September - October
Art Focus lesson la:
September - October
Art Infused lesson lb:
November - December
Art Focus Lesson 2a:
Sample Target Learning
Assessment Criteria
Art Standard
Target: Uses line for specific AEL 1.1
concepts: expressive purpose.
line direction
Math Standard
Criteria: Creates two studies: one using repeating line direction, type, and
AEl1.1.2
principles of organization: unified composition negative space to suggest harmony, and one using
AEl 1.2
skills and techniques: variety of line direction, type, drawing and negative space to suggest chaos.
Target: Identifies parallel and perpendicular lines.
Adds lines for unity and variety in composition.
AEL 1.1
concepts: parallel and
Criteria: Repeats parallel and perpendicular lines and changes direction, thickness, and color of 'lines.
3.4.A: Identify and sketch parallel perpendicular line intersecting and
AEll.l.2
principles of organization: perpendicular lines and line segments.
unity and variety
Artl Math
Vocabulary
Art:
Abstract, composition, curved, diagonal, horizontal, negative space, straight, unity, vertical
Enduring Understanding
Vertical, horizontal, and diagonal fine can be combined or repeated to create harmonious or chaotic effects in composition.
Art: color palette, composition, line direction, narrow palette, thin/thick line, unity, variety view finder, wash, water-soluble colored pencils
Repeating parallel and perpendicular lines can create unity in compositions; varying direction, thickness, and color of parallel and perpendicular lines can create variety in compositions.
AEL 1.2 skills and techniques: drawinq, paintinq
Target: Applies the principle AEl 1.1
concepts: of symmetry.
axis, symbol, symmetry
Criteria: Creates design with
AEl1.1.2
a mirror image of forms on principles of either side.
organization: pattern, repetition
AEll.2
skills and techniques: printmaking with stamps
Math: horizontal, vertical, parallel lines, perpendicular lines,
Art: axis, contrast, impression, opaque, pattern, printmaking, repetition, symbol, symmetry
A symmetrical stamp design with an equal balance of light/dark can create a pattern when printed in succession.
10

November - December
Art Infused Lesson 2b:
Target: Uses transformations of polygons in elevation collage.
I
Criteria: Locates multi-sided straight-sided shapes in reflection/flip and translation/slide in view of a bUilding side
AEL 1.1
concepts: line, shape, 2-D, 3-D
AEL 1.1.2 principles of organization: balance
AEL 1.2 skills and techniques: collage
4.3.A: Determine congruence of twodimensional figures.
Art: geometric shape, symmetry, 2-D, 3-D, architecture, collage elevation
Math: geometric shape, symmetry, 2-D, 3-D, congruent flip, parallel, perpendicular, polygon, reflection, slide, transformation, translation
I'
Repetition of geomellic shapes, lines and transformations
(reflections and translations) can be found in and used for elements in architectural design.
11

INSTITU1~ESSON~
Core program Year 1 Arts Foundations
VISUAL ARTS LESSON Study in Line Direction
Artist-Mentor: Meredith Essex Grade Levels: K - Third Grade
Examples: '
Enduring Understanding
Vertical, horizontal and diagonal line can be combined or repeated to create harmonious or chaotic effects in composition.
Target: Analyzes artistic choices creating variety and-Ynlty in a composition.
Criteria: Finds and describes examples of direction and organization of line for intended harmonious or chaotic effect in art.
Target: Uses line for specific expressive purpose.
Criteria: Creates two studies: one using repeating line direction, type, and negative space to suggest harmony, and one using variety of line direction, type and negative space to suggest chaos.
Teaching and Learning Strategies
1.
Introduces examples through transparencies from TAM and SAM collection/exhibitions: TAM: Mark Tobey, Point ofIntersection; Merrill Wagner, Grasses,
Kathleen Rabel, Soft Set, Marie Watt, Omphalos, SAM: Hine Taizan, Mount Horai, Island of
Immortality, Heitsukw, Kook (TIingit). Prompts: Identify direction of line (vertical, horizontal, diagonal) in these Images: Does one direction ofline occur more frequently in a composItion?
How does the combination and choice ofline direction affect composition? How does negative space! the space between the lines! affect the composItion? What happens when lines are layered or overlap? What artist choices created a dynamic lively composition! and what choices created more ofa peaceful, harmonious composition? What role does repetition play in this artwork? Discusses with students how artistic choices can have expressive power in abstract composition.
Student: Observes, compares, and discusses images.
2.
Leads S-minute exploratory drawing warm-up in studio using variations and combinations of line direction for a specific purpose.
Prompt: Specifically select and repeat kin~ direction! and spatial organization ofline (cU/ve~ straigh~ vertical, horizontal, diagonal, overlapping! parallel) on one sketchbook page to convey peacefulness. On another sketchbook page vaty direction type! and negative space in composition to suggest confusion or chaos. Label your intent on your warm-up draWing sketchbook pages before you draw. Don'l: worty about mistakes! erasing! or final products. Remember you can make additional notes!
drawing~ or exploratoty marks with different media in your sketchbook also.
Student: Creates two warm-up draWings using line direction with intention.
Embedded Assessment: Criteria-based self-reflection
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Study in Line Direction

3.
Selects Cam or Chaos for a final composition.
Makes a white on black composition selecting line direction, type, and negative spOace to communicate clam or chaos.
Student: Uses line to create calm or chaos.
Embedded Assessment: Criteria-based self or peer reflection
4. Facilitates criteria-based art critique.
Student: Reflects upon and discusses creative process and final drawing in critique.
Vocabula
Art: abstract, composition, curved, diagonal, horizontal, negative space, straight, unity. vertical
Materials
Museum: TAM: Mark Tobey, Point ofIntersedion; Merrill
Wagner, Grasses; Kathleen Rabel, Soft Set, Marie Watt,
Omphalos, SAM: Hine Taizan, Mount Hora~ Island of
Immortality, Heitsukw, Kook (ningit).
Art: 48 pendls, sketchbook, white China marker, white
Conte crayons black Canson 6x9 in. paper
WA Essential Learnin s & Frameworks
AEL 1.1 concepts: line direction
AEL 1.1.2 prindples oforganization: unified composition
AEL 1.2 skills and techniques.' draWing
Atts Impact Core I - Atts Foundations Summer Institute - Visual Atts - Study in Line Direction

VISUAL ARTS LESSON Study in Line Direction
PERSONAL ASSESSMENT WORKSHEET
Student
Art Criticism
Finds and describes direction and organization of line for harmonious or chaotic effect in art
Line
Repeats line direction, type, and negative space to suggest harmony
Repeats variety of line direction, type, and negative space for chaos
Total
3
Criteria-based eflection Questions:
Self-Reflection:
How have you created unity or variety to express harmony or chaos?
Peer to Peer: What suggestions would you make to your classmate to create a clearer communication of harmony or chaos?
Name:
Arts Impact Core I - Arts Foundations Summer InstItute - Visual Arts - Study in Line Direction

ESSQ~::..::P~LA=-:.:.N=--
VISUAL ARTS LESSON Study in Line Direction
ASSESSMENT WORKSHEET
Students
Art Criticism
Finds and describes direction and organization of line for harmonious or chaotic effect in art
Line
Repeats line direction, type, and negative space to suggest harmony
Repeats variety of line direction, type, and negative soace for chaos
Total
3
22.
23.
24.
25.
26.
27.
14.
15.
16.
17.
18.
19.
20.
2l.
28.
29.
30.
Total
Percentage
7.
8.
9.
10.
ll.
12.
13.
3.
4.
l.
2.
5.
6.
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection:
How have you created unity or variety to express harmony or chaos?
Peer to Peer: What suggestions would you make to your classmate to create a clearer communication of harmony or chaos?
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 - Study in Line Direction
_

rr~ER~
Dear Family:
Today your child participated in a draWing lesson about line direction.
• We looked at art by artists who use different line directions. We focused on identifying direction and repetition of line. We considered how an artist's choice of line can make a composition seem chaotic or harmonious.
• We created two warm-up exploratory drawings in our sketchbook.
One focused on selecting and combining direction of line for a unified harmonious composition, while the other focused on selecting and combining direction of line for chaotic effect in a composition. We thought about how repetition of kind of line between lines for unity
(straight or curved), direction of line, and space
(negative space) could potentially create calm in a composition, while variety of kind, direction, and spacing of line can create excitement or chaos in a composition.
• We then created a final composition (white on black) communicating calm or chaos.
At home you could find examples of line direction in your environment. When you see combinations of lines do you see harmony or variety?
Vertical, horizontal and diagonal line can be combined or repeated to create harmonious or chaotic effects in a composition.
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts - Study in Line D,i-ection

Grade Level: Fourth Grade
Enduring Understanding
Repeating parallel and perpendicular lines can create unity in compositions; varying direction, thickness, and color of parallel and perpendicular lines can create variety 'in compositions.
Geometry Search Journal:
Target: Isolates and records parallel and perpendicular lines in the environment.
Criteria: Observes and draws an area with equidistant lines and lines at right angles to each other in the world around them.
Target: Identifies parallel lines and perpendicular lines.
Criteria: Observes and draws lines that are equidistant and lines at right angles to each other.
Target: Adds line for .ill11!Y
and variety in composition.
Criteria: Repeats parallel and perpendicular lines and changes direction, thickness and color of parallel and perpendicular lines.
Target: Creates painting effects and uses narrow color palette.
Criteria: Softens lines using a wet brush; draws in two or three colors only.
Teaching and Learning Strategies
Introduction to Arts-Infused Concepts through Classroom Activities:
Arts-Infused Concepts: Parallel and PerPendicular Lines; Vertical I Horizontal lines o
Manipulate V2 in. strips of paper to create pathways of parallel and perpendicular lines.
o
Show parallel and perpendicular lines with hands (or feet!).
o
Create combinations of parallel and perpendicular lines in Geometry Search Journal.
o
Find these lines in the environment.
1.
Introduces Mather by Robert Yoder.
Prompts: This is a lesson that is a visual art lesson and a math lesson at the same time. Parallel and perpendicular lines can be used in art· by repeating or varying these lines the artists can create unity and variety in a composition. What direction do the
FOUlth Grade-Visual Art and Math-Parallel and Perpendicular Lines: Unity and Variety
6-1

lines you see in the art move? (vertical and horizontal) Trace them with your fingers. Find parallel and perpendicular lines in this painting composition. What effect does the difference ofthickness of lines have in this art (variety)? Imagine if all the lines were parallel and the same thickness?
Student: Finds lines in art.
2.
Demonstrates using a viewfinder to isolate and draw three small areas in the room that
have parallel and perpendicular lines. Prompts: I am looking for an area where I see both perpendicular and parallel lines-using the viewfinder is just like looking through a camera and figuring out what you want in your picture. Draw three rectangles on one page ofyour search journal: then quickly sketch three different combinations ofparallel and perpendicular lines that you see in the room using your viewfinder (in the rectangles). This is just a warm-up: do not worry about using rulers or erasing.
Student: Observes and records parallel and perpendicular lines found in the environment.
Embedded Assessment: Criteria-based teacher checklist
3.
Demonstrates making artistic decisions to develop composition. Prompts: I will use my ruler/straightedge to draw my lines. I will only be using a total of 2 or 3 colors-a narrow palette (just like the painting at which we looked). We are working with parallel and perpendicular lines so I am keeping in mind that I want to repeat parallel and perpendicular lines, but also change the thickness and color ofthem. I am choosing two more colors ofpencil for my narrow palette-I am thoughtfully adding to my composition step by step.
Student: Observes demonstration.
4.
Guides creative process. Prompts: Be thoughtful in your artistic choices. Think about how having a variety of thickness and direction ofparallel andperpendicular lines will make your composition exciting. However, you will want to repeat lines to help unify your art too. Think about it step by step.
Check in with a partner who can step back and hold your work up for you. Talk about what you will repeat for unity and what you will add for variety.
Student: Observes demonstration
5.
Demonstrates technique possibilities for using water soluble colored pencils. Prompts: I am softening colored pencil lines using a barely wet brush-this art material is a combination of drawing andpainting. I can add water to make a line a bit thicker or soften a color in my narrow palette. Notice how Robert Yoder's painting has variations of one color-light and dark. I can also dab away water with a paper towel. It is very important that my lines are still clear in my composition, so I am not brushing away my lines or changing them so they are no longer parallel or perpendicular-I can also draw over the lines after adding water to re-define them.
Student: Creates art.
Embedded Assessment: Criteria-based peer critique; criteria-based self-assessment
6.
Facilitates criteria-based reflection.
Displays art on the board.
Prompts: Look at a classmate's art and identify and sketch parallel andperpendicular lines you see in their art in your Geometry Search
Journal. Look closely at your own art-note and share what you added and repeated in your composition for unity and what you added and changed for variety.
Student: Participates is peer critique and self-reflection.
Embedded Assessment: Criteria-based class critique; criteria-based peer and self assessment
Fourth Grade-Visual Art and Math-Parallel and Perpendicular Lines: Unity and Variety
6-1

BEFORE next VISUAL ART lesson:
Math Centers
1.
Use graph/grid paper to create and label polygons with parallel and perpendicular sides.
2. Observe and document parallel and perpendicular lines (in the environment, textiles, objects) in Geometry Search Journal.
3. Ask students to lie down on the floor and create parallel and perpendicular lines.
Remember parallel lines make a T.
Independent Practice: Hand draw! Parallel lines never cross-they stay the same distance apart! Perpendicular lines cross or meet at right angles.
Vocabula
~: color palette composition line direction narrow palette thinlthick line unity variety view finder wash water-soluble colored pendls
Arts Infused: horizontal parallel lines perpendicular lines vertical
Materials and Communi Resource
Museum Artworks:
Matherby Robert Yoder, 2002
Art Materials:
Geometry search Journal viewfinders (slides with film removed to create window) or small tag board papers with window openings water soluble colored pendls watercolor paper: 9 x 9 in.
rulers water containers paper towels small nylon brushes
WA Essential Learnin s & Frameworks
AEL
AEL
1.1
cfJncepts: parallel and perpendicular line
1.1.2
prindples oforganization: unity and variety
AEL 1.2 skills and techniques: drawing, painting
AEL 2.1
applies creative process: gathers
Information, organiZes, reflects, refines
AEL 4.2
connections between arts and other content
areas: geometry: parallel and perpendicular lines
Math State Frameworks
Grade 4: 1.3.1
Explains parallel and perpendicular lines and gives examples to demonstrate them
Fourth Grade-Visual Art and Math-Parallel and Perpendicular Lines: Unity and Variety
6-1

ASSESSMENT WORKSHEET
Students
VISUAL ART AND MATH
PARALLEL LINES
AND PERPENDICULAR LINES
Observes and draws an area with equidistant lines and lines at right angles to each other in the world around them
Parallel Perpendicular
VISUAL ART
UNITY AND VARIETY
Repeats parallel and perpendicular lines
Changes direction, thickness and color of parallel and perpendicular lines
VISUAL ART
TECHNIQUES: Pencil
NARROW PALETTE
Softens lines drawn
Uses two or three colors of pencil only
14.
15.
16.
17.
9.
10.
11.
12.
13.
18.
19.
20.
21.
22.
23.
24.
5.
6.
7.
8.
1.
2.
3.
4.
25.
26.
27.
28.
Total
Percentaqe
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection: Look closely at your own art-note what you repeated in composition for unity and what you changed for variety.
Total
6
Peer to Peer: Check in with a partner who can step back and hold your work up for you. Talk about where you see parallel lines and perpendicular repeated for unity.
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: _
Fourth Grade-Visual Art and Math-Parallel and Perpendicular Lines: Unity and Variety
6-1

Dear Family:
Today your child participated in an visual art and math lesson.
• We identified and sketched
Robert Yoder.
parallel and perpendicular lines seen in the art work, Mather, by
• We isolated and recorded parallel and perpendicular lines that we saw in a small area of our classroom environment.
• We repeated and changed to unify our direction, thickness compositions and add variety and color of parallel and perpendicular or visual interest to them.
lines
• We created painting effects: used a softened the lines narrow color palette.
using water-soluble colored pencils .and
..
We looked at each other's art and talked about how we effectively used parallel and perpendicular lines in our compositions.
You could create compositions at home by making parallel and perpendicular lines with different materials: sticks, ribbons, yarn. Weaving also uses parallel and perpendicular lines.
Enduring Understanding
Repeating parallel and perpendicular lines creates unity in compositions; varying direction, thickness, and color of parallel and perpendi.cular lines can create variety in compositions.
Fourth Grade- Visual Art and Math-Parallel and Perpendicular Lines: Unity and Variety
6-1

~SSQN
Core Program Year 1 Arts Foundations
VISUAL ARTS LESSON Symmetry with Shapes
Artist-Mentor: Maria Grade Grade Levels: Second - Fifth Grade
Examples:
"'~
~
~.'
Ai
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J
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,,'
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·v
Enduring Understanding
'A symmetrical stamp design with an equal balance of light/dark can create a pattern when printed in succession.
Target: Applies the principle of symmetry.
Criteria: Creates design with a mirror image of forms on either side of an axis.
Target: Applies the principle of contrast.
Criteria: Shows distinction between dark and light, balanced within the space of the design.
Target: Designs a personal symbol.
Criteria: Draws a unique shape that relates to self.
Target: Creates a stamp block.
Criteria: Transfers design, cuts foam with precise edges, and applies foam to block.
Target: Prints a pattern.
Criteria: Applies opaque layer of paint to stamp each time it is printed, and prints a pattern in rows across entire fabric surface.
Teaching and Learning Strategies
1.
Reviews concepts of sign, symbol and language, referencing examples that are Widely known as well as those specific to modern U.S. culture and traditionally specific to other cultures. Prompts: What symbols can we identify on the example sheet? What makes a symbol
recognizable to a group ofpeople? Imagine the meaning ofthese unfamiliar symbols. Asks students if it is always necessary to be able to decode a symbol to appreciate its form.
Student: Participates in dialogue about signs and symbols, sharing translations for the visual symbols on the sheet. Before class, students complete the visual symbols worksheet.
2. Introduces Adinkra symbols, elicits possible verbal translations from the students.
Reveals known meanings from the Adinkra tradition of Ghana. Introduces the Han Chinese Vest or Japanese Hre Hghting Jacket Asks for students to identify a symbol they see.
Student: Observes the traditional Adinkra symbols and offers own ideas regarding what they might mean and why they interpret them in that way. Identifies and interprets symbols seen in the Han Chinese Vest or Japanese Are-Fighting Jacket
3. Introduces the tradition in U.S. culture of wearing certain kinds of clothing or fabric for special occasions, i.e. velvet or satin for holidays or formal events, wool or polar fleece in the winter, jeans to school. Applies this tradition to different traditions in cultures around the world. Introduces the tradition in U.S. culture of using pictorial symbols to tell others
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts -Symmetry with Shapes

what we believe and who we are. Finds a student that has a visual symbol on their clothing somewhere. (yellow ribbon, Nike, etc.) Prompts: Are there other symbols that you might add to your clothing that would give it more meaning? Would you want someone else to understand what your symbol meant? Let's think of ways a pictorial symbol, logo, emblem or sign on our clothing could tell a person a lot about who you are. Why you do think artists use symbols on clothing or on other places?
Asks students how they would tell about their beliefs and ideas without words.
Student: Discusses the use of fabric specific to special events or environments. Discusses the visual symbols that might be on clothing we wear. Discusses other reasons artists use symbols in art.
4.
Discusses the history of Adinkra cloth in African culture and how the stamped patterns are achieved.
(See Resource section: web history links). Introduces modern materials and juxtaposes with traditional ones. References embroidery as another means to create symbols on textiles.
Student: Discusses the Adinkra cloth and Han Chinese vest or Japanese Fire Fighting Coat.
5.
Demonstrates the process of drawing an original design and models the criteria-
based self-assessment of the results before transferring the design to foam. Prompts:
Remember, I want to create a symbol that has never been seen before. .. .something original that has meaning to me. Let's draw five or six possible symbols on scrap paper to find our best idea before we draw onto the foam. Shows examples ofstamp designs that do and do not meet criteria. When drawing on the foam, it is okay to draw over mistakes; we do not need to erase.
Student: Observes demonstration and participates in the criteria-based assessment of the design.
Embedded Assessment: Criteria-based self-assessment
6.
Demonstrates cutting out symbol to the line, opening scissors fully, turning both
scissors and foam carefully in hand. Prompts: I can cut through my shapes' edges to make a hole in the middle because when I rejoin the edges together I will not see the cut when I use it to print Demonstrates application to woodblock so that there will be balance between the printed surface and the open surface (positive and negative space). I might not be finished with my design it if is velJl small or velJl large on the wood block. I want about halfmy design to be dark and halfto be light-so halfof the surface ofmy stamp should be foam. Can I add scraps to make a border ofaccents? I can, provided that I keep it symmetrical as part of the symbol.
Student: Observes demonstration of cutting and application.
Embedded Assessment: Criteria-based self-assessment
7.
Demonstrates applying paint and then printing onto the newspaper to make a test print.
Emphasizes the amount of paint, pressure and steadiness needed to fully transfer paint to fabric in order to see the complete design.
Prompts: How can changing the orientation of the stamp also change the pattern? How can changing the direction ofthe rows themselves change the pattern?
putting an arrow on the wood block to assign stamp orientation and proceeds to print a row or two on the fabric, reapplying paint to stamp after each print. Emphasizes the nature of rows and of a completed Adinkra cloth which is filled with rows.
Prompts: The cloth does not need to be printed symmetrically, or organized following the rules ofsymmetlJl-You can see on your assessments worksheets that it is not one of the criteria for this lesson.
Student: Observes demonstration of printing with a stamp.
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts -Symmetry with Shapes

8.
Initiates the drawing, assessment, transfer and cutting of designs.
Reiterates the prompts as needed.
Student: Draws designs, assesses and chooses best design. Cuts foam and applies. Modifies as needed
Embedded Assessment: Criteria-based self-assessment
9.
Directs the clearing of tables, retaining only the stamp.
Distributes fabric, corners
taped flat on newspaper. Distributes paint and sponges. Prompts: Remembe~ we want to fill the entire cloth with our symbol in rows-straight and close togethe~ not touching. The repetition ofa symbol is what we saw that created a pattern on the Asante Adinkra cloth and what is inspiring our own cloth and use ofsymbols today.
Student: Prepares workspace to stamp fabric. Assembles materials.
10.
Directs the students to print their cloth, sign it and remove from newspaper to dry.
Directs students to complete the criteria-based self-assessment, adding a description of their symbol's meaning in the space left beneath the assessment worksheet.
Student: Completes printing of cloth, cleans up materials, and fills out self-assessment worksheet.
11. Guides group critique.
Displays all stamps and cloths together.
Prompts: How is what you have repeated different than the T-shirt with a Nike symbol on it?
(commercial design vs.
unique, artistic symbol with personal meaning) How important is it that your symbol's meaning be recognized by others? Can it remain ambiguous and still be effective? How does making a work ofart containing a symbol that has never been seen before change the way you see symbols in general? In what ways did you/did you not meet the criteria and how dId the awareness of those criteria affect your artistic process?
Student: Participates in group critique. References criteria-based assessment worksheet.
Embedded Assessment: Criteria-based group critique
Vocabula
Ad: axis, contrast, impression, opaque, pattern, printmaking, repetition, symbol, symmetry
~:Adlnkra,
Ghana, sign
Materials
Museum:~: Han Chinese, Vest; SAM: African,
Sunday cloth (Kwaslada Adlnkra); Japanese,
Kawabaorl
Art: 2-1/2 x 2-1/2 In. adhesive Fun Foam, 2-1/2 x
2-1/2 In. wood cubes, scissors, small stendl sponges, fine point black pens, black acrylic paint, small paper plates for paint, 9 x 12 In. thin cotton cloth, newspaper, masking tape
Classroom: SAM Education SUitcase: Textiles:
Adinkra cloths' Web history links: see Resources.
WA Essential Learnin s & Frameworks
AEL 1.1 concepts: axis, symbol, symmetry
AEL 1.1.2 principles oforganization: pattern, repetition
AEL 1.2 skills and techniques: printmaking with stamps
AEL 1.3 applies culture and times: symbols on clothing
AEL 21. artistic process: conceptualization
AEL 2.3 responding to aft: artistic critique, interpretation
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts -SymmelI)' //>ollt17 Shapes

VISUAL ARTS LESSON Symmetry with Shapes
PERSONAL ASSESSMENT WORKSHEET
Student
Symmetry
Creates mirror image of forms on either side of an axis
Contrast
Creates balance of light/dark within the space of a design
Symbol
Draws a Transfers unique design shape that relates to self
Cuts making precise edges
Techniques
Applies foam to block
Prints ink each time
Prints in with rows across opaque entire fabric surface block is printed
Total
8
Criteria-based Reflection Questions:
Self-Reflection:
Write the meaning(s) of the symbol you designed
What can you describe when reflecting on your printmaking techniques?
What did you learn today about art that you had not known?
Peer to Peer: How important is it that your symbol's meaning be recognized by others?
Name: Date: _
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts -Symmetry with Shapes

VISUAL ARTS LESSON Symmetry with Shapes
ASSESSMENT WORKSHEET
Students
Symmetry
Creates mirror image of forms on either side of an axis
Contrast
Creates balance of light/dark within the space of a design
Symbol
Draws a Transfers unique design shape that relates to self
Cuts making precise edges
Techniques
Applies foam to block
Prints Prints in with rows across opaque entire fabric surface ink each time block is printed
Total
8
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
Percentage
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection:
Write the meaning(s) of the symbol you designed. What can you describe when reflecting on your printmaking techniques? What did you learn today about art that you had not known?
Peer to Peer: How important is it that your symbol's meaning be recognized by others?
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?
Date:_~
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts -Symmetry WIth Shapes

Dear Family:
Today your child participated in a visual art lesson. We talked about symmetrical organization with shapes using a textile from Ghana as an inspiration. We also looked at images of Asian clothing and the symbols seen in the clothing and Ghana textiles.
• We talked about symbols and the reasons we wear symbols on clothing. We imagined the meaning of unfamiliar symbols, and wondered if it was always necessary to be able to decode a symbol to appreciate its form.
• We created an original symmetrical design that could have cut weather-stripping (or foam) on an personal meaning.
We folded and axis in order to create a symmetrical design.
• We fastened our symbol onto a block of wood, and then planned a printing pattern.
We carefully considered the direction we were holding our stamp each time we printed, knOWing that the direction of the stamp could also create a pattern. We were careful to fully apply paint to the stamp and then print, reloading paint on the block so that the design would be complete each time we printed it.
At home you could look for places where you see repeated symmetrical patterns. Look together to see if you can find symbols that communicate meaning without words.
A symmetrical stamp design with an equal balance of light/dark can create a pattern when printed in succession.
Arts Impact Core I - Arts Foundations Summer Institute - Visual Arts -Symmetry with Shapes

IMPACT-ARTS-INFUS~D
(YR2-A~
Artist-Mentor Meredith Essex
,
Enduring Understanding
Repetition of geometric shapes, lines, and transformations (reflections and translations) can be found in and used for elements in architectural design.
Geometry Search Journal
Target: Identifies geometric shapes, lines, and transformations in architecture.
Criteria: Draws, labels, and describes properties/attributes of polygons, parallel and perpendicular lines, congruence, reflections, and/or translations seen in buildings.
Target: Uses transformations of polygons in elevation collage.
Criteria: Locates multi-sided straight-sided shapes in reflection/flip and translation/slide in view of a bUilding side.
Target: Represents architectural elements in collage.
Criteria: Includes windows, doors, railing/ porch, ornamentation, steps, lights, trim, and/or roof using layers of paper.
Target: Uses craftsmanship in collage.
Criteria: Cuts clean edges and attaches paper shapes smoothly, fully flat on background paper.
Teaching and Learning Strategies
Introduction to Arts-Infused Concepts through Classroom Activities:
~rts-Infused Conre ts: Sha e' Balance' Pol ons' Parallel and Per endicular :ines'
Symmetry! Reflections and Translations.
o
Go on a school wa'ik and notice the sides of buildings. What shapes/figures are used and how they are simi.lar or different? Find a flip-find a slide.
o
Find and record polygons in symmetry in the classroom environment and bUildings.
o
Practice drawing symmetrical buildings using only polygons.
1.
Introduces plans and photos from Tacoma in Style and Tacoma Art Museum, designed
by Antoine Predock, as well as photos of regional buildings: Prompt This is a lesson that is a
Fourth Grade-Visual Alt and Math- Transformations.' Architectural Elevations
6-11

visual art lesson and a math lesson at the same time. Architects are artists who design buildings.
Geometric shape~ lines and transformations are used in design ofarchitecture.
Student: Views resources.
2.
Facilitates identification of geometric shapes, lines, and transformations
(reflections/flips and translations/slides) in buildings. Prompts: Remember when we designed an entry for a bUilding-now we are making a design for an elevation (side ofa bUilding). This time you have the option ofmaking the whole elevation design symmetrical OR you can use symmetry in design ofparts of the bUilding--perhaps just the entry, garage, or windows are symmetrical. We are warming up with the same exercise we used before to help us find the geometry in architecture. Everyone needs to partner with the student next to them and look closely at an image ofa bUilding (or one outside the window). Silently each ofyou needs to find, draw and labe~ in your Geometry Search Journa~ polygons, congruent shapes, parallel andperpendicular line~ and examples of transformations: reflections/flips and translations/slides). This is a 5 minute exercise. When you have finished, share your findings with your partner and see if they are consistent
Student: Analyzes architecture and records findings in geometry search journal
Embedded Assessment: Criteria-based peer critique; criteria-based teacher checklist
3.
Demonstrates conceptualizing and starting an elevation collage. Prompts: When an architect designs a building it is a 2-D plan for a 3-D structure. An elevation is a 2-D representation of one side ofa bUilding. An architect's design shows a building from multiple points of view: elevations,
from each compass direction (north, south, east, and west) as well as a bird's-eye view from above. ..
We are going to create a design for a building elevation in collage. I imagine a fabulous bUilding in my
mind. ..
.I
am going to describe it to someone at my table or do a quick sketch ofit.
1 am making a modern bUilding with a steep angular roof and 1 am selecting paper and cutting building shapes which 1 think will work for this.
Student: Observes demonstration.
4.
Demonstrates arranging big collage shapes and layering additional shapes based on idea
or sketch. Prompts: With attention to filling the whole backgroundpaper, 1 am arranging my basic bUilding shapes. Next, 1 am starting to cut out shapes from the small papers to represent architectural details. What will my building need?
(window~ door~ railing, porch, ornamentation, roof, step~ lights, trim).
1 might even use lines or shapes in paper to suggest a surface pattern: board~ bricks, tile~ stones. Note that these small square and rectangular papers can easily be cut in halfor quarters to create triangles or rectangles. Our math criteria include using slides and flips in our elevation. We will need congruent shapes to do this: what is the easiest way to create multiples: yes-- cut through layers ofpaper,' fold, then cut, then cut along the fold. ...Also, when 1 cut geometric shapes from the paper provided, 1 always return a usable piece ofscrap paper (also left in a geometric shape that is a square or rectangle) to the paper container. This extends the life ofhigh quality papers. Notice how checking for polygon~ reflections and translations as 1 layer shapes.
Student: Observes cutting and paper management techniques.
1 am
5.
Demonstrates gluing techniques.
1 have checked for translations and reflections ofshapes in my elevation. Notice my use ofcraftsmanship in using precise gluing techniques by applying the glue stick along the edges of the reverse side ofpapers for smooth, flat adhesion. Do you see any edges that do not meet the background paper?
Guides students in developing collage building elevation.
Prompts: As you begin, what combination ofshapes will you use for the basic form ofyour bUilding?
How would you describe the bUilding we are occupying? How would you describe the buildings you see outside our windows? They might influence your design. Visualize and draw or describe your bUilding to a peer. Cut out and arrange the basic shapes, filling the backgroundpaper. Cut out, and arrange
Fourth Grade-Visual Art and Math-Transformations: Architectural Elevations
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detaJ'ls of window~ doors/ raJ'ling porch ornamentation step~ /ights/ trim. Check for reflections and translations. When you are ready to glue/ raise your hand and show where a shape makes a translation/slide~ a reflection/flips/ and name some of the polygons you are using.
Student: Conceptualizes, cuts out, arranges, analyzes, assesses and glues collage of building.
Embedded Assessment: Criteria-based teacher checklist
6.
Facilitates criteria-based reflection. Collages are displayed on the board.
Prompts: Point out and name polygons that you see in a peers art. Find an example of a translation/slide or a reflection/flip in a peers art. Note the artist and descnbe where you see it in your Geometry Search
Journal. Describe a technique that you used to cut precise congruent shapes. What were some ofthe challenges ofcollage craftsmanship that you encountered?
Student: Participates in critique.
Embedded Assessment: Criteria-based class critique
,After VISUAL ART lesson and before INDEPENDENT PRACTICE:
Math Centers
1.
Arranges blocks into a building and draws from multiple points of view noting translations/slides and reflections/flips in each elevation.
2. Makes a rough draft elevation design for a fort, tree house, or home for a pet using a ruler and protractor.
Independent Practice: Slide to make a Translation! Flip to make a Reflection!
Fourth Grade-Visual Art and Math-Transformations: Architectural Elevations
6-11

Vocabula
Arts-Infused: geometric shape symmetry
2-D
3-D
Visual Art: architecture collage elevation
Math: congruent flip parallel perpendicular polygon reflection slide transformation translation
Materials and Communi Resource
Museum Artworks:
Tacoma Art Museum building plans: Andre' Predod<
Tacoma in Style. pUblished by the aty of Tacoma
Art Materials:
Geometry search Journal
2x2, 3x4, 4x6, 6><8 rectangles and squares of neulJal cardstod< for large bUilding shapes small strips, squares and rectangles of neutral, patternedl textured papers for details sdssers
8 1/2x 11 neulJal colors of cardstock for background glue sticks scratch paperlglue books
WA Essential Learnin s & Frameworks
AEL 1.1 concepts: line, shape; 2-D, 3-D
AELl.1.2 ptindp/es oforganization: balance
AEL 1.2 ski/Is and techniques: collage
AEL 4.2
connections between arts and other content
areas: geometry: translations; reflections
MEL 1.3.4 geometric sense: understands and applies single lJansformatJons using a translation (slide) or reflection (flip)
Math State Frameworks
Grade 3: describes and compares congruent 2D figures; draws a shape that is congruent to a given
2D shape
Grade 4: solves problems involving congruence
(creates a design made out of congruent shapes, simulates translations and reflections using objects; records results of a translation (slide) or reflection
(flip), creates designs using translations (slides) or reflections (flips)
Grade 5: draws congruent figures and shapes in multiple orientations using a transformation
Fourth Grade-Visual Art and Math-Transformations: Architectural Elevations
6-11

ASSESSMENT WORKSHEET
Students
VISUAL ARTIMATH
Shapel Linel Symmetry
VISUAL ARTIMATH
ShapelSymmetry I Repetition
ART
Architecture
ART
Craftsmanship
Draws, labels, and describes properties/attributes of polygons, parallel and perpendicular lines, congruence, reflection,
Locates multisided shapes/figures in reflection in view of a building side
Locates multisided sha pes/fig ures in translation in view of a building side
Includes windows, doors, railing/ porch, ornamentation, steps, lights, trim, and/or roof
Cuts clean edges
Attaches paper shapes firmly and smoothly to background paper and/or translation seen in buildinqs l.
2.
3.
4.
5.
6.
7.
8.
9.
10.
21.
22.
23.
24.
25.
16.
17.
18.
19.
20.
ll.
12.
13.
14.
15.
26.
27.
28.
Total
Percentage
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection: Describe a technique that you used to cut precise congruent shapes. What were some of the challenges of collage craftsmanship that you encountered?
Total
6
Peer to Peer: Point out and name polygons that you see in a peers art. A"nd an example ofa translation/slide or a reflection/flip in a peers art. Note the artist and describe where you see it in your
Geometty Search Journal. Visualize and draw or describe your building to a peer.
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:
Fourth Grade-Visual Art and Math-Transformations: Architectural Elevations
6-11
_

Dear Family:
Your child participated in a visual art and math lesson.
• We looked at regional architecture and identified examples of math concepts
(reflections/flips and translations/slides) in the bUildings we saw. We found parallel and perpendicular lines, symmetry, and polygons (straight-sided shapes).
• We came up with an idea for a talking with a peer.
building elevation (a side of a building) through drawing or
• We created a building elevation collage.
We selected and cut out shapes to represent our basic building form and then cut out additional paper shapes to create architectural elements: doors, windows, trim, steps, lights, railing.
• We included geometric transformations in our collage elevations: shapes that flip
(reflections) and slide (translations) in location.
• We used paper.
craftsmanship in collage through precise cutting and glUing shapes smoothly to
At home you could analyze the architecture of your home. You could look for different ways that lines and shapes are combined in other buildings in your neighborhood.
Enduring Understanding
Repetition of geometric shapes, lines, and transformations (reflections and translations) can be found in and used for elements in architectural design.
Fourth Grade-Visual Art and Math-Transformations: ArclJltectura/ Elevations
6-11