Enumclaw School District - SECI NO ( RADE ARTS CU
September - October
Sample Target Learning
Assessment Criteria
Target: Identifies positive
Art Focus Lesson la:
and negative space. Makes a
positive sculptural form.
Visual Art
Shapes in Space
Criteria: Distinguishes
Art Standard
ICULUM
Artl Math
Vocabulary
Math Standard
AEl1.1 concepts:
Art:
positive and negative
space, shape
negative space, positive
space, sculpture
Enduring Understanding
Negative space affects the
viewer's perception of positive
space.
AEl 1.2 skills and
techniques: cutting
between sculpture and
environment. Cuts on a fold
to create positive and
negative space.
AEl 1.1 concepts:
September - October
Target: Discriminates
Art Infused Lesson lb:
between most often and least
often.
positive and negative
space, geometric
shapes, straight lines
Criteria: Identifies
AEl 1.2 skills and
techniques: draws
Probability and
Statistics
occurrences observed in
greater and lesser quantities.
with discrete
movement
3.4.A: Identify and
sketch parallel,
intersecting lines and
line segments.
Art:
composition, direction of
line, geometric shapes,
horizontal line, negative
space, positive space,
straight line, vertical line
Artistic decisions concerning
quantities of color for positive
space and negative space can
determine the viewer's perception
of art.
Math:
geometric shapes, least
often, line, most often
AEl 2.3 applies a
responding
process: analysis
November - December
Art Focus Lesson 2a:
Sculpture in
Balance
Target: Uses a range of
AEl1.1 concepts:
Art:
paper sculpture techniques
transforming a 2-D material to
a 3-D form. Constructs an
abstract sculpture in balance.
2-D, 3-D, abstraction
AEl 1.2 principles
of organization:
2-D, 3-D, abstraction,
balance point, formal
and informal balance,
mobile, point of view
sculpture
Criteria: Chains, clips,
AEl 1.2 skills and
techniques: mobile
crumples, folds, knots, rolls,
and/or threads, etc. Creates
a simplified or exaggerated
animal/human/plant in a
stable, 3-D mobile.
balance, point of view
Counter-weighting forms can
create a balanced sculpture.
construction, paper
construction
6
November - December
Target: Makes a symmetrical
mask.
Art Infused lesson 2b:
Lines ofSymmetry
in Masks
Criteria: Repeats the same
feature shapes and colors on
both sides of a line of
symmetry.
AEl 1.1 concept:..
symmetry, 20 shape
AEl 1.2 skills and
techniques:
oil pastels-layers,
strokes, blends
2.4.A: Solve problems
involving properties of
20 and 30 figures.
Art:
COIOf, facial features,
line of symmetry pattern
shapes
Repeating shapes anu
arrangement of parts on opposite
sides on a mid-line can create
facial features and mask forms.
Math:
axis, line of symmetry,
pattern, shapes
AEl 1.2 art from
various cultures:
European and African
masks
7
---~
November - December
Target: Makes a symmetrical
mask.
Art Infused lesson 2b:
Lines ofSymmetry
in Masks
I
\\JY'}"'j
AEl1.1 concep'L".
symmetry, 2.0 shape
AEl 1.2 skills and
techniques:
Criteria: Repeats the same
feature shapes and colors on
both sides of a line of
symmetry.
oil pastels-layers,
strokes, blends
2.4.A: Solve problems
involving properties of
2.D and 3D figures.
Art:
color, facial features,
line of symmetry pattern
shapes
Repeating shapes aflU
arrangement of parts on opposite I
sides on a mid-line can create
facial features and mask forms.
Math:
axis, line of symmetry,
pattern, shapes
AEl 1.2 art from
various cultures:
European and African
masks
7
Lqke Wqshington schoolOistriet
Art Lessons in the clqssroom
(Scan in red sculpture
- Evan)
(Scan in green
sculpture)
Cuts on a fold to create
positive and negative
space.
Cuts on a fold to create
positive and negative
space.
SECON D GRADE
SHAPES IN SPACE
?
PROBLEM TO SOLVE How does the relationship between art and environment affect a sculpture?
UNDERSTANDING Negative space affects the viewer's perception of positive space.
BRIEF DESCRIPTION OF PROJECT
Students create a sculpture park by making individual paper positive and negative space sculptures.
RESOURCES
VOCABULARY
Community Public Art:
Hai Ying Wu, Firefighters, Fire Station # 16
Gail Simpson & Aristotle Georgiades, Works,
Maintenance and Operations Center
Art Materials: recycled copy paper for drafts,
Art
Literacy
• negative space
• positive space
• sculpture
• draft and redraft
scissors, colored tagboard (card stock
weight),
TARGET LEARNINGS AND ASSESSMENT CRITERIA
Knowledge and skills:
The student:
TL: Identifies positive and negative space.
AC: Distinguishes between sculpture and environment.
TL: Makes a positive sculptural form.
AC: Cuts on a fold to create positive and negative space.
TL: Collaborates to create a relationship between sculptures.
AC: Consciously moves own sculpture while considering other's
sculptures in space.
EVIDENCE OF
LEARNING
Art: Paper sculpture
o distinguishes between
sculpture and
environment
o creates positive space
o creates negative space
o moves own sculpture
while considering other's
sculptures in space
JNSTRVCTIONALSTRATEGfES FOR TEACHERS AND STUDENTS
1. Teacher: Introduces Firefighters and asks students to define positive and negative space. Prompt: The positive
space is the part the artist makes and the negative space is the space around it.
Student: Identifies positive and negative space.
2. Teacher: Asks students to look at Works. Prompt: How would this sculpture look if It were placed in the
classroom? In a different environment with a different background? What changes: the sculpture or the area around
it? Why is the background area surrounding the sculpture, negative space, so important?
Student: Responds to positive space in different negative space settings.
3. Teacher: Demonstrates folding an 8- 112xll in. copy paper for a draft in half and sketching a simplified human
figure or abstract shape (showing half on the fold). Prompt: It is important to start drawing your negative space at
least 2 inches below the top folded edge of the paper; complete drawing negative space two inches before bottom
folded paper edge. Feel free to make more than one process draft on copy paper because the draft and redraft
process teaches us to consider drafts as 'less than precious~ Make sure base of draft stands sturdily. Embedded
Assessment: Criteria-based teacher review of each student's work before students cut.
Student: Selects to make a figure or an abstract object.
SKILLS AND TECHNIQUES
Cutting enclosed negative space
Folding up base tabs for stability
4. Teacher: Demonstrates creating a standing sculpture by leaving part of the fold at the top and the bottom
intact. Prompt: Cut on the fold to make your negative space.
Student: Makes a series of cut paper drafts for a sculpture. Selects the draft s/he would like to use for a final
sculpture. Overlays the folded cut paper shape on the folded tag folder and draws and cuts a final sculpture
shape.
5. Teacher: Places student sculptures individually against a neutral background or in natural setting outof-doors. Leads discussion with students on positive and negative shapes. Prompt: Where is the positive space?
Negative space? Groups of four students place sculptures within an enclosed shared space. Prompt: How did your
sculptures change when you see them together? How does the positive space change? How does the negative space
change?
Student: Reflects on change in negative space when sculptures are combined in shared setting. Embedded
Assessment: Peer reflection
LAKE WASHINGTON SCHOOL
DISTRICT ART FRAMEWORKS
LESSON EXPANSION
Goes on a field trip to the local sculpture park.
Considers the positive and negative space for
each sculpture. Records in a sketchbook the
relationships of the sculptures to each other.
Encourage students to find different
PRODUCTION: Creating art involves
problem-solving
COLLABORATING: Work with others to
produce works of art: contribute ideas in
groups
vipwnnintc:.
ESSENTIAL LEARNINGS
EVERYDAY CONNECTIONS
Home / Community References: 3-dimensional
shapes in space: displays in stores, chairs in space
Second Grade - Shapes in Space
AEL 1.1 concepts: positive and negative
space, shape
AEL 1.2 skills and techniques: cutting
WEL 3.3 creates a draft
L;;ke W;;shington Schooloisttid
Art Lessons in the cl;;sstoom
SECOND GRADE - SHAPES IN SPACE
Target Learnings and Assessment Criteria
Knowledge and skills:
The student:
TL: Identifies positive and negative space.
AC: Distinguishes between sculpture and environment.
TL: Makes a positive sculptural form.
AC: Cuts on a fold to create positive and negative space.
TL: Collaborates to create a relationship between sculptures.
AC: Consciously moves own sculpture while considering other's sculptures in space.
ASSESSMENTS CH ECKLlST
Checklist· Total Points' 4
Student
Positive and Negative Space
distinguishes
creates
creates
negative
between
positive
sculpture and
space
space
environment
Collaboration
moves own sculpture while
considering other's sculptures
in space
Total
points
1-4
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
Total
Percentage
Mean
Median
Teacher Comments: None
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LqKe Wqshington 5chool District
An Lessons in the clqssroom
Tell Me About Your Art.!
Deqt" Second Gt"qde Pqt"ents:
Today we made a sculpture park by combining our SHAPES IN SPACE.
o Looking: We looked at sculptures in Redmond and considered the positive space and
negative space.
fj
Tqlking: We talked what creates positive space (the figure or object) and what creates
negative space. We talked about the effect of negative space when a sculpture is placed in
a different environment.
@)
Mqking: We cut shapes on a fold to create a standing sculpture. We made special
efforts to cut into the fold to create an interior negative space.
ArtCltHome
Together:
You could look at single objects in space and make two drawings.
1) Fill in everything inside the object with a solid color. Draw the same subject again.
2) Fill in just the space around the object. Compare.
Questions to qsk:
How do both drawings show positive and negative space?
Negt1tive sPt1ce t1fTeets the viewers perception ofpositive sPt1ce.
T:1comq 5chool Distnd
An qnd Mqth Lessons in the clqsstoom
SECOND GRADE
Probability and Statistics: Statistics
POSITIVEAND NECA TlVE/MOSTAND LEAST
Commits to using color in particular areas more
often or less often.
?
PROBLEM TO SOLVE How does artistic decision-making reflect choice of color in a composition?
EN DURJ NG UN DERSTAN DI NG Artistic decisions concerning quantities of color for positive space
and negative space can determine the viewer's perception of art.
BRIEF DESCRIPTION OF PROJECT
Students create a geometric composition using color most often or least often to create positive and
negatives spaces.
VOCABULARY
RESOURCES
Art
TPS Art Prints: Take SPrints: Nonobjective Art
Piet Mondrian, Composition (BlueI Rect and
Yellow)
• composition
• direction of
line
• geometric
shapes
• horizontal line
• negative space
• positive space
• straight line
• vertical line
Art Materials: 8 x 11 in. 60# white sulphite
paper (Alt: tagboard), Craypas (Alt: oil
pastels), Lyra pencils
Math Resources: ruler, straightedge
Math
• geometric
shapes
• least often
• line
• most often
EVIDENCE OF
TARGET LEARNINGS AND ASSESSMENT CRITERIA
Knowledge and skills:
The student:
TL: Discriminates between most often and least often.
AC: Identifies occurrences observed in greater and lesser quantities.
LEARNING
Art Resource
identifies greater and
lesser quantities of
compositional space and
color
o
Drawing
TL: Creates geometric shapes using intersecting straight lines.
AC: Creates straight-sided shapes of varying sizes using horizontal
and vertical lines that cross.
o creates straight-sided
shapes, varying sizes, and
uses horizontal and
vertical lines
TL: Discriminates between positive and negative space.
AC: Commits to using color in particular areas more often or less
often.
o uses color in particular
areas more often or less
often
TL: Draws with discrete movement.
AC: Creates even, distinct divisions between positive and negative
space.
o creates even, distinct
divisions between positive
and negative space
INSTRVCTIONALSTRI\TEGIES FOR TEACHERS AND STVDENTS
1. Teacher: Introduces Composition (Blue, Red, and Yellow) by Piet Mondrian. Asks the students to find a
space the artist applied colors vs. painted white background. In art, we call the empty areas, or background, negative
space. Prompts: Which did the artist use most often: positive or negative space? Which did the artist use least often:
positive or negative space? Embedded Assessment: Criteria-based assessment: teacher checklist
Student: Analyzes art for positive/negative space; most often/least often.
ART STUDIO TIP:
Making Art Concepts Clear: It might help to make a symbolic model of a colored space (square) on a
background of a different color. Label the colored square: positive space, and the background: negative.
2. Teacher: Guides students to divide space with geometric lines to create geometric shapes. Prompts:
Today were going to focus on making geometric shapes by crossing lines. Using your ruler and watercolor markers or
colored pencils, make two horizontal lines and two vertical lines. By crossing your straight lines you can make
geometric shapes. Your shape sizes will depend on the placement ofyour lines and your persona~ artistic decisions.
Student: Creates a geometric composition. Embedded Assessment: Criteria-based assessment: teacher
checklist
3. Teacher: Reintroduces math vocabulary and concepts: most often and least often. Shows models of art
made with color in geometric shapes: with color used the most often for
positive spaces, or seldom (least often) leaVing more negative space.
Prompts: Artists sometimes determine the viewer's response
by varying how they use their compositional space: most often
and least often. It's time to add color to your work.
vV!11 you use color most often (positive spaces) or least often
(leaving negative space). Commit to one or the other. You
should leave at least some negative space.
Student: Adds colors of their choice to their
geometric composition, and commits to using one color
for positive space most often.
4. Teacher: Leads self-reflection and class critique.
Guides students to exhibit art in two groups: most often
using positive space and least often using positive space.
Prompts: Tell me about your picture on the back. Use the
words most often, least often, negative space, andpositive
space.
Student: Writes about art and math concepts. Discriminates
between most often and least often in use of positive and
negative space. Embedded Assessment: Self-reflection
LESSON EXPANSION
Students repeat lesson using
representational subject matter for
positive space and background for
negative space.
,
;
I
EVERYDAY CONNECTIONS
:
I
Home / Community References: comparison; impact
j
[: and effect on artistic decisions: most and least often
1
1
,
Second Grade - Positive and Negative/Most and Least
:
ARTSlVDIO TIP:
Craftsmanship: Teaching
craftsmanship is an essential part
of art. Drawing discrete lines and
painting to a line, or layering in
color in specific spaces, is an art
technique. It depends upon fine
motor abilities and practice, and is
quite different than 'coloring in the
lines'. Encourage students to use
a fluid stroke and to pull the
draWing tool just inside the edge,
and across or beside their body.
TACOMA PVBLlC SCHOOL DISTRICT MATH
AN DART CVRRICVLVM
Probability and Statistics: Statistics • Describes
data using words like 'most often' and 'least often'
ESSENTIAL LEARNINGS
AEL 1.1 concepts: positive and negative space,
geometric shapes, straight lines
AEL 1.2 skills and techniques: draws with discrete
movement
AEL 2.3 applies a responding process: analysis
MEL 1.4 probability and statistics: most and least
MEL 2.1 investigates situations: recognizes when
information is missing or extraneous
T;:Jcom;; school Distnd At1;;nc/ M;;th Lessons in the cl;;ss/"oom
SECOND GRADE - POSITIVE ANO NECA TlVE/MOSTANO LEAST
Target Learnings and Assessment Criteria
Knowledge and skills:
The student:
TL: Discriminates between most often and least often.
AC: Identifies occurrences observed in greater and lesser quantities.
TL: Creates geometric shapes using intersecting straight lines.
AC: Creates straight-sided shapes of varying sizes using horizontal and vertical lines that cross.
TL: Discriminates between positive and negative space.
AC: Commits to using color in particular areas more often or less often.
TL: Draws with discrete movement.
AC: Creates even, distinct divisions between positive and negative space.
Checklist: Total Points: 6
Student
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
Total
Percentage
Mean
Median
Teacher Comments:
Most
Often/least
Often
identifies
greater and
lesser quantities
of compositional
space and color
ASSESSMENTS CH ECJ<L1ST
Geometric Composition
creates
straightsided
shape,
creates
geometric
shapes
of varying
sizes
uses
horizontal
and vertical
lines
Positive and
Negative
Spaces
uses color in
particular
areas more
often or less
often
Technique:
Discrete
Drawing
creates even,
distinct
divisions
between
positive and
neqative space
Total
Points
1-6
T4com4 Public School Oistriet
Art 4nc/ M4th Lessons in the cl4ssroom
Tell Me About Your Art qf}d Mqth/
Deql'" Second
Grqde Pqrents:
Today we studied math and art together. We considered the effects of artistic decisions about a
mathematical concept: most often and least often.
o Looking Clnd TCllking: We looked at Piet Mondrian's Composition (Blue
Reef, and
Yellow). We talked about all the decisions made by the artist. Which color became the
positive space? Which color became negative space?
l
8 Using StCltistics: Which color did he use the least often? Which did he use the most
often?
C)
MClking Art:: We made a geometric composition and committed to using color in the
positive space and leaving the negative spaces blank. First we drew horizontal lines and
vertical lines to create our geometric composition. We practiced using discrete drawing
movements to create smooth, even lines in our art. We pulled our arms (and drawing
tools) across our body or beside our body. We reflected on our use of positive and
negatives spaces and considered which we used the most and least often. We gathered all
the class compositions into two small exhibitions: one using positive space 'the most', and a
second exhibition using positive space 'the least'.
Art qf}d Mqth qt Home
Together:
You could consider which activities you do together at home or on weekends.
Which activities do you do the most often and which the least often?
You could look at an object and consider the negative space around it as a shape too.
Questions to Clsk:
Why do we do some activities the most often? Why do we do other activities the least often?
How would you draw the space around something? Why does the object appear when you do?
Artistic c/ecisions concerning qlJ.:Intities ofc%r for positive sp.:lce .:Inc/ h.:lckgrolJnc/
c.:ln c/etermine the viewers perception of.:lrt.
ARTS IMPACT INSTITUTE LESSON PLAN - Core Program Year 2 Art-Infused
VISUAL ARTS LESSON - Sculpture in Balance
Arts-Infused Disciplines: Visual Art/Math/Writing/Science Arts-Infused Concepts: Verbs, Balance,
Observation Process
Artist-Mentor: Meredith Essex
Examples:
Enduring Understanding
Counter-weighting forms can create a balanced sculpture.
Target: Discovers and describes a paper construction technique.
Criteria: Selects a verb describing alteration of paper.
Target: Uses a range of paper sculpture techniques transforming a 2-D material to a 3-D form.
Criteria: Chains, clips, crumples, folds. knots, rolls, andlor threads, etc. (3+techniques).
Target: Constructs a model that illustrates balance.
Criteria: Securely suspends 3-D forms weighted equally on either side of a balance point in a
mobile.
Target: Constructs an abstract sculpture in balance.
Criteria: Creates a simplified or exaggerated animallhumanlplant in a stable, 3-D form.
Teaching and Learning Strategies
1. Teacher: Discusses two-dimensional vs. three-dimensional art. Asks students to
identify sculpture in galleries and outdoors at TAM and SAM and talk about different
kinds of sculpture. Do all sculptures sit on the floor or the ground? If no~ deSCribe the types
ofsculptures you have seen. (No! They can be suspende~ they can move/ they can make
sounds/ they can hang on the wa/~ they can surround us.) What does 3-D mean? (heigh~
width and depth) What are the concerns of the artist in creating an effective work ofsculpture?
(Point of view is important since sculpture can be viewed from many different places. Also the
physics ofa sculpture are essential: It needs to be stable and supported-balanced--so it does
not tip ove0 fall down crash or suspend lopsided)
Student: Participates in discussion
2. Teacher: Distributes practice paper (8 x 8 in. tag). Asks students to experiment with
manipulating paper in order to transform it from being flat to haVing dimension in space.
Prompts: I am demonstrating some of the ways that I can change paper from being flat (2-0/
to having form or dimension (3-D). Let~ first try some cutting/ folding curling and twisting...As
you practice/ think ofan action word/verb that describes how you changed the paper. ..Lets
share our discoveries and list all the different verbs describing our techniques on the board.
Student: Practices altering paper and shares verbs.
Embedded Assessment: Teacher checklist
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
3. Teacher: Reviews the concept of symmetry/balance in art, math, and science.
References Nancy Mee's Hanging Healing from TAM collections. Prompts: A mobile is a system
ofbalanced beams and objects. We are going to balance our mobile by creating 3-D paper
forms which will be sus. ended on either side ofa balance oint usin strin and sticks. Balance
is a h 'Sics conce t:
• how
would that translate into a mobile in balance? The exact same forms suspended on either side
would create balance of weight physically and visually. Note Nancy Mees sculpture: is it
symmetrical? How would I create informal balance in a mobile? I would need to construct and
suspend forms that are asymmetrical-that are not the same on either side ofa balance point,
but equally balanced physically and visually.
Student: Identifies examples of symmetry and asymmetry.
4. Teacher: Demonstrates constructing and balancing/counter-weighting (with help
from a partner) a symmetrical and an asymmetrical mobile. Introduces the art of
Alexander Calder. Prompts; Alexander Calder created large scale sculpture~ mobiles and
stabiles (sculptures which had a stable base and moving parts) throughout his career. Jean Paul
Sartre, well known existential writer, described Calder mobiles in this way: '~ .. they are
nevertheless at once lyrical invention~ technical combinations ofan almost mathematical
quality, and sensitive symbols ofnature... '~ Watch as I construct 3-D paper forms to create a
mobile in svmmetrv: note I am makin identical 3-D SCUh ture forms unchin holes at identical
1aces on each for.
5. Teacher: Facilitates process of students pairing up with a helper and choosing
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are working to create forms which are interesting to look at from multiple points of view: don't
forget to check our list of verbs for ideas for altering paper! Remember that ifyou are working
with symmetrical balance, you will have 2 forms which are the same. Ifyou are working with
asymmetrical balance, you will have 3 forms which are different, and you will need to adjust,
along with your helper, to find a balance point
Ask for help from your helper to stabJ'lize the mobile while you tie the strings to the wooden
sticks/beams Look at your mobile and check for balance. Do you need to slide the strings to
make it balance (the same on each side of the suspending string) or to counterweight it? When
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
your mobile is in balance, take a glue stick andjust lightly go over the area where your strings
surrounds the stick(s) to help strings stay in place.
Student: Constructs mobile in balance.
Embedded assessment: Criteria-based peer reflection (teacher and student pairs check for
range of paper sculpture techniques and balance)
6. Teacher: Shows Alexander Calder sculpture, Eagle, from the SAM Olympic
Sculpture Park, and Sea Forms by Dale Chihuly from TAM collections. Introduces
concept of abstraction. Prompts: Abstraction refers to the artist working from a recognizable
subject matter, yet exaggerating and/or simplifying that subject. How has Calder simplified or
exaggerated an Eagle? In what ways are Dale Chihuly's Sea Forms abstract? Again we will be
transforming, manipulating, andjoining flat paper surfaces to create height, width, and depth in
space. Let's sketch some ideas for an abstract sculpture ofa plant, animal or human. Visualize
and sketch your idea for a sculpture from multiple points of viewjust to warm-up. Remember
that you are simplifying-that is, removing detai~ or exaggerating by enlarging or emphasizing
some part of the abstracted anima~ plant, or human you are creating. Your experience with
paper construction techniques will help you make a workable plan. Also remember to think
about creating a stable base for the sculpture since this time we are balancing a sculpture on a
surface. Every point that touches the surface needs to be counterweighted for balance (note
Eagle). One way is to create a cylinder form that sits flat (think ofa paper crown), and then
notch and attach forms to it Another way is to notch two rectangular papers and then attach in
a cross form and attach additional forms to that
Experiment! As I now start to translate these flat paper pieces into the 3-D form I have
visualized, you can see that I am cutting, folding, twisting, and notching papers on both
surfaces where thev will attach to create points ofintersection that are strong. Notching is
tricky: when two notches slide into each other, they can form a very strong joint Notches need
to be at least V2 ofan inch long. They also need to be at right angles approximately to the
paper edge they are being cut into. Practice notching and attaching several pieces ofpaper and
notice what works best. Again I am using a range ofpaper construction techniques (3+), and
considering all points of view that my sculpture will be viewed from.
Student: Observes demonstration, sketches and creates an abstract paper sculpture balanced
on a flat surface.
Embedded Assessment: Criteria-based self-assessment
7. Teacher: Facilitates criteria- based critiq uel reflective assessment: Suspends/displays
all mobiles and sculptures. Asks students to view. Prompts: Find a paper sculpture technique in
one ofthe sculptures that is interesting to you and describe it for the class-ask the artist how
they did it. And an example where a paper sculpture is very different when viewed from
different places. Share your challenges in creating balance in mobiles and sculpture: what did
you need to do create balance? How is your mobile formally or informally balanced
(symmetrical/asymmetrical)? How is your sculpture formally or informally balanced
(symmetrical/asymmetrical) ?
Student: Participates in critique.
Embedded Assessment: Criteria-based critique
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
Vocabula
Arts-Infused:
balance, observation process
Materials
Museum:
TAM:
Nancy Mee Hanging Healing;
Visual Art:
2-D, 3-D, abstraction, balance
point, formal and informal
balance, mobile, point of view
sculpture
Math:
asymmeby, symmeby
Science:
balance, balance point, beam,
counterweight, mobile
Writing:
verbs
Dale Chihuly Sea Forms
SAM:
Eagle, 1971
Alexander Calder
2000.69
Fifteen Planes, 1957-1958
David Smith
74.1
WA Essential Learnin s & Frameworks
Essential Learnings
AEL 1.1 concepts: 2-D, 3-D, abstraction
AELJ.1.2 principles oforganization: balance, point of
view
AEL 1.2 skills and techniques: mobile construction,
paper construction
AEL 4.2 connections between arts and other content
areas: math, geometry, writing
MEL 1.4 probability and statistics. understands and
uses experiments to investigate uncertain events
MEL 2.3 constructs solutions. applies processes to
construct a solution
WEL 1.4 word choice: verbs
Bunyon's Chess, 1965
Mark di Suvero
T2004.104 (on loan)
SEL 2.1 plinciples ofSCientific inquiry: implement
sdentificinvestigations
Baja Krishna, dancing, ca. 15th century
Indian
51.117
Arts State Frameworks
Grade 4: identifies and demonstrates symmetrical
and asymmetrical balance in three dimensional forms
Art: black or white tag board; scissors, hole
Math State Frameworks
Grade 4: determines what events are more likely,
less likely, or equally likely to happen given a model
punches, string, bamboo sticks, glue sticks
Writing State Frameworks
Grade 1: uses descriptive words
Grade 2: uses descriptive words
Grade 3: selects interesting and effective words from
various sources
Grade 4: uses specialized vocabulary in informational
writing
Science State Frameworks
Grades K-5: Wonder and ask questions about events
based on observations; create a simple physical
model
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
ARTS IMPACT INSTITUTE LESSON PLAN
VISUAL ARTS LESSON - Sculpture in Balance
ASSESSMENT WORKSHEET
Paper Construction Techniques
Balance
Abstraction
Total
7
Students
l.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
2l.
22.
23.
Total
Percentaqe
WRITING
VISUAL ART
VISUAL ART
Selects a
verb
describing
alteration
of paper
Chains, clips, crumples,
folds, knots, rolls,
andlor threads, etc.
(3+techniques)
In mobile In sculpture
Securely
suspends 3-D
forms
weighted
equally on
either side of
a balance
point
.
VISUAL
ART
Creates a
stable 3-D
form with
height, width
and depth
SCIENCE
AND
MATH
Creates a
balanced
physical
model
VISUAL
ART
Creates a
simplified or
exaggerated
anima If
human or
plant
.
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection:
Share your challenges in creating balance in mobiles and sculpture. What did you need to do create
balance?
How Is your mobile formally or informally balanced (symmetrical/asymmetrical)? How Is your sculpture
formally or informally balanced (symmetrical/asymmetrical)?
Thoughts about Learning:
Which prompts best communicated concepts? Which lesson dynamics helped or hindered learning?
Lesson Logistics:
Which classroom management techniques supported learning?
Teacher:
Date:
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
_
ARTS IMPACT INSTITUTE LESSON PLAN
VISUAL ARTS LESSON - Sculpture in Balance
STUDENT SELF-ASSESSMENT WORKSHEET
Paper Construction Techniques
Student
Name:
Balance
Abstraction
Total
7
WRITING
Selects a
verb
describing
alteration
of paper
VISUAL ART
Chains, clips, crumples,
folds, knots, rolls,
andlor threads, etc.
(3+techniques)
In mobile In sculpture
VISUAL ART
Securely
suspends 3-D
forms
weighted
equally on
either side of
a balance
point
VISUAL
ART
Creates a
stable 3-D
form with
height,
width and
depth
SCIENCE
AND MATH
Creates a
balanced
physical
model
Criteria-based Reflection Questions:
Self-Reflection:
Share your challenges in creating balance in mobiles and sculpture.
What did you need to do create balance?
How Is your mobile formally or informally balanced (symmetrical/asymmetrical)?
How is your sculpture formally or informally balanced (symmetrical/asymmetrical)?
Arts Impact Core 11 Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
VISUAL
ART
Creates a
simplified or
exaggerated
animal!
human or
plant
ARTS IMPACT FAMILY LETTER
VISUAL ARTS LESSON - Sculpture in Balance
Dear Family:
Your child participated in a series of sculpture lessons.
•
We talked about the differences between 2-D art and 3-D art, and identified examples of
many kinds of sculpture: sculpture that sits 011 the ground, floor or table; hangs from the wall or
ceiling, and moves or makes sound.
•
We explored altering paper and selected a verb that described what we did to paper: cut,
notched, curled, punched.
•
We talked about symmetry, asymmetry and balance in art, math and science.
•
We constructed a paper sculpture forms with height, width, and depth which we suspended
in a mobile: a system of balanced beams and objects. We created symmetrical mobiles
and/or asymmetrical mobiles.
•
We looked at Eagle by Alexander Calder and Sea Forms by Dale Chihuly. We talked
about how the artist took a real subject (animal/human/plant) and abstracted it through
simplification and/or exaggeration.
•
We constructed an abstract human/animal or plant paper sculpture in balance. We were sure
to counter-balance forms so that the sculpture was stable and did not tip over.
At home you could conduct a scientific, mathematical and visual arts process of creating a balanced
paper sculpture. You could make a: stabile-a sculpture with a stable base balanced on a surface with
moving parts like a mobile.
Enduring Understanding
Counter-weighting forms can create a balanced sculpture.
Arts Impact Core 11 Art-Infused Summer Institute - Visual Arts - Sculpture in Balance
T::;com;J school Distnd
Art ;Jnc/ M;Jth Lessons in the CI;J5s!oom
SECOND GRADE
Geometric Sense: Relqtionships and
Transformqtions
LINES OFSYMMETR Y IN MASKS
Repeats the same feature shapes and colors
on both sides of a line of symmetry.
?
PROBLEM TO SOLVE
How can understanding symmetry create facial features?
ENDURING UNDERSTANDING Repeating shapes and arrangement of parts on opposite sides of a
mid-line can create facial features and mask forms.
BRIEF DESCRIPTION OF PROJECT
Students create masks using understandings of symmetry.
VOCABULARY
Art
RESOURCES
TPS Art Prints: Portfolio Prints: Cultural Masks
Ancient Rome; Mask Prints Africani Seattle Art
Museum Guro, Antelope Mask 51.48; Bamana,
Lion Mask, 81.17.20
Art Materials: newsprint (preliminary drawing
paper), pencils, colored file folders (Alt:
construction paper), scissors, oil pastels (Alt:
crayons
• color
• facial features
• shapes
• line of
symmetry
• pattern
Math Resources: Color Tiles
TARGET LEARNINGS AND ASSESSMENT CRITERIA
Knowledge and skills: The student:
Math
• axis
• line of
symmetry
• pattern
EVIDENCE OF
LEARNING
Color Tiles
o repeats the same
pattern of shapes and
colors on both sides of a
line of symmetry
Masks
o repeats the same
TL: Makes a symmetrical design.
AC: Repeats the same pattern of shapes and colors with Color Tiles
on both sides of a line of symmetry.
feature shapes on both
sides of a facial line of
symmetry
TL: Makes a symmetrical mask.
AC: Repeats the same feature shapes and colors on both sides of a
line of symmetry.
o repeats the same colors
on both sides of a facial
line of symmetry
TL: Uses oil pastels techniques.
AC: Layers, strokes, or blends with oil pastels.
o uses an oil pastel
technique: layer, stroke,
blend
INSTRVCTIONAL STRATEGIES FOR TEACHERS AND STUDENTS
1. Teacher: Demonstrates creating an open symmetrical design on the overhead using overhead Color Tiles.
Draws a line of symmetry (axis) on the overhead with a vis-ii-vis pen, and then places Color Tiles on one side of the
line of symmetry. Copies the design on the other side of the line of symmetry. Prompts: First I'm going to draw a
vertical line on my paper (overhead). Next, I'm going to place a Color Tile on the right side of the paper, towards the
top. Then, I'm going to place another piece, and then two more. I'm going to leave some open space. What will I
need to do to make my design symmetrical? (make it the same on both sides) Besides where I place the tile, what
else will I have to think about repeating? (colors)
Student: Observes teacher modeling.
2. Teacher: Gives students Color Tiles and guides them to create their own symmetrical design.
Student: Creates a symmetrical design matching spacing and color. Starts again and copies someone else's
design. (replicates seat partner's design) Embedded Assessment: Criteria-based assessment: peer assessment
3. Teacher: Introduces Roman, Bronze Maskand African masks. Prompts: What are the similarities between
these masks? (they both have eyes, nose and mouth) IfI drew a line down the center, what is the same on both
sides? What do we call this in math? In art? (symmetry)
Student: Responds by analyzing masks.
4. Teacher: Brainstorms with students for a list of familiar animals. (birds, temperate rainforest animals,
animals local to the Northwest region) Prompts: Select an animal and identify the unique attributes/special features for
your animal. (horns, big eyes, beak, etc. using classroom or library resources)
Student: Adds to a brainstorming list of animals and associated animal attributes.
5. Teacher: Models making a preliminary drawing of a head shape and placing features on a fold before
constructing a mask. Suggests students work first on preliminary paper (newsprint), then use colored file folders.
Prompt: As you draw your mask, check to see ifyou have the same features on both sides of the line ofsymmetry.
Check to see if the shapes of the features are the same. Embedded Assessment: Criteria-based assessment: teacher
checklist
Student: Plans, draws, and cuts a shape for the animal's head, then folds the paper in half to create a line of
symmetry. Unfolds the mask and draws shapes for the eyes, nose, and mouth. Cuts eyes while paper is
unfolded.
6. Teacher: Models making mask 3D and adding color
features to both sides of the mask using oil pastels.
Demonstrates adding color with oil pastel techniques.
Demonstrates making the mask in 3-dimensions by creating
head ring from paper strips and slitting, cupping, and taping
the top and bottom of the mask, or folding into a wedge.
Prompts: Be sure to repeat the colors as well as the shapes
ofeach feature on both sides of the axis line. Embedded
Assessment: Criteria-based assessment: teacher checklist
Student: Adds color to mask with oil pastels.
Geometric Sense: Relationships and
Tra nsformations
• Identifies and makes symmetrical figures
• Identifies line of symmetry
Working with a partner, makes a
horizontal, symmetrical design with
nonobjective content (design content)
using die-cut shapes.
ESSENTIAL LEARNINGS
EVERYDAY CONNECTIONS
Home / Community References:
symmetry in facial features, leaves, insects, trees
;
Oil Pastel Techniques: Layering. placing
marks over other marks; Strokes. placing
individual marks next to each other in same
and different directions. Blending. using a
finger or cloth to blend colors together.
TACOMA PUBLIC SCHOOL DISTRICT
MATH AND ART CURRICULUM
LESSON EXPANSION
Second Grade - Lines ofSymmetry in Masks
ARTSWDIOTIP:
:
AEL 1.1 concepts: symmetry, shape
AEL 1.2 skills and techniques: oil pastels:
layers, strokes, blends
AEL 1.3: art from various cultures: European
and African masks
AEL 2.3 applies a responding process: analysis
MEL 1.3 geometric sense: symmetry, shape,
similarity
Tqcomq 5chool Distnd Art qn4 Mqth Lessons in the Clqssroom
SECOND GRADE - LINES OFSYMMETRY IN MASKS
Target Learnings and Assessment Criteria
Knowledge and skills:
The student:
TL: Makes a symmetrical design.
AC: Repeats the same pattern of shapes and colors with Color Tiles on both sides of a line of
symmetry,
TL: Makes a symmetrical mask.
AC: Repeats the same feature shapes and colors on both sides of a line of symmetry.
TL: Uses oil pastels techniques.
AC: Layers, strokes, or blends with oil pastels,
ASSESSM ENTS CH ECI<L1ST
Checklist: Total Points: 4
Student
repeats the same
pattern of shapes
and colors on
both sides of a
line of symmetry
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
Total
Percentaqe
Mean
Median
Teacher Comments:
Techniques
Symmetry
repeats the same feature
shapes on both sides of a
facial line of symmetry
repeats the same
colors on both
sides of a facial line
of symmetry
uses on
oil pastel
technique:
layers,
strokes,
blends
Total
Points
1-4
Tqcom4 Public School Disttict
Art 4nc/ M4th Lessons in the cI4ssroom
Tell Me About Your Art Cinc/ MCith/
Dear Second
Gr'lde P'lrents:
Today we studied math and art together. We looked for symmetry in masks from more than one
culture.
o Looking and Tqlking:
We looked at a Roman mask, a Bronze Mask, and an African
mask. The African mask is from one of our Puget Sound art museums, Seattle Art Museum.
8 Using Geometric Sense: We used Color Tiles to create an open symmetrical design. We
created a design on one side of the line of symmetry, and then repeated it on the other
side of the line of symmetry. We swapped designs with a classmate to see if we could
repeat their designs.
@)
Mqking Art: We made masks, but focused on creating symmetry. We made a
preliminary drawing of a head shape and then placed features on both sides of a line of
symmetry. We repeated the features on the other side. We added color features to both
sides of the mask using oil pastels and oil pastel techniques: using strokes, layering,
and blending.
Art Cinc/ MCith Cit Home
Together:
You could draw a line of symmetry on a plain piece of paper and
place any two like-household objects on the paper.
Place them vertically on each side of a line of symmetry, then do it again horizontally.
Questions to qsk:
Where do you see symmetry in masks?
How does symmetry help to organize space?
Repeqting shqpes qnc! q/"tqngement ofpqrts on opposite skies orq mkl-/ine
Cqn cf'eqte !i;ciq/ feqttlf'es qnc! mqsk forms.