in Ridgeland, Ms. In this piece I am working on painting the figure with more anonymity than the earlier paintings, all the while keeping them solid in form and giving them the movement that I am trying to portray in them.There is much more work to do to get to the final stage of the painting. The later stages of my work are ones of adding layers and taking layers off paint in places and more or less refining the paintings to a point that gives them the strength and intrigue that I believe are my goal in my art. In the last stages of each piece there is a slow pace, consisting of much less painting and much more analytical looking and thoughtful decisive moves based on design, format, and the intentions of the painting, it is at this point that to any observer I am dragging my feet but in reality I am overclocking my brain with decisions and revisions. I don't take many photos at this point as I am in another mode of operation and the camera is not involved at this stage, it would only prove to be a distraction. Debutantes in the final stage ready for varnish. The painting has reached a point where I feel anything more will diminish my original feeling for the painting. I am deeming it finished (for now). A few points to note:I added the white bar as a nod or reference to the white dresses and gloves of a traditional debutante and to lend the figures a stability shape which serves to link them as well. I changed the shapes up in subtle ways, mostly in the head shapes and torso shapes, yet I retained a uniformity to the figures as well as their environments. I used a varied palette of hues, but I was careful to use hues in all three of the paintings giving them a harmonious relationship to each other. I hope this blog will be of some interest and will give you some insight into my process and the upcoming exhibition of my work. Cathy Hegman AWS,NWS,MSWS,MOWS, SAA,SW, ISAP www.cathyhegman.com *All artwork and text included in this blog is copyright protected by Cathy Hegman and should not be reproduced in any form or fashion or used without the written permission of Cathy Hegman. All text and artwork included in this blog are solely the thoughts and original art of the artist, Cathy Hegman, unless otherwise noted, and are meant only to be guidelines and thoughts for others to read.my blog. *All photography is copyright protected by Thomas Hegman and should not be rep
古河原泉 油彩作品：「通り過ぎる空」(2015/8 M8号 油彩)
20 Artworks by Iryna Yermolova, Saatchi Art Artist
1 Artworks by Shelby McQuilkin, Saatchi Art Artist
About The Artwork When creating an artwork, most of the processing stages are based on emotions and improvisation. Once the painting is complete, my sole goal is for each viewer to find their own story when looking at the artwork. Still, if one is interested to hear my perspective on the work, I can say that it is, most importantly, about playing with the combination of colours, textures, lines, and more. My paintings, however, are mostly created with blotches of multilayered paint which are not intended to create figurative details as I want the painting to communicate the message as a whole. Original Created:2015 Subjects:Women Materials:Canvas Styles:AbstractFine ArtFigurativeModernExpressionism Mediums:Acrylic Details & Dimensions Painting:Acrylic on Canvas Original:One-of-a-kind Artwork Size:24 W x 30 H x 1.5 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Canada. Have additional questions? Please visit our help section or contact us.
