Enumclaw School District - Th .. ,u GRADE ARTS CURRICULUM
Visual Art
September - October
Art Focus Lesson la:
Color
Mixing/Fantastic
Shapes in Painting
Sample Target Learning
Assessment Criteria
Target: Paints a non-
AEL 1.1 concepts:
representational composition
of colored shapes.
warm and cool colors,
non-representational
art
Criteria: Creates shapes not
AEL 1.2 skills and
techniques: painting
related to representational
subjects.
September - October
Target: Identifies congruent
Art Infused Lesson Ib:
shapes/figures. Organizes and
repeats polygons in
composition for unity.
Congruency: Match
Shapes in
Composition
November - December
Art Focus Lesson 2a:
Depth through
Overlapping
Shapes
November - December
Math Standard
Art! Math
Vocabulary
N/A
Art:
Cool colors,
emphasis/dominance,
non-representational art,
primary colors,
secondary colors,
tertiary colors, warm
colors
to an edge/line,
watercolor painting
AEL 1.1
concepts:
shape, warm/cool
color palette,
unity, repetition
4.3.A: Determine
Art:
congruence of
two-dimensional
figures.
composition,
palette, repetition,
template, unity,
warm/cool color
Enduring Understanding
Opposing colors on the color
wheel (warm vs. cool) can draw
attention to each other when
placed together in a composition.
Repetition of congruent
shapes/figures and warm or cool
color palette can create unity in a
composiHon.
Criteria: Traces around
straight-sided shapes; repeats
at least one shape/figure
mU'ltiple times for
congruency.
AEL 1.2 skills
and
techniques:
AEL 1.1 concepts:
depth through foreground
and background.
organic shapes,
overlapping, depth
Criteria: Overlaps
foreground on top of
background shapes in
composition.
Art:
N/A
background, depth,
foreground, organic
shape, overlapping,
viscosity
Spatial depth can be suggested
by overlapping shapes.
overlapping for depth
AEL 1.1 concepts:
area. Enlarges an image.
length, size
matches shapes to fill a page
and overilaps shapes where
appropriate.
shape,
flip/reflection,
congruence,
polygon
AEL 1.1.2
principles of
organization:
Target: Estimates length and
Criteria: Increases size and
Math:
drawing/painting
Target: Expresses relative
Art Infused Lesson 2b:
Measurement and
Enlarging
Art Standard
2.3.A: Identify
objects that represent
or approximate
standard units and
use them to measure
length.
AEL 1.2 skills and
techniques: selects
a painting tool,
painting techniques
Art:
acrylic, apprOXimation,
enlarge, palette
IMath:
Using math estimation,
measurement, and multiplication,
and repeating the shape can
enlarge an object.
area, estimate, ~ength,
size multiplication
I
AEL 2.3 applies a
creative process:
gathers information
I'
8
ARTS IMPACT INSTITUTE ESSON PLAN
Core Program Year 1 Arts Foundations
VISUAL ARTS LESSON - Color Mixing/Fantastic Shapes in Painting
Artist-Mentor: Beverly Harding Buehler - Grade Levels: K - Second Grade: Third -Fifth Grade
Examples:
Enduring Understanding
Opposing calms on the color wheel (warm vs. cool) can draw attention to each other when placed
together in a composition.
Target: Fills a color wheel, ordering the colors: red-orange-yellow-green-blue-violet.
Criteria: On pre-drawn color wheel template (Grades K-2=6 sections; Grades 3-5=12 sections)
paints three primary colors (red-yellow-blue) in designated sections, mixes two primary colors
together to create secondary colors (orange-green-violet) and aligns on the color wheel, and
mixes (Grades 3-5) one primary and one secondary color together to create tertiary/
intermediate colors (red-violet/blue-violet red-orange/yellow-orange, yellow-green/blue-green).
Target: Paints a non-representational composition of colored shapes.
Criteria: Creates shapes not related to representational subjects.
Target: Juxtaposes warm and cool colors for emphasis.
Criteria: Paints selected shapes with warm color to emphasize, and paints rest of composition
with cool color(s).
Teaching and Learning Strategies
1. Shows a color wheel and explains relative placement of colors on the wheel.
Explains primary colors are those that cannot be mixed, and they are equidistant from
each other on the color wheel. Guides students in marking R, Y, B in appropriate places on
pre-drawn color wheel templates. Prompts: Primary means first or original. Primary colors are
those that cannot be mixed from other colors/ they are the original three colors from which all
other colors are made. On a color wheel, primary colors are placed equal distance from each
other (on a six-pie color wheel there is one section between each primary color. On a 12-pie
color wheel there are three sections between each primary color). Mark your empty color wheel
with the lettersl >-; R1 and B for yello~ reet blue-equal spaces apart.
Student: Labels each of the primary colors on the color wheel template.
Embedded Assessment: Criteria-based teacher checklist (room scan)
2. Demonstrates secondary colors achieved when two primary colors of paint are
mixed together. (Ways to demonstrate could include: mixing colors on paper in front of class,
mixing small containers of paint or dye on overhead, or overlaying colored acetate shapes on
the overhead). Guides students labeling secondary colors in their appropriate places on
the color wheel, and filling them in with paint. Prompts: Ifprimaly means first what does
secondary mean? Secondary colors are those that are made from mixing two primary colors.
What color do you get when you mix yellow and red? Red and blue? Yellow and blue? On the
color wheel, each secondary color is placed right in the middle between the two primary colors
from which it is made. So which two primary colors are positioned on either side oforange?
Alts Impact Core I - Alts Foundations Summer Institute - Visual Arts - Color Mixing
(red and yellow) Green? (blue and yellow) Violet? (red and blue). Labels secondary sections.
Mixes secondary colors and paints onto corresponding section ofcolor wheel diagram.
Embedded Assessment: Criteria-based self-assessment (using color wheel)
Grades 3-5 - See below.
3. Demonstrates mixing tertiary/intermediate colors (six) Prompts: Tertiary means
third, and tertiary colors (also called intermediate colors) are made from mixing a primary and a
secondary color together. A tertiary color is placed on the color wheel between the two colors
used to mix it, e.g. blue-violet is placed between blue (primary) and violet (secondary). We use
the word violet instead on purpose because when we mix intermediate colors, there is clear
difference between blue-violet and red-Violet, for example. Asks students to approximate colors
only since the print colors on the color wheel and the pigmented colors ofpaint are different.
Student: Mixes intermediate colors and paints consistently in corresponding sections of the color
wheel.
Embedded Assessment: Criteria-based self-assessment (using color wheel)
4. Shows color wheel divided in half to describe warm colors on one side and cool
colors on the other. Play new version of "Red Light, Green Light" to identify warm and cool
colors in the room. Prompts: There are lots of ways to describe color. One way is to describe its
"temperature. "Gesturing to warm colors: Where do you find these colors in nature? (sun, fire,
desert) These colors are called warm colors. Gesturing to cool colors: What cool things in nature
have these colors? (water, ice, shady trees). Revised "Red Light, Green Light" game: Instead of
leader calling out the expected prompts, the leader calls out "warm color" or "cool color." When
the leaders calls out a "warm color" the students find and touch something with a warm color in
the room. Vice versa for "cool color." The last person to find something the appropriate color to
touch is "it" the next round.
Student: Identifies warm and cool colors in their environment.
Embedded Assessment: Criteria-based teacher checklist (room scan)
5. Guides students in analyzing art, looking for the ways warm and cool colors draw
attention to each other: TAM: Fay Jones, Body Fires, SAM: Jacob Lawrence, The Studio,
Native American, Tlingit, Yeihl Nax'in; Arshile Gorky, How My Mother's Embroidered Apron
Unfolds in My Life. Prompts: Where does your eye go first in this painting? Why do you think it
goes there first? Which colors seem to jump up at you? Which seem to move back? Warm
colors often seem to advance or come forward in a painting, and cool colors often seem to
recede. Can you find places in these paintings where this is true for you? When you place a
warm and a cool color right next to each other, they draw attention to each other and create an
area ofemphasis or dominance in the painting. Can you find a place in one of these paintings
that draws your attention-where the artists has placed warm and cool colors right next to each
other? (Remember that all people see color differently, so there may be different answers from
different classmates.)
Student: Participates in analysis of art.
Embedded Assessment: Criteria-based teacher checklist (room scan)
6. Defines non-representational art. Facilitates students making non-representational
paintings, juxtaposing warm and cool colors. Prompts: (looking at museum art-Gorky painting).
Can you find anything in this painting you recognize? Art in which the artist uses colors and
fantastic shapes that do NOT refer to anything in life is called nonrepresentational. ''Represent''
means to suggest something from life, so ''non-representationarmeans the opposite. We are
going to make non-representational paintings in which we will choose to emphasize certain
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Color Mixing
shapes by painting them with warm colors, and then surround them with cool colors. First
lightly sketch fantastic shapes, then paint.
Student: Makes non-representational sketch and then paints by juxtaposing warm and color
colors for emphasis.
7. Leads students through a critique process. Prompts: How did you give emphasis to one
ofyour most fantastic shapes? How did you select your cool color for the space around it? How
did you refine your painting before completing it?
Student: Discusses finished painting with classmates.
Embedded Assessment: Criteria-based teacher checklist; peer critique, reflection
Vocabula
Materials
Art: cool colors,
emphasis/
dominance, nonrepresentational art,
primary colors,
secondary colors,
tertiary colors, warm
colors
Museum: IA!'1: Fay Jones, Body Fires, SAM: Jacob
Lawrence, The StUdiO; Native American, T1inglt, Yeihl Nax7n
Art: pencils, watercolor paint, small and medium round
brushes, flat brushes, small wash brushes for watercolor,
watercolor paper 9x12 in. for color wheels, 6x9 in. for study
paintings
Classroom: color wheel poster, individual color wheels,
color wheel templates rulers
WA Essential Learnings & Frameworks
AEl 1.1 concepts: warm and cool colors, nonrepresentational art
AEl1.1.2 principles oforganization:
emphasis/dominance
AEL 1.2 skills and techniques: painting to an
edge/line, watercolor painting
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Color Mixing
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ARTS IMPACT IN5IITUT..uESSQfU.LA~
VISUAL ARTS LESSON - Color Mixing/Fantastic Shapes in Painting
PERSONAL ASSESSMENT WORKSHEET
Student
Correctly
labels
and
paints 3
primary
colors
Color Theo y
Correctly labels
Correctly labels
and mixes 3
and mixes 6
secondary
tertiary colors,
colors,
approximates
color wheel
approximates
(Grades 3-5)
color wheel
Comoosition and Emphasis/Dominance
Creates nonPaints selected
Fills
representational
shapes (for
background
composition
emphasis) with
with cool colors
warm colors
Total
5/6
Criteria-based Reflection Questions:
Self-Reflection:
Which colors were the greatest challenges to mix? What techniques did you develop to mix
colors?
How did you choose which shapes to emphasis?
Peer to Peer: Which shapes seem to be emphasized or dominant in a classmate's painting?
Name:
Date:
Arts Impact Core 1- Arts Foundations Summer Institute - Visual Arts - C%r Mixing
_
ARTS IMPACT INSTlTUTE ESSON PLAN
VISUAL ARTS LESSON - Color Mixing/Fantastic Shapes in Painting
ASSESSMENT WORKSHEET
Students
Correctly
labels
and
paints 3
primary
colors
Color Theoy
Correctly labels
Correctly labels
and mixes 3
and mixes 6
secondary
tertiary colors,
approximates
colors,
approximates
color wheel
(Grades 3-5)
color wheel
Composition and Emphasis/Dominance
Creates nonPaints selected
Fills
representationa I
shapes (for
background
composition
emphasis) with
with cool colors
warm colors
Total
5/6
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.
27.
28.
Total
Percentaoe
"
.
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection:
Which colors were the greatest challenges to mix? What techniques did you develop to mix
colors?
How did you choose which shapes to emphasis?
Peer to Peer: Which shapes seem to be emphasized or dominant in a classmate's painting?
Thoughts about Learning:
What prompts best communicated concepts? Were there any lesson dynamics that helped or hindered
learning?
Lesson Logistics:
What classroom management techniques supported student learning?
Teacher:
Date:
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Color Mixing
_
ARTS IMPAC! FAMILY
~USUAL
DT~ER=-=--
_
ARTS LESSON - Color Mixing/Fantastic Shapes in Painting
Dear Family:
Today your child participated in a visual art lesson. We learned about color mixing by creating a color
wheel. Then we painted a non-representational composition. Non-representation means the
painting doesn't refer to any subject in life, so the shapes and colors come from our imaginations.
•
We made a color wheel, and painted the sections with three primary colors (red, blue, yellow)
and three secondary colors (orange, green, Violet). Tertiary colors are intermediate colors
that can be created by mixing a primary and a secondary color together: red-orange and yellow
orange, yellow-green and blue-green, and red-violet and blue-violet.
•
We talked about how the color wheel shows us the warm colors grouped together on one side
and the cool colors grouped together on the opposite side. Warm colors are warm by
association with warm objects (fire, sun, desert); cool colors are cool by association with cool
objects (ocean, forests, ice).
•
We learned that warm colors often seem to come forward in a painting and that cool colors
seem to go back (recede). Artists can draw our attention to certain areas in their compositions
by placing warm colors right next to cool colors.
At home you could talk about all the different colors you used to decorate. Are they warm or cool
colors? Primary colors? Secondary colors? How do you draw attention to certain parts of your home
with colors?
Enduring Understanding
Warm and cool colors placed next to each other
can draw our attention and create an area of emphasis.
Alts Impact Core 1- Alts Foundations Summer Institute - Visual Alts - Color Mixing
.Primary and Secondary Color wheetJemgl,iUg
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Color Mixing
Prinlary, Secondary and Intermediate/Tertiary Color wheel Template
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Color Mixing
ARTS IMPACT-ARTS-INFUSED IN.SIITIJIE LESSON PLAN (YR2-AEMDD)
LESSON filE: Congruency: Match Shapes in Compositions
Visual Art and Math Lesson
Artist-Mentor - Meredith Essex
Grade Level:
Third Grade
Enduring Understanding
Repetition of congruent shapes/figures and a warm or cool color palette can create unity in a
composition.
Geometry Search Journal:
Target: Identifies congruent shapes/figures.
Criteria: Identifies and/or records repeated shapeslfigures: same shapelfigure, same size.
Target: Makes/Uses templates.
Criteria: Draws math shapes/figures.
Target: Organizes and repeats polygons in composition for unity.
Criteria: Traces around straight-sided shapes; repeats at least one shapelfigure multiple times
for congruency.
Target: Selects a warm or cool palette.
Criteria: Applies colors only from the blue/green/Violet or red/orange/yellow half of the color
wheel.
Geometry Search Journal:
Target: Recognizes congruent shapes/figures in the work of others.
Criteria: Identifies and records where same shape/figure, same size is used in peer's art.
Teaching and Learning Strategies
Introduction to Arts-Infused Concepts through Classroom Activities:
Arts-Infused Conce'pt: Congruent ShaRes
o
Find and record congruent shapes/figures in the classroom environment.
1. Introduces/reviews concept of congruency of shapes/figures. Prompts: This is a lesson that
is a visual art lesson and a math lesson at the same time. Repetition ofshapes/figures can create unity
in an art composition-it can hold a picture together Visually (unite it!) What is the math name for
repeated shapes/figures that are the same size and shape/figure? Congruent! Introduces Writing
Lessons by Dennis Evans: Prompts: Identify congruent shapes/figures in this art and record
matching shapes/figures in your Geometry Search Journal. What effect does the repetition of
Third Grade-Visual Art and Math-Congruency: Match Shapes in Compositions
6-1
shapes/figures have in this art? What ifevety single shape/figure was different? What math
understanding does the artist use?
Student: Analyzes art and records shapes/figures in Geometry Search Journal. Checks for accuracy by
comparing notes with partner.
Embedded Assessment: Criteria-based peer critique
2 .Demonstrates creating OR using shape/figure templates to use in composition. Prompts:
Yourjob is to use your math kit shape template OR cut a polygon template from tag-board
in halfto make two polygons. You can shareyour polygons with your neighbors so you have a
group ofstraight-sided shapes with which to work.
Student: Observes demonstration.
3. Introduces/reviews warm and cool color using a color wheel. Prompts: What colors are cool
colors, and what colors are warm colors? Think wate~ forest, ice for cool. ..desert, sun and fire for
warm colors. I am selecting pencils first that I will be using (you will be showing the teacher that they
all match the warm or cool side ofthe color wheelj. I am going to choose either warm or cool colors for
my whole composition: I choose cool colors for my art So 1177 looking for the blues, greens, and violets
for my palette. I am tracing around each ofmy shapes/figures, but. .. .I need to ha've some repetition
to help hold my composition together. I am going to trace at least one ofmy shapes/figures multiple
times. I can point them in different directions or flip them, but they will still be congruent. Ifyou have
space, and want to repeat another shape/figure, making them congruent, feel free to do that. Notice as
I trace my shapes/figures, I am thinking about their placement. I want to fill up the space, but not
overlap my shapes/figures. Same shape/figure-same size! They're congruent!
Now that my whole composition is filled with outlines ofshapes, and I have checked to makes sure that
some are congruent, I can create patterns ofcolor or shape, light and dark values, or solid color inside
ofall my shapes/figures until they are all filled with color. I am overlapping color in strokes ofdifferent
direction and experimenting with other effects while sticking with my cool palette ofpencils.
Student: Observes demonstration.
4. Guides creative process. Prompts: Don't forget to check to make sure you have at least
two shapes/figures that are the same size and have the same sides that are the same
length. Check in too, with a partner and your teacher on pencil/palette choice-is it warm or cool?
Once you have all ofyour shapes drawn, point the congruent shapes/figures in your composition.
Student: Creates art.
Embedded Assessment: Criteria-based self-assessment.
5. Demonstrates and guides technique possibilities for using water soluble colored pencils.
Prompts: Once I have completely filed in all ofmy shapes and checked for congruency, I am going to
use the water color pencil. Now I am carefully adding a small amount of water using a barely wet,
small brush-I can create brush effects, extend the color or blend it. am being very thoughtful
and careful to enhance, not distort my shapes. I can also dab away excess water on my brush or
paper with a paper towel. It is vety important that my shapes/figures are still clear in my composition,
so I am not brushing away my shape/figure outlines.
Student: Observes demonstration and creates watercolor effects.
r
6. Facilitates criteria-based reflection: Displays art on the board. Prompts: Hnd a work ofart (of a
classmate) and identify the congruent shapes/figures in their art. Note the artist and record
properties/attributes-number ofsides and length ofsides/name ofmatching shapes/figures in your
Third Grade-Visual Art and Math-Congruency: Match Shapes in Compositions
6-1
Geometry Search Journal. What effect does the repetition ofshapes/figures and a warm or cool color
palette have in the art?
Student: Participates in critique.
Embedded Assessment: Criteria-based class critique; criteria-based peer assessment
BEFORE next VISUAL ART lesson:
Math Centers
1. Cut out a picture with congruent math polygon shapes/figures from a magazine or other
printed material (buildings with repeated congruent window shapes/figures; fabrics with
repeated polygon shapes/figures) and glue into Geometry Search Journal. Label the
congruent shapes/figures found with their properties/attributes: number of sides, etc.).
Switch with a neighbor and see if any are missed!
2. Draw an animal using math shape/figure templates or by tracing around pattern blocks.
Try making an animal where there is only one pair of congruent shapes/figures, try making
another that is illl congruent shapes/figures. Ask a classmate to identify the polygon
shape/figure that helped to create the animal.
Independent Practice: Congruent-same shape-same size! Count the sides to check!
Vocabulary
~:
composition
palette
repetition
template
unity
warm/cool color
water soluble colored
pencils
Arts Infused:
shape
Math:
congruence
flip/reflection
01 on
Materials and Communi
Resource
Museum Artworks:
TAM: Dennis Evans, Writing Lessons, 2002
color wheels
Art Materials:
Geometry Search Journals
water soluble colored pendIs
tag board scraps pre-cut in small polygon shapes OR
shape templates from math kits
watercolor paper: 7 x 9 in.
scissors
WA Essential Learnin s & Frameworks
AEL 1.1 concepts: shape, warmlcool color palette,
unity, repetition
AEL 1.2 skills and techniques: drawing/painting
AEL 4.2 connections between arts and other content
areas: geometry: congruent shapes
Math State Frameworks
Grade 4: describes and compares congruent 20
figures; draws a shape that Is congruent to a given
20 shape
Grade 4: solves problems Involving congruence
creates a design made out of congruent shapes
paper towels
small nylon brushes
water containers
Grade 5: draws congruent figures and shapes In
multiple orientations using a transformation
Third Grade-Visua/ Art and Math-Congruency: Match Shapes in CompOSItions
6-1
ARTS IMPACT-ARTS-WFUSED INSTITUTE LESSOfi eLAN (Y.RZ-AEMJ2W
LESSON mLE: Congruency: Match Shapes in Compositions
ASSESSMENT WORKSHEET
Identifies and
records repeated
shapes/figures:
same
shape/figure,
same size in
(TAM) art
Student
ART
Palette: Warm/Cool
ART AND MATH
SHAPE: Congruent
Disciplines
Concept
Draws
math
shapes/
figures
Traces around
straight-sided
shapes; repeats at
least one
shape/figure
multiple times for
congruency.
Applies colors only
from the
blue/green/violet or
red/orangefyellow
half of the color
wheel
ART AND MATH
SHAPE:
Conqruent
Identifies and
records where
same
shape/figure,
same size is used
in peer's art
Total
5
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
ll.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
Total
Percentaqe
.
.
Criteria-based Reflection Questions: (l\Jote examples of student reflections.)
Self-Reflection: What effect does the repetition ofshapes/figures and c%r palette have in
this art? Where is the math congruency in the art?
Peer to Peer: Check in with a partner on pencil/pa/ette choice-is it warm or cool? Look at a
classmate's art and identify the congruent shapes. Record properties/attributes and names of
matching shapes/figures in Geometry Search Journal.
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:
Third Grade-Visual Art and Math-Congruency: Match Shapes in Compositions
6-1
_
ARTS IMPACT-ARIS-INFUS DARNING EAMILY LETT R
_
VISUAL ART AND MATH - Congruency - Match Shapes in Compositions!
Dear Family:
Today your child participated in a visual art and math lesson.
We identified congruent shapes/figures in Writing Lessons, a work of art by Dennis Evans.
•
We talked about and recorded where (the same shape/figure: number and length of sides and
size) congruent shapes/figures are seen in art.
•
We used shape/figure templates to trace shapes on small pieces of watercolor paper.
•
We organized and repeated shapes/figures in composition for unity-we repeated at least
two of the same shapes/figures to make them congruent.
•
We selected and used a cool color palette-blue/violet/green or warm or a warm color
palette-yellow/orange/red to also unify our composition. We applied color using water-
soluble colored pencils.
You could make art using congruent shapes/figures by tracing around simple objects multiple times.
You could also hide congruent shapes/figures in complex compositions with many, many shapes/figures
and challenge others to find them.
Enduring Understanding
Repetition of congruent shapes/figures and a warm or cool color palette
can create unity in a composition.
Third Grade-Visual Art and Math-Congruency: Match Shapes in Compositions
6-1
AR.TS IMPACT INSTIJ....u.IE..LESSOr:t.eLAN
Core Program Year 1 Arts Foundations
VISUAL ARTS LESSON - Depth through Overlapping Shapes
Artist-Mentor: Beverly Harding Buehler
Grade Levels: Second - Fifth Grade
Examples:
Enduring Understanding
Spatial depth can be suggested by overlapping shapes.
Target: Recognizes and makes organic shapes in a composition.
Criteria: Creates irregular shapes, such as those found in nature.
Target: Expresses relative depth through foreground and background.
Criteria: Overlaps foreground on top of background shapes in composition.
Target: Uses open composition.
Criteria: Extends some shapes shown as cut off beyond edge of the picture.
Target: Makes resist painting.
Criteria: Fills picture plane with color, paints black wash over oil pastel, leaVing black lines.
Teaching and Learning Strategies
Session One
1. Introduces concept of shape as a line that meets itself, an object with an inside
and an outside. Prompts: A line that comes all the way back to meet itself is called a shape.
No matter how many wiggles or bends the line takes as it travels, if it comes back to meet
itself, it makes a shape. Every shape has an ins/de and an outside. Defines organic shapes
as irregular shapes, such as those found in nature. Some shapes have names we learn in
math: circle, square, rectangle. No matter how big or small you make them, they are made the
same way each time according to certain regular rules. Draws an organic shape. What is the
name for this shape? That's right! It doesn't have one. Irregular shapes like this one are called
organic shapes. Where might you find something with a shape like this? (I\lature, outside in a
leaf, in water). Make some organic shapes with your piece ofstring.
Student: Makes closed shapes with 18 in. piece of string.
Embedded Assessment: Criteria-based teacher checklist-room scan.
2. Introduces examples of organic shapes seen in TAM and SAM
collections/exhibitions through transparencies: TAM: Thomas Hart Benton, Still Life;
SAM: I\luxalk, Sinxolatla; Islamic, The Conqueror at the Gate ofa City; John La Farge, Peonies in
the Wind with Kakemono Borders and asks students to identify organic shapes in the art.
Student: Traces and counts organic shapes in the art with their fingers.
Embedded Assessment: Criteria-based teacher checklist-room scan.
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Depth Through Overlapping Shapes
3. Defines foreground and background. Prompts: Which things in the art seem closest to
us? Which things seem further away? Objects that look close to us in art are in the foreground.
Things that look far away in art are in the background.
Student: Points out objects that appear in the foreground vs. the background.
Embedded Assessment: Criteria-based teacher checklist-room scan.
4. Demonstrates overlapping as a way to imply depth in a painting. Prompts: What did
the artists do to make some of the images seem to be in the foreground and others in the
background? When something in the foreground partly covers up something in the background,
we call it overlapping. Where have the artists used overlapping to suggest depth in the art?
Student: Reflects on methods artists use to imply depth. Points out examples of overlapping in
the art (or if teacher made stencils of some of the primary shapes in the art, students could
place foreground shapes in one pile and background in another).
Embedded Assessment: Criteria-based peer assessment
5. Looks for examples of overlapping in classroom. Prompts: Look around the classroom.
What makes some things look closer to you and others seem further away? Ifyou could take a
picture ofour classroom from where you are standing, which objects or people would overlap?
Student: Brainstorms from personal experience.
6. Brainstorms with class for garden shapes. Prompts: We are going to make a garden
picture today with giant plants as though we were seeing them from the perspective ofan
inchworm. What kinds oforganic shapes can you see in a garden? What would they look like to
an inchworm?
Student: Brainstorms shape ideas either using words to describe or drawing organic shapes on
the board or overhead.
7. Demonstrates drawing and cutting out organic shapes. Prompts: First were going to
draw and then cut out organic shapes. Let's make fantasy gardens. Draw the craziest plant
shapes you can image, and then choose your three favorite ones to cut out. We'll trace our own
shapes and borrow each others' to make a full garden. To make your shape as big as you can,
draw it at least as big as your hand.
Student: Draws and cuts out three organic shapes.
Embedded Assessment: Criteria-based self-assessment
8. Demonstrates tracing shapes, overlapping some with others. Defines open
composition. Prompts: In order to make our gardens look like the inchworm's world, we have to
fill up all the space on the page. You can trace your shapes several times, and borrow other
shapes at your table too. Make sure shapes are touching all four sides of the paper, and some
even go off the edge of the paper. When a picture seems to go offthe edge ofa page it is
called an open composition. One way to make an open composition is to trace some ofyour
shapes only part way onto the page. Try placing some shapes coming in from the top or sides,
notjust the bottom, for variety. To give your garden a foreground and a background,' overlap
some ofyour shapes with others. Trace a whole shape on top ofanother, and then erase the
chalk line (with a wet finger or piece ofa damp sponge) where you don't want it.
Student: Traces shapes, overlapping some with others, and creates an open composition.
Embedded Assessment: Criteria-based self-assessment
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Depth Through Overlapping Shapes
Session Two
1. Demonstrates filling in shapes and negative spaces with color. Prompts: Now were
going to fill in the inchworm's garden with color. Cover the whole paper with colot; except
around your chalk lines. Don't color over the chalk lines, and leave a little bit of extra space
around them. (If time allows, for an extra challenge, students can make patterns inside their
shapes for added visual interest, e.g. polka dots, diamonds, or stripes on the leaves). Press
down hard with the Cray-pas so that the color is really thick.
2. Demonstrates lightly brushing black tempera paint over the whole composition.
Prompts: Were going to finish our garden paintings by gently painting black over the whole
page. The black paint won't stick to the Cray-pas, so it will only leave black where our chalk
lines were drawn. (NOTE: It is very important to experiment with the thickness (viscosity) ofthe
paint on a small Cray-pas drawing ofyour own before giving it to the children to paint It should
be approximately the thickness of 2% milk. If It is too thick it will obliterate the oil pastel
drawing. If it is too thin, it will not make rich black lines. Before applying the paint, have
children lightly brush off their chalk lines. Apply the paint gently with a soft wide brush.)
Student: Lightly brushes black paint over the whole composition.
3. Facilitates peer critique discussion. Prompts: Were going to visit each other's gardens
now, looking for two things 1) In your neighbor's garden, go for a hunt for organic shapes.
Which are the most interesting? Why do you think so? In upper grades, students may also be
encouraged to look for organic shapes in the negative as well as positive spaces. Also let your
inchworm eyes find overlapping shapes. Which shapes are in the foreground and which are in
the background? How can you tell?
Students: In pairs, identifies organic shapes and foreground and background, through
overlapping.
Embedded Assessment: Criteria-based peer critique, reviewing organic shapes and overlapping
to create depth.
Vocabula
Materials
WA Essential Learnin s & Frameworks
Ad: background,
Museum: TAM: Thomas Hart Benton, Still Life; SAM:
depth, foreground,
organic shape,
overlapping,
viscosity
Nuxalk, Sinxolatla; Islamic, The Conqueror at the
Gate ofa Oty; John La Farge, Peonies in the Wind
with Kakemono Borders
Art: terracotta-toned paper (Canson Mi-Telntes),
white chalk, Cray-pas, black tempera paint, brushes,
pencils file folders scissors
AEL 1.1 concepts: organic shapes, overlapping,
depth
AEL 1.1.2 principles oforganization: overlapping for
depth
AEL 2.1 applies creative process: organization
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Depth Through Overlapping Shapes
ARTS IMPACT II.§IITUTE LESSON PLAo:.:,N
_
VISUAL ARTS LESSON - Depth through Overlapping Shapes
PERSONAL ASSESSMENT WORKSHEET
Organic Shape
Student
Creates
irregular
shapes, such
as those
found in
nature
Overlapping
for Depth
overlaps
foreground
on top of
background
shapes in
composition
Composition
Makes open composition
(shapes touch all four sides
and appear to extend
beyond boundaries)
Technique
Fills picture
plane with color
Total
5
Makes resist
painting by
covering oil
pastel with black
paint
Criteria-based Reflection Questions:
Self-Reflection:
Are your shapes all organic (irregular) shapes? Where do some shapes overlap others? Why is
your composition an open composition?
Peer to Peer: Where do you feel the overlap is most interesting in a classmate's art?
Name:
Date:
_
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Depth Through Overlapping Shapes
AB.TS IMPACT INSTITJ,JT.E LESSON
_
~=~N.:--
VISUAL ARTS LESSON - Depth through Overlapping Shapes
ASSESSMENT WORKSHEET
Organic Shape
Students
Creates
irregular
shapes, such
as those
found in
nature
Overlapping
for Death
overlaps
foreground
on top of
background
shapes in
composition
Composition
Makes open composition
(shapes touch all four sides
and appear to extend
beyond boundaries)
Technique
Fills picture
plane with color
Total
5
Makes resist
painting by
covering oil
pastel with black
paint
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.
27.
28.
29.
Total
Percentaqe
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection:
Are your shapes all organic (irregular) shapes? Where do some shapes overlap others? Why is
your composition an open composition?
Peer to Peer: Where do you feel the overlap is most interesting in a classmate's art?
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 I - Arts Foundations Summer Institute - Visual Arts - Depth Through Overlapping Shapes
_
ARTS IMPACT FAf!1ILY E.JT.:.lER:.:...-
_
VISUAL ARTS LESSON - Depth through Overlapping Shapes
Dear Family:
Today your child participated in a visual arts lesson. We talked about organic shapes and
overlapping.
•
We made organic shapes (an irregular shape, such as those found in nature), first out of string,
then by drawing and cutting out shapes.
•
We overlapped the organic shapes to suggest depth in our pictures of fantasy gardens (seen
huge from the perspective of an inchworm).
•
We learned the words foreground for the space in a picture where things appear dose to us,
and background for the space in the picture where things seem further away from us.
OutSide, you could go on an organic shape hunt, looking for and sketching (maybe with sidewalk
chalk!) the most detailed or exciting organic shapes you can find. Explore the ways overlapping shapes
tell our eyes what seems close to us and what is far away in a room, on a city street, in the far
distance. You could ask your child to point out the foreground and background in family photos and
magazine pictures.
Enduring Understanding
Spatial depth can be suggested by overlapping shapes.
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Depth Through Overlapping Shapes
ARTS IMPACT
SUMMER SCHOOL
IVlATHjVISUAL ART LESSON - THIRD GRADE
Measurement and Enlarging
Artist-Mentor: Meredith Essex; Teacher: Rachal Marcus
Enlarges an image
by increasing size and matching shapes.
Problem to Solve: How is an object enlarged?
Understanding: Using math estimation, measurement, and multiplication, and repeating the
shape can enlarge an object.
Brief Description of Task/Project
Students estimate the length and area of a resource from nature, and then enlarge it.
Target Learning and Assessment Strategies
Evidence of Student
Knowledge and skills: The student:
Learning
Target: Estimates length and area.
painting
Criteria: Voices a calculation on the distance end-to-end and
occupied space based on use of math measurement tools.
Target: Enlarges an image.
Criteria: Increases size and matches shapes to fill a page and overlaps shapes where appropriate.
Target: Selects a brush size for painting.
Criteria: Selects multiple brushes that allow painting small areas with small strokes, and large areas with full
strokes.
Instructional Strategies for the Teacher and Student
1. Teacher: Introduces Georgia O'Keeffe, White Trumpet Flower. Prompts: Has anyone ever seen a flower like this one?
How big do you think this flower was when Georgia OKeeffe first saw it? Why do you think the artist made this flower so large?
Introduces a real White Trumpet flower (Alt: Morning Glories or similar flower) for comparison with the painting.
Student: Estimates the size of the flower in length and area by showing with hand-spread. Justifies the reasonableness of
their estimate. Compares the actual flower with the painting. Embedded Assessment: Criteria-based teacher checklist
2. Teacher: Introduces a variety (as few as 6 garden flowers will be sufficient, including any contributions by parents) of live
flowers in a range of sizes. Distributes the flowers in single stem vases for observation and group table work. Prompts: Look at
your flowers. How would you describe the size ofyour flower as compared to others? Let's enlarge our flowers. J7I stalt by making
a simple drawing ofthe lines and shapes which form the flower I have chosen on 4 x 4 in. papel: I want to fill up my small page.
Estimate how many times bigger J will need to make my flower drawing to fill the 12 x 12 in. paper, which WIll become my final
painting? Be ready to justify your conclusions. Write your answers and let's compare. What is your estimate? I estimate J will need
to make It at least three times bigger. Will it fill my paper?
Student: Makes contour drawing of flower on 4 x4 in. paper. Estimates and justifies reasonableness of length and area
estimate.
3. Teacher: Guides students to begin their own estimating process for enlargement. Prompts: Now it's your turn to
estimate and enlarge. How will you estimate? What math tools could you use? (standard or nonstandard measurements) You
could use the tip ofyour penCIl or a ruler. It's four inches in length and we want to make it three times as big. What should we do?
(multiply 3 x 4 in.)
Student: Uses nonstandard or standard measurement tools for initial approximate measurement, then multiplies to plan
for enlargement of flower drawing.
4. Teacher: Models enlarging a flower. Prompts: Measure the length of the flower drawing from the center to the end of the
flower petals. Multiply the length by the number oftimes you think you will need to enlarge the flower. Try one flower petal first to
see ifyour enlargement will fill the page. Iflt does not fit; what do you need to do?(multiply by a larger number jf it does not
touch the paper boundary; multiply by a smaller number if the first petal point goes beyond the paper boundary)
Student: Estimates to enlarge flower.
5. Teacher: Models duplicating the shape of the petal with a focus on overlapping and petal differences. Prompts: Now
that I know the number that I need to use to multiply for enlargement, I still need to reproduce the shape and placement ofeach
petal so that everyone will recognize my flower. Even though each ofthe petals is similar- there are small differences. Can you find
the differences? Can you draw the differences by overlapping and varying the shapes?
Student: Makes a light preliminary drawing, approximates shapes of the petals, and overlaps petals.
6. Teacher: Demonstrates drawing three shapes on practice tag paper: small, medium, and large. Demonstrates
appropriate brush selection by matching small brushes with small shape, medium with medium shape, and large
with large shape. Emphasizes paint control by holding brush in balanced way, and controlling paint consistency, while carefully
painting inside the lines of the drawn shapes. Prompts: Choose the right brush for the rightjob: a small brush for details, a medium
brush for medium areas, a large brush for big areas. When you paint along an edge, it helps ifyour paint flows. Add a bit of water
ifpaint is too thick to smoothly be brushed inside ofthe lines. Remember that timing is important, so think about how you can let
the petal and leafshapes dry, and then add details on top ofthe first paint layer to show variations in color- lines, dots that really
help define the unique qualities ofthat flower.
Student: Practices painting techniques in painting study.
7. Teacher: Demonstrates loading paint brush with paint and managing a palette. Prompt: You want enough paint on
your brush to be able to cover an area, yet not create big blobs. Be sure too, to wash your brush out very thoroughly before you
move it into another color- so that the new color is not contaminated by the old color. When mixing, scoop up small amounts of
colors to be mixed and move them to an open area ofyour palette for mixing.
Student: Paints flowers. Embedded Assessment: Criteria-based group critique: Can you match the
flowers seen here with your classmates'paintings?
Student Applications of Learning
Vocabulary
•
•
•
•
•
•
•
•
acrylic
approximation
area
enlarge
estimate
length
palette
size
Selected Resources
TPS Art Prints: Take 5 Prints:
Women Artists Georgia O'Keeffe,
White Trumpet Lily
Art Materials: 4 x4 in. white
drawing paper, 12 x 12 in. white
tagboard, 2B graphite drawing
pencils, student acrylic paint, paint
brushes in a variety of sizes, trays
for palettes, live flowers for
observation
Math Resources: calculators,
multiplication tables
Student estimates size of containers for
objects and contents for containers.
Essential Learnings
MEL 1.2 measurement concepts:
approximation
AEL 1.1 concepts: length, size
AEL 2.3 applies a creative process:
gathers information
AEL 1.2 skills and techniques: selects
painting tool, painting techniques
ARTS IMPACT
l"1ATHjVISUAL ART LESSON - THIRD GRADE
Yleasurement and Enlarging
Target Learning and Assessment Strategies
Knowledge and skills: The student:
Target: Estimates length and area.
Criteria: Voices a calculation on the distance end-to-end and occupied space based on use of math
measurement tools.
Target: Enlarges an image.
Criteria: Increases size and matches shapes to fill a page and overlaps shapes where appropriate.
Target: Selects a brush size for painting.
Criteria: Selects multiple brushes that allow painting small areas with small strokes. and large areas with full
strokes.
SPACE
Measurement and
Enlarging
Enlarges imagery
I
4
3
2
1
Makes preliminary drawing,
enlarges and maintains general
shapes with some details and
voices calculation
Makes preliminary drawing,
enlarges and maintains
general shapes with some
details
Makes preliminary
drawing, enlarges
and maintains general
shapes
Makes
preliminary
drawing
ASSESSMENTS WORKSHEET
Estimation
Enlarges
Skills
and Techniques
Rubric
(Weighted Score)
ARTISTIC RESPONSE
ARTISTIC RESPONSE
Student
I
MATH RESPONSE
ARTISTIC RESPONSE
estimates length by
measuring distance endto-end and occupied
space with standard or
nonstandard
measurement tools
1 point
estimates length by
measuring distance endto-end and occupied
space with standard or
nonstandard
measurement tools
1 point
paints small
areas with small
brushes/strokes, and
large areas
with large brushes/ full
strokes
1 point
enlarges imagery
1-4
l.
2.
3.
4.
5.
6.
7.
8.
9.
10.
ll.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Total
Percentaqe
Mean
Median
..
I
Teacher Comments:
...
..
Total
Points
7
ARTS IMPACT
Measurement and Enlarging
Dear Family:
Your child participated in a lesson and considered ways artists enlarge using math and art
understandings.
1. We talked about the actual size of the flower compared to the enlargement painted by
the artist. We considered the reason an artist might present something in an oversized
version. We observed live flowers, and then considered how we could enlarge a flower
image to fill our page.
2. We estimated length and area and then justified the reasonableness of our
estimation. We made an approximate measurement and then multiplied to see how many
times bigger an image needed to be in order to fill our page.
3. We made a light pencil preliminary drawing of a flower based on our estimate,
adjusted our estimate and our drawing, then matched the petal shapes, and overlapped
where appropriate, and finally painted our flower. We loaded our paintbrushes with
paint, dabbed to remove extra paint, and selected paintbrushes for small, medium and
large areas of the flower. We also layered details on top of areas of dry paint.
You could estimate tile container or box size needed for storing an object. You could enlarge an
object by measuring its length, multiply the length by a chosen number, and then draw it
repeating the original shapes.
How big a container will I need (large car/large garage)? What measurement tool could I use? If
I enlarge it, what number will I use to multiply?
UNDERSTANDING
Using math estimation, measurement, and multiplication,
and repeating the shape can enlarge an object.