Westside High School Backwards-Design Lesson Plan
Template
2013-2014
Pre AP Art 1
Unit 1 - Line
1st 6 weeks
Stage 1 – Desired Results
Student Outcomes (objectives):
Understanding
(s)/goals:
EU1: Students will
understand
that…the elements
of art are essential
to the development
of artwork..
Essential
Question(s):
EQ1: How do line
and pattern impact
a composition?
EU2:
EQ2:
SO1.1: Apply the quality of line and pattern in a variety of media
SO1.2: Create an artwork that expresses the use of line and pattern
in a composition
SO1.3: Analyze the attributes of the elements of design
SO1.4:Recognize and be able to speak about the artwork in a
critique setting
SO2.1:
SO2.2:
EU3:
EQ3:
SO3.1:
SO3.2:
SO3.3:
EU4:
EQ4:
SO4.1:
SO4.2:
Stage 2 – Assessment Evidence
Performance Task(s) and Other Evidence: (Assessment evidence should be collected for each Student Outcome
(SO) listed above.)
Formative
Summative (Attach copy)
SO1.1 Please refer to Lesson Plans for detail
SO1.2
SO1.3
SO1.4
SO2.1
SO2.2
SO3.1
SO3.2
SO3.3
SO4.1
SO4.2
Glossary
Understanding (s)/goals
[this is a goal, not an objective. List the big ideas or concepts that you want them to come away with, not
facts that they must know]
Essential Question(s):
[What leading questions can you ask of students to get them to understand the Big Ideas?]
[Address the heart of the discipline, are framed to provoke and sustain students interest; unit questions
usually have no one obvious “right” answer
Student objectives (outcomes):
Students will be able to:
[These are observable, measurable (often dally) outcomes that students should be able to demonstrate
and that you can assess. Your assessment evidence in Stage 2 must show how you will assess these.]
[Your learning activities in Stage 3 must be designed and directly linked to having students be able to
achieve the understandings, answer the essential questions, and demonstrate the desired outcomes
Performance Tasks:

[Authentic, performance based tasks that have students apply what they have learned and
demonstrate their understanding.]

[designed at least at the application level or higher on Bloom’s Taxonomy. ]

[Rubrics can be used to guide students in self-assessment of their performance]
Other Evidence:

[includes pre-assessment, formative assessment, and summative assessment evidence]

[Can be individual or group based]

[Can include informal methods (such as thumbs up, thumbs down, and formal assessments, such
as quiz, answers to questions on a worksheet, written reflection, essay]
Learning Activities:
[[This is the core of your lesson plan and includes a listing describing briefly (usually in bullet or numbered
form so easy to follow) what:

the students will do during the class to prepare them for the outcomes you expect of them.]

the teacher will do to guide the learning]
Understanding by Design, Expanded 2nd Edition by Grant Wiggins and Jay McTighe
Chapter 1. Backward Design: Figure 1.4. UbD Design Standards
Stage 1—To what extent does the design focus on the big ideas of targeted content?
Consider: Are . . .





The targeted understandings enduring, based on transferable, big ideas at the heart of the
discipline and in need of uncoverage?
The targeted understandings framed by questions that spark meaningful connections, provoke
genuine inquiry and deep thought, and encourage transfer?
The essential questions provocative, arguable, and likely to generate inquiry around the central
ideas (rather than a “pat” answer)?
Appropriate goals (e.g., content standards, benchmarks, curriculum objectives) identified?
Valid and unit-relevant knowledge and skills identified?
Stage 2—To what extent do the assessments provide fair, valid, reliable, and sufficient measures
of the desired results?
Consider: Are . . .





Students asked to exhibit their understanding through authentic performance tasks?
Appropriate criterion-based scoring tools used to evaluate student products and performances?
Various appropriate assessment formats used to provide additional evidence of learning?
The assessments used as feedback for students and teachers, as well as for evaluation?
Students encouraged to self-assess?
Stage 3—To what extent is the learning plan effective and engaging?
Consider: Will the students . . .





Know where they're going (the learning goals), why the material is important (reason for learning
the content), and what is required of them (unit goal, performance requirements, and evaluative
criteria)?
Be hooked—engaged in digging into the big ideas (e.g., through inquiry, research, problem
solving, and experimentation)?
Have adequate opportunities to explore and experience big ideas and receive instruction to equip
them for the required performances?
Have sufficient opportunities to rethink, rehearse, revise, and refine their work based upon timely
feedback?
Have an opportunity to evaluate their work, reflect on their learning, and set goals?
Consider: Is the learning plan . . .


Tailored and flexible to address the interests and learning styles of all students?
Organized and sequenced to maximize engagement and effectiveness?
Overall Design—To what extent is the entire unit coherent, with the elements of all three stages
aligned?
Color Unity
Vocabulary:
Gesture, static lines, active lines, vertical lines, horizontal lines, curved lines, diagonal lines,
pattern, asymmetrical balance, monochromatic color, variety, crafismanship, view fmder.
Art History: Westside Visual Arts Department
Title: LINE DESIGN WITH A VIEW FINDER
Materials needed:
White Paper 12” x 18”
Black Sharpie Markers, ultra fine and fine
View Finders 4 ‘/2 x 6 ‘,4 inside cut or similar
Colored Markers or Colored Pencils — 1 color per student
Scissors & Glue
Colored Construction Paper Assortment 6” x 9”
Problem:
- Introduce students to the four basic kinds of lines (vertical, horizontal, curved, and diagonal)
and discuss why horizontal and vertical lines are static and diagonal and curved lines are active.
Discuss the expressive quality of different lines. Show examples
- Discuss gestural lines in which motion, especially in the use of arm movement, is important.
- Teacher demonstrates drawing a gestural line and framing an asymmetrical composition using
a view finder.
- Students make a free gestural line with a fine tip black marker that varies in curved and
straight paths and overlaps.
- Students use a view finder to frame a composition that has asymmetrical balance.
- Discuss patterns made with lines (stipple, hatched, crosshatched) and patterns made with
other repeated lines or shapes. Discuss how to have white inside the pattern shapes and color or
black outside as well as the reversal. Show examples.
- Students choose one Color (Monochromatic Color Scheme) to use with the black markers and
the white paper.
- Students complete their composition using a balance of the following:
1) Some Solid Areas of each Black, White, and their Color
2) Some Patterns in Black & White
3) Some Patterns in Black & their Color
4) Some Patterns in White & their Color
- Students cut out their composition and center it to a colored construction paper of their choice
using good craftsmanship.
Elements of Art and Principles of Design:
Line
Balance
Shape Pattern
Show examples of artists that visually explain the different parts of this assignment.
LINE DESIGN
1. On 12” x 18” white paper, make a free gestural line with a fine tip black marker that varies in
curved and straight paths and overlaps. Be careful not to make it too scribbley.
2. Use a view finder to frame your composition. Look for a balanced asymmetrical composition
that has interesting shapes formed from the overlapping of your straight and curved lines.
These shapes need to have variety in size and shape. Use your marker and draw around the
inside dimensions of the view fmder.
3. Choose one color of marker or colored pencil to be used with the ultra fine sharpie marker.
Add a variety of patterns within some of the shapes. Use the following rubric to help you
compose the design using patterns and solid areas.
- Some Solid Areas of each Black, White, and your Color
- Some Patterns in Black & White
- Some Patterns in Black & your Color
- Some Patterns in White & your Color
4. Cut out your composition and choose a colored construction paper that has a pleasing
relationship with your chosen color. Apply glue to only the four corners of the line design and
center it to the construction paper. Write your name on the back.
* Craftsmanship always counts.
GRADING RUBRIC
• Design — Asymmetrically Balanced Composition with Interesting and Varied Shapes
• Complexity & Variety of Patterns
• Colored Pencil or Marker Application
• Craftsmanship/Neatness in all things including drawing, cutting, pasting, and centering
Vocabulary for Line Design Project
LINE: A mark whose length is considerably greater than its width.
- Static: Inactive. Vertical and horizontal lines and horizontal shapes and forms art static.
- Active: Expressing movement. Diagonal and curving lines and diagonally slanting shapes and
forms are active. A curved line’s activity depends on the degree of curve (gradual, wavy, spiral
etc).
- Expressive qualities of lines: Those qualities that communicate ideas and moods. Zigzag lines
made from a combination of diagonal lines change direction suddenly and are extremely active
and evoke feelings of excitement and nervousness where curved lines are graceful and are often
used in interior decoration to suggest a feeling of luxury. Horizontal lines express feelings of
peace, rest, quiet and stability and make you feel content, relaxed, and calm. Vertical lines
express stability and give an impression of dignity, poise, stiffness, and formality.
- Gesture drawing: Line drawing done quickly to capture the feeling of movement.
BALANCE: Equalizing colors, lines, textures, values, shapes, forms, and spaces in an artwork.
The human eye seems to have an inborn ability to tell when something is balanced. Fi a work
of art has visual balance, the viewer feels that the elements have been arranged in a satisfying
way. Visual imbalance makes the viewer fell that the elements need to be rearranged.
- Symmetrical Balance: Two halves of the composition are identical mirror images of each
other.
- Asymmetrical Balance: Unlike objects have equal visual weight or eye attraction. On a seesaw, two small children could balance one large teen-ager or a lighter person might balance a
heavier one by putting more board on her side. These same principles can be used in visual
composition.
- Radial Balance: Lines of shapes spread out (radiate) from a central point.
PATTERN: The repeated use of shapes, colors, lines, textures, forms, values, and spaces in a
planned or organized way. Pattern has no movement and may or may not have rhythm.
MONOCHROMAI1C COLOR: A color scheme that uses only one hue and the values of that
hue for a unifying effect.
UNITY: Sense of coherence or wholeness in a work of art.
VARIETY: Principle of design concerned with difference or contrast.
VIEW FINDER: The frame through which the artist focuses on the design he/she wants to use.
CRAVFSMANSHIP: Skill in the use of the tools and materials.