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and radiate symmetrically
from the center point.
November - December
(ruler)
5.3.H: Determine the
number and location
of lines of symmetry
in triangles and
quadrilaterals.
Target:
Criteria:
Art Infused Lesson 2b:
Radial Symmetry
November - December
Target: Creates an
Art Infused lesson 2c:
equilateral triangle design
with radial symmetry to use
in tessellations.
Patterns with
Tessellations
Criteria: Creates shapes that
organize around a center axis
using a three-sided shape
equal on all sides.
template, variety
AEL 1.1 concepts:
radial balance
AEL 1.1.2 principles
of design: Uses
principles of balance
and repetition.
AEL 1.2 skills and
techniques: design
5.3.C: Identify,
describe, and
classify triangles
by angle measure
and number of
congruent sides.
Art:
pattern radial balance,
rotational symmetry,
tessellation
Math:
axis, pattern,
tessellation, equilateral,
isolateral
Tessellations and rotational
symmetry are found in nature
and human-made objects and can
be produced using geometric
shapes organized around a
central axis.
13
ARTS IMPACT INSTITUT..E ESSe
PLAN - Core Program Year 2 Art-Infused
VISUAL ARTS LESSON - Informed Drawing through Observation
Arts-Infused Disciplines: Visual Art/Science
Arts-Infused Concept: Observational Process
Artist-Mentor: M_aria Grade
Gr~.k\lel~ird
- Fifth Grade
Example:
Enduring Understandings
Observation of shapes, measured proportion, contour, range of tonal value, and variation in line
quality that creates texture and detail can inform an accurate and descriptive drawing.
Target: Draws the shapes which make UP the form of the animal.
Criteria: Observes, identifies and describes light overlapping ellipses which depict the
basic shapes of an animal's form.
Target: Draws the proportions of an animal.
Criteria: Observes and compares the sizes of animal's body parts and draws light marks
which map the height and length of an animal.
Target: Draws the contour of the animal.
Criteria: Observes and approximates the basic outside eQge of the animal's form,
Target: Uses a variety of lines to describe details of the animal.
Criteria: Uses lines to indicate texture in the drawing; changes line direction to show how
skin or fur follows the shape of the body.
Target: Uses a range of tonal values to describe details of the animal.
Criteria: Draws lioht, medium and dark tones to emphasize the dimensions of the animal's
body or to provide dramatic shading to its form; uses darker lines to define structure and
emphasize characteristic features.
Target: Evaluates work of peers.
Criteria: Uses supportive evidence and criteria.
Teaching and Learning Strategies
1. Introduces drawin9 as an art media and discusses common attitudes toward
drawing. Addresses the concept of realism in art and the acquisition of skills needed to
draw realistically as a goal for this exercise, not a goal for all drawing,
Student: Reflects on ideas and times when drawing realistically is most valued and why an artist
might select to/not to draw realistically.
Arts impact Core II Art-Infused Summer Institute - Visual Arts - Informed Drawing Through Observation
2. Introduces examples of animal drawings from the museum collection. Prompts:
What are the qualities ofa realistic drawing? What is the artist able to tell you about the
subject animal through his/her drawing?
Student: Observes drawings. Lists specific characteristics of realistic drawing. (describes
subject, references recognizable characteristics, conveys dimension.)
3. Introduces drawing tools. Demonstrates on paper the use and capacity of each tool.
Prompts: Tools transform what you observe while looking--your ability to direct these tools is
literally your ability to steer the perceptions a person has when they see your drawing.
Student: Examines and manipulates drawing tools for distinct characteristics and capacities.
4. Leads warm-up draWing exercise using a variety of mark making approaches and varies
pressure with tools.
Student: Lightens up and bears down on tool. Makes a variety of lengths, directions, and
qualities of line with drawing tools.
5. Shape: Introduces observation of elephant photos (though in science it would be
first-hand observation whenever possible) and the drawing of shapes. Prompt: My
elephant's trunk will be nearly touching this side ofthe page andits tail the other side. We can
tell viewers about our observation ofthe elephant's size just by the way we fill the page with its
whole body.
Student: Observes and draws shapes seen in animal. Spans the page with the animal.
Embedded Assessment: Criteria-based self-assessment
7. Contour: Leads class in observing the contour of the elephant. Demonstrates draWing a
contour of the elephant. Prompt: Ifyou were to run your hand along the edge ofhis trunty
what would that motion look like in the air? Class acts out the bumpiness of the line with their
hands. Prompts: Draw the contour to reflect your observation ofall the outside edges ofthe
elephant. Here are questions to ask yourselfas you draw: Have I been careful to observe and
document as much as I can about the shape, proportions and contour ofthis animal? This is my
guide for the rest ofmy draWing and my chance to correct what doesn't resemble myanimal.
Continue to reference your original source, the photograph in this case, notjust your shape
drawings.
Student: Observes and draws the animal's contour.
Embedded Assessment: Criteria-based self-assessment
8. Value: Demonstrates the range of tonal values, displays and defines a value scale,
demonstrates the addition of tone to drawing through the use of smudging, erasing and
shading. Shows before and after drawings.
Student: Observes and comments on the changes in drawing examples.
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Informed Drawing Through Observation
9. Detail: Demonstrates the addition of lines and changes in pressure, direction,
character of line, etc. and displays the changes by showing additional before and after
drawings.
Student: Observes and comments on the changes in drawing examples.
10. Initiates a focused drawing (observational) period for the class in which they are to
draw the details and visual characteristics they observe in the animal using tone and
line. Prompts: Ask yourselfif this could be any elephant or animal or is it the specific one you
are looking at right now? How can you tell? What does your drawing tell me about this animal?
Is he old or strong or dusty or hairy? Make each line or smudge you add tell me more about
what you observe in your animal-no filler. Self-assess as you draw because it helps gUide your
progress. I observed that my elephant had wrinkles all around his ankles and ears that folded
like a leaf oflettuce and his tail had long hairs on the end. I show that to the viewer in my
drawing.
Student: Draws the animal's details using line and tone. Adds as many detailed characteristics
as possible.
Embedded Assessment: Criteria-based self-assessment (Students complete a self-assessment
checklist card which includes a space for them to write how one animal characteristic inspired
one drawing technique. Students can continue to add details to their drawings if they find that
their writing describes something that their drawing does not reflect.)
11. Directs the students to put their drawings next to their reflection cards up on the
wall for group reflection and critique.
Student: Assembles, observes.
12. Teacher: Leads Critique and peer-review.
Student: Discusses the evidence of observation in their drawings, the effective use of line and
tone to describe their animals and uses criteria to comment on the completed drawings.
Embedded Assessment: Criteria-based peer reflection
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Informed Drawing Through Observation
Vocabulary
Arts Infused;
Visual Art and
Materials and Community
Resource
Museum Artworks:
TAM: Robert: Helm, Efrd, 2000
Ml!tb:
g=tional
VIsual Art: contour,
form, line direction,
line quality, marl<
maklng, proportion,
representational,
shape, tone, value
SAM:
Message, 1943
Morris Graves
83.209;
Dr. Silvester Gardiner
probably In2
John Singleton Copley
2006.125;
(1708~1786)1
WA Essential Learnings & Frameworks
Essential Learnings
A£L 1.1.2 prindples of organization: whole picture plane
AEL 1.2 skills and techniques: drawing, erasing, using tort/lion
A£L 21 artiStic process: gathers information, develops Ideas,
organizes elements, reflects for a purpose, refines work, presents
work to others
A£L 3.2 for a purpose: representation
El. 2.1.2 conducts simple investigations
El. 2.2.1 understands that observations and
measurement are
used by sdentists to desO'ibe the worid
El. 2.2.5 understands that Increased comprehension of svstem
leads to new inqUiry
Claude Monet, 1890
Theodore Robinson
Arts State Frameworks
Klndergarlen-Grade 5: applies arts concepts, vocabulary, skllls
and techniques through a creative process
2005.163
Printed Resources/Internet: John Stuart
Curry, Elephants, Rembrandt, Elephant,
Franz Marc, Elephant, 907
SCience State Frameworks
Art Materials: Conte crayons (black),
~Ildd:eris';tU'::s
erasers, HB drawing pendIs, value scale
done with Conte crayon on the lesson
paper, thick white drawing paper, 18 c
24 in. and smaller sizes of same paper
for wann-ups, small pieces of chamois
leather, paper tortillon
K-2: sdentific inqUiry: Makes obsefvations and records
or properties; makes observations and
rements about natural phenomena; tells
sdentffic
nquiry results In facts, evidenre, unexpected findings,ldeas, and
now
anations
3-5: scientific inquiry: 5elects observab6e or measurable
i~tive question far a simple field
"nvestigation; describes whether measurements aM/or
tions of phenomena are scientific facts; descnbes how
results of scientific Inquiry may change our uodesstanding of the
tural world
liables related to the
Arts Impact Core If Art-Infused Summer Institute - Visual Arts -informed Drawmg Through Obselvation
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Student Self-Assessment Checklist (Activated with Comments)
Comments: How were specific criteria satisfied?
Student Name:
Overall:
What evidence can be seen?
What skill or technique did you use?
Total Points: What do you KNOW now?
7
What can ou DO now?
How did one animal characteristic inspire one drawing technique?
Contour:
approximates
the basic
outside edge of
the animal's
form
Linear Detail:
changes line
direction along
sha e of bod
Linear Detail:
indicates
texture
Value: uses
darker lines to
define structure
and emphasize
features
Value: draws
light, medium
and dark tones
Arts Impact Core II Art-Infused Summer Institute - Visual Arts - Informed Drawing Through Observation
ARTS IM,PACT FAMlI-Y EIT.=.E.R:.:.-
_
VISUAL ARTS LESSON - Igformed Drawing through..Observation
Dear Family:
Today your child participated in a visual arts lesson integrated with science: scientific and artistic
observation to collect and record data. We drew a realistic or representational draWing from
observation. We used drawing techniques to depict an animal using Conte crayon and erasers.
•
We observed the basic shapes of the animars body, drew a rough sketch of those shapes to
guide our drawing and then approximate the contour of the animal.
•
We observed the height and length of the animal and compared his limbs and other body
parts so that we could plan to draw aUf animal with those same proportions.
•
We observed the bumps and angles of the body so that our drawing included linear detail that
represented texture and line direction.
•
We added values (light, medium and dark) to our draWing which helped describe more fully
what we saw when we observed the animal.
At home you could try drawing the animals you have nearby, pets sleeping, or squirrels in the yard,
ducks in the park. The ones that hold still are a good place to start. Use the process of first observing,
then drawing a guide sketch of shapes, measuring and comparing for proportion, draWing a contour
and then bUilding detail with line and value to ensure a great drawing, full of observed details and the
true character of the animal!
Enduring Understanding
Observation of shapes, measured proportion, contour, range of tonal value,
and variation in line quality that creates texture and detail
can inform an accurate and descriptive drawing.
Arts Impact Core Il Art-Infused Summer institute - Visual Arts -Informed Drawing Through ObselVation
parallel and perpendicular lines. Label a right angle. Make oblique lines which intersect and label acute
and obtuse angles.
Student: Identifies, draws, and labels parallel, perpendicular and intersecting lines; right, acute, and
obtuse angles.
Embedded Assessment: Criteria-based teacher checklist
2. Introduces Wayne Thiebaud's Diagonal City. Prompts: What do you see? What materials did
the artist use to make his art? (graphite pencil and paper) There are different types oflines that work
together in this drawing? What line relationships are there? (parallel; perpendicular, and intersecting
line) Where do you see angles? What kinds ofangles do you see? Where do you see different areas of
tone (light-to dark) What point of view do we see here?
Student: Identifies parallel and perpendicular lines; identifies rIght, acute, and obtuse angles.
3. Introduces maps and aerial photographs showing a bird's eye viewpoint. Demonstrates
creating a border and mapping streets and using lines and angles to show intersections.
Using right, acute, and obtuse angles can show an intersection ofstreets as seen from above. We want
to imagine a city or a neighborhood. Pretend you're in a helicopter or flying above your city like a bird.
We want to show how people in your city or neighborhood are going to get around using streets. We
need good traffic flow: no collisions. You need to get from point A to point 8 in the qUickest possible
ways. (diagonal/oblique lines) Make the streets for your City Street Plan. You could show a larger street
by creating parallel lines for streams oftraffic moving in two directions. Discuss why cities use one-way
streets as well. I have lined up the edge ofmy ruler with the edge ofmy paper and drawn a light line
parallel to all four edges. Notice how I am using my 2H pencil which is the very lightest, to draw in my
streetsystem. Once I have established the flow of traffic I am starting to show the tops of bUilding~
trees and other features as seen from above just like looking at a map. Remember that a bird's eye
view is different than a side view ofbUildings and trees.
Student: Analyzes using a bird's eye viewpoint, observes demonstration.
4. Guides students as they create a bird's eye view of a city showing streets and roads using
parallel and perpendicular lines, right, acute and obtuse angles. Prompts: We're going to lay down
some perpendicular line~ some parallel line~ and intersecting lines to create three kinds ofangles:
right, acute and obtuse. Once you have your streets mapped in notice the shapes ofyour city blocks
between the streets: ifyour streets are straight, you have polygons. How about triangles? Can you
classify them-are they right, acute, obtuse? Keep building your street system until you reach the
edges ofyour border. You may want to include some open spaces, negative space. As you draw your
lines don't forget to use tools-the straightedge/ruler, and template tools for creating curved lines and
other shapes/figures. Self-check to make sure that your lines are precise, straight and even.
Student: Makes a city street plan.
Embedded Assessment: Criteria-based teacher checklist; criteria-based self-assessment
5. Demonstrates and guides students in adding areas of tone or line pattern to further
define the components of their city. Prompts: Note that you have four different drawing pencils:
2H which we started with is the hardest and 68 is the softest and darkest, the others are in between.
Experiment! Think about how you can fill an area with a tone ofgray and another with a lighter or
darker tone ofgray in order to lend definition to your map. Work to control the pressure and direction
ofyour pencil; you may want all ofyour roads to be the same tone ofgray. Addpatterns oflines:
repeating, straight, curved, or zigzag to define areas like rooftops or tree tops.
Student: Create bUilding entry design.
Embedded Assessment: Criteria-based teacher checklist
Fifth Grade-Visual Art and Math-Mapping Angles from Above
6. Facilitates criteria·based reflection. Displays city maps on the board. Prompts: Draw and
label a portion of the streets seen in a peers map that show acute/ right and obtuse angles. Draw and
compare the properties/attributes ofpolygons you see in the negative space between streets in the
maps. Descnbe the challenges of using the tools What kind of realizations did you have about mapping
from above instead of looking at city features from the ground?
Student: Participates in critique
Embedded Assessment: Criteria-based class critique; criteria-based peer critique
BEFORE next VISUAL ART lesson:
Math Centers
1. Create a map of neighborhood using parallel and perpendicular lines.
2, Highlight (With pens) and classify polygons and triangles found on old city maps,
Independent Practice: Hand draw it! Draw it on paper! A "cute" angle--Iess than 90
obtuse angle--more than 90 A right angle--exactly 90
0
Vocabula
negative space
tone
point of view
Arts Infused:
diagonal
geometric shape
horizontal
inters€cting
parallel line
l"lath:
acute angle
oblique line
obtuse angle
ri ht an Ie
An
Materials and Communi
•
Resource
WA Essential Learnin 5 & Frameworks
Museum Artworks:
Maps, site plans, aerial photographs
Diagonal Otyby Wayne Thiebaud (available (or
checkout lhroug Tacoma Public Schools, part of the
Tak.e 5 Art Print Set)
Google Earth
model train sets
blocks
AEL J.1 concepts: geometric shape, vertical,
horizontal line, tone, pattern, angles
AEl 1.1.2 pn'ndples of organ/zalion: balance
AEl 1.2 skills and techniques: drafting
AEL 4.2 connections belY.>een arts and other content
areas: geometry: angles
Art MaterIals:
Geometry Searc/'i Journals
Math State Fram eworks
Grade 4: 1.3.1 Explains parallel and perpendicular
lines and gives examples to demonstrate them
Grade 5: 1.3.1 Describes a 2-dimenslonal shape
and or figure using properties Includulg number of
Sides, vertiCes, and types of angles.
Grade 5: 1.3.2 Draws, describes, and/or labels
angles, quadrilaterals, parallel and/or D€rpendlcular
lines
pattern
perpendicular line
vertical
•
0
•
Arts:
0
2H, 26 and '1B, 6B graphite pencils
rulers
shape templates
white vinyl erasers or art gum erasers
6 x 9 In. OR 9 x 12 in. white drawing paper
MA TH GLE: J.3.1 Understand propemes of angles
Aftl7 Grade-Visual Art and Math-Mapping Angles from Above
ARTS IMPACT-AB.TA..INFUSED INS rl (UIE.=.-==.::~~P::....:LA=.:.N=-(YR2"AEM..IllU
LESSON fiLE: Mapping Angles from Above
ASSESSMENTVVORKSHEEI
MATH
Disciplines
Conceot
Student
VISUAL
ART AND
MATH
LINESIANGLES
LINE
ldentifjes
equidistant
lines and Jines
that intersect to
make right,
acute, or
obtuse angles
Draws
equidistant
lines to
create
streets and
MATH
VISUAL ART
VISUAL ART
Total
8
LINE
Makes
right
angles
for
streets
and
building
shaDes
a map
border
Makes
acute,
angles
Makes
obtuse
angles
for
streets
and
bUilding
shaDes
for
streets
and
bUilding
shaDes
CRAFTSMANSHIP
TONE
PATTERN
Makes lines that
are straight and
even
Uses
distinct
light,
dark
and
medIum
values
Uses
repeated
sequences
of lines
1.
2.
3.
4.
5.
6.
I
7.
8.
9.
10.
II.
12.
13.
14.
15.
16.
I
i
17.
I
18.
19.
20.
21.
22.
-
23.
24.
25.
26.
27.
I
28,
Total
Percentaqe
i
I
I
.
.
Criteria-based Reflection Questions: (Note examples of student reflections.)
Self-Reflection: hat kind of realizations did you have about mapping from above instead of
looking at city features from the ground?
Peer to Peer: Draw and label a portion of the streets seen in a peers map that show acute,
right and obtuse angles. Draw and compare the properties/attributes ofpolygons yOll see.
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:
FIfth Grade-Visual Art and Math-Mapping Angles from Above
_
AR.TS IMPACT-ARTS-II1E.USED LEARNING FAMILY ETHR
_
Y'jSUAL ART AND MATH LESSON - Mapping Angles from Above
Dear Family:
Today your child participated in a math and art lesson. We deSIgned and made city street plans.
•
We looked at Wayne Thiebaud's Diagonal City. We found places where the artist used parallel
lines, perpendicular lines, and oblique (diagonal) lines that intersect. We analyzed the
drawing and found three kinds of angles used by the artist: right angles (making an 'L', 90
degrees), acute angles (those smaller than 90 degrees that seem sharp and pointed), and
obtuse angles (angles larger than 90 degree right angles).
•
We reviewed how to draw parallel, perpendicular, and oblique lines and leamed how to
intersect those lines to make right, acute, and obtuse angles.
•
We thought about our city streets plan and the kinds of streets we wanted to create for our city.
We drew parallel, perpendicular, and oblique lines. We talked about the open space (negative
space) in areas in between our lines drawn for streets. Some of our negative space was shaped
like triangles, or other straight-sided polygon shapes/figures,
•
We used a straightedge and templates to makes lines that are straight and even,
We also added tones and patterns of lines to define city elements.
•
We included three kinds of angles in our draWing: right angles, acute angles, and obtuse.
You could point out the types of lines and angles in your own home. You could inspect your home and
pretend you were architects and wanted to remodel by changing the angle of a wall.
Enduring Understanding
Streets seen from above can be intersections of lines that create right, aCl:Jte, and obtuse angles.
Fifth Grade-Visual Aft and Math-Mapping Angles from Above
ARTS IMPACT
SLASSROOM LESSON
SCHOOL: EATONVILLE ELEM
GRADE: 4 ARTS DISCIPLINE: VISUAL
Radial Symmetry in Drawing
Teacher: Renee Ricketts
Artist-Mentor: Maria E/ger
Problem to Solve: How can the organization of lines create radial balance and symmetry in a
composition?
Understanding: Lines and elements radiating from a central point based on a circle can create a
balanced and radially symmetrical composition.
Brief Description of Task! Project
Students create a radially symmetrical drawing on paper.
Target Learning and Assessment Strategies
Evidence of Student Learning
Radially symmetrical draWing
Knowledge and skills: The student:
Target: Creates designs that originate symmetrically from the center point of a circle.
Criteria: Draws repeating shapes. lines. or dots that build on the preceding layer and radiate symmetrically from
the center point.
Target: Uses markers to color radiating design, keeping true to the rules of symmetry in use of color.
Criteria: Uses the same color in each section of each set of matching shapes. lines and patterns.
Target: Uses color to create contrast.
Criteria: Uses a variety of color to balance white space equally.
nstructional Strategies for the Teacher and Student
Teacher: Introduces, defines, and discusses images of radial symmetry evident in everyday life. Shows images of
everyday objects such a snowflakes, flowers, bicycle wheels, spider webs, etc. Prompts: What can you see in these images that cause
them to be similar? What do they have in common? Discusses definition, properties, and qualities of radial symmetry. Prompt: What
1.
other everyday objects can you think ofthat are radially symmetrical?
Student: Observes, compares, and discusses radial symmetry.
2. Teacher: Introduces, defines, and discusses images of radial symmetry evident in art examples, including Indian
Rangoli designs. Prompts: How do these images hold true to our definition ofradial symmetry? How do you think you might go
about creating your own composition that would be radially symmetrical?
Student: Observes and discusses evidence of radial symmetry in art example.
3. Teacher: Demonstrates creating radiating designs by adding shapes, lines, and patterns beginning at the center of
the circle. Prompts: What could you add to your circle that might create a radiating design? Where might you begin to add to your
drawing? What would you need to do to ensure that your design has radial symmetry?
Student: Observes process of creating radiating designs.
Embedded Assessment: Criteria-based self-assessment; Teacher checklist
4. Teacher: Distributes practice worksheet to generate ideas for seed design.
Student: Uses worksheet to create radially symmetrical design.
5. Teacher: Demonstrates process of selecting, refining, and duplicating one section of design into a wedge shape.
Models self-assessment. Prompts: How can 1 create a balance ofdesign and white space in my composition?
Student: Observes and offers suggestions.
6. Teacher: Instructs students to create designs in each section of the practice wedge. Demonstrates creating a balance of
white space and color.
Student: Chooses design to refine. Copies design onto wedge shape with refinements.
7. Teacher: Instructs students to choose, refine, and duplicate wedge shape onto circle. Models on overhead.
Student: Duplicates wedge shape design into each section of circle, creating a radially balanced design.
8. Teacher: Monitors and advises students during the process of addition to designs to circle. Instructs students who are
correctly creating radial designs to begin working with fine-tipped markers. Distributes markers as students are ready. Prompts: How
can we add color to your composition so that it continues to have radial symmetry?
Student: Uses markers to color shapes, lines and patterns within circles. Uses the same color in each section on each set of
matching shapes, lines, and patterns. Completes radial symmetry composition using markers.
Embedded Assessment: Criteria-based self-assessment; Teacher checklist
Vocabulary
• balanced
• composition
• diameter
• opposing
• pattern
• radial
• repetition
• symmetry
• template
• variety
selected Resources
Dance/Theater
Resources/Visual Art Cultural
Partner Reference:
Michael Gregory, Egg and Cross
Classroom Materials:
Rulers, pencils, electric pencil
sharpener, fine-tipped colored
markers, drawing paper, circle
template with 8 points around
perimeter of the circle, practice
worksheet with points or dots
Student Applications of Learning
Students see radial symmetry and
pattern in nature and in the
constructed world.
Essential Learnings
AEL 1.1.2 Principles oforganization:
balance, repetition, pattern
AEL 1.2 Skills and techniques:
drawing, use of tools (ruler)
AEL 1.3 Art styles from different
cultures
r~~~~o!v~E~~CID~}~~~~~~~u~
LESSON
'.adial Symmetry in Drawing
Target Learning and Assessment Strategies
Knowledge and skills: The student:
Knowledge and skills: The student:
Target: Creates designs that originate symmetrically from the center point of a circle.
Criteria: Draws repeating shapes, lines, or dots that build on the preceding layer and radiate symmetrically from
the center point.
Target: Uses markers to color radiating design, keeping true to the rules of symmetry in use of color.
Criteria: Uses the same color in each section of each set of matching shapes, lines and patterns.
Target: Uses color to create contrast.
Criteria: Uses a variety of color to balance white space equally.
PERSONAL ASSESSMENTS CHECKLIST
Student
Draws repeating shapes, lines,
and dots beginning from
center point
Student
Draws repeating shapes, lines,
and dots beginning from
center point
Uses same color in each section
of each set of matching shapes,
lines, and patterns
Uses a variety of
coior to balance
white space
e uall
Total Points
3
ASSESSMENTS CHECKLIST
Uses same color in each section
of each set of matching shapes,
lines, and patterns
Uses a variety of
color to balance
white space
equally
Total Points
3
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
Total
Percentaqe
Mean
Median
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Teacher Comments:
L===~~=~~~~~~======-======'I
ARTS IMPACT
Dear Family:
Today your child participated in an art lesson about radial symmetry in drawing.
1. We found examples of radial symmetry in everyday life, such as snowflakes, bicycle
wheels, and spider webs, and in works of art.
2. We created a radially symmetrical drawing by selecting, refining and duplicating designs
in each wedge shape.
3. We added color to our design to continue the radial symmetry and create contrast with the
white space in our drawing.
At home you could find examples of radial designs in nature and within your home.
UNDERSTANDING
Lines and elements radiating from a central point based on a circle can create a balanced and radially
symmetrical composition.
SEQUENCE AND PROMPTS FOR
EXTENDED INSTRUCTIONAL STRA TEGIES: Step-by-Step
A.BIS...IMPACT I ST.I:UJIU,ESSON PLAN - Core Program year 2 Art-Infused
VISUAL ARTS LESSON - Radial Symmetry
Arts~lnfused
Disciplines: Visual Art/Math
Example:
Enduring Understandings
Repeating lines and elements radiating from a central point based on a cirde can create radial
symmetry in art.
Target: Recognizes and creates designs with radial symmetry,
Criteria: Draws approximate repeating shapes, lines or dots using identical techniques that
originate and repeat from
a center point (circumcenter).
Target: Includes a wide variety of embossed design techniques.
Criteria: Uses both the front and back of the metal circle and applies raised and indented
shapes, lines and dots.
Target: Maintains craftsmanship towards the design as a whole.
Criteria: Handles materials gently and uses tools without damaging the copper by folding,
creasing, puncturing or flattening the surface.
Teaching and Learning Strategies
1. Introduces and defines radial symmetry, Discusses the radial symmetry evident in the
world around us. Prompt: Where do we see something in nature which radiates evenly from the
center? Shows images of objects such as snowflakes, spider webs, flowers. Prompt: Where do
we see something in everyday lIfe which radiates evenly from the center? Shows images of
bicycle wheels or kaleidoscopes, pinwheels, Lists the properties and qualities of radial symmetry
to create a definition on the board. Lists all examples generated by the students on the board.
Student: Observes and discusses radial symmetry. Suggests examples.
Embedded Assessment Criteria-based teacher checklist
2. Introduces the selected resources (contemporary painting; Native American hat) which
show evidence of radial/rotational symmetry. Asks for aesthetic responses to the effect
radial symmetry has within the artwork. Prompts: In what way does the artist arrange the
elements of this piece to elicit our attention and reflection? Where does the artist repeat an
element? How does the radial symmetry change our experience of the artist's expression?
Student: Discusses evidence of radial symmetry in art examples. Provides aesthetic responses
to art.
Embedded Assessment: Criteria-based teacher checklist
Arts Impact Core II Art-Infused Summer Instttute - Visual Arts -Radial Symmetry
6-29
3. Discusses the tradition of radial symmetry in the art of many cultures throughout
history and the beliefs which are connected to those art forms. Displays Rangoli, Mandala,
Hex, Millefiori, Tapa, Quilt, Arabic and Gothic design examples.
Student: Observes the traditional uses of radial symmetry in art and discusses the range of
purposes and beliefs.
4. Introduces the copper material and the tradition of repousse. Prompts: Repous92
means to 'push back'in French. This method often includes both embossing and indenting a
metal sutface from both sides to create a slightly projecting reliefsutface. What do you see in
the center of this gold repousse example? Show the Hellenistic Phiale. Prompts: We do not
know the specific artist, only that it was created around 300 BC Art historians have found that
it is meant to represent the navel ofthe universe. All around the navel are symmetrically
arranged bees and acorns. What do you think that might mean? (plenty offood) How does this
radially symmetrical arrangement express to, or tell, the viewer more about the way Hellenistic
artists saw the world?
Student: Discusses the radial design and qualities of the repousse technique.
Demonstrates the varied uses of stylus tool, addition of
layers and the reversal of the copper to include both embossing and indenting in the finished
design. Prompts: I am making sure to include a variety ofdesign elements that I invent like
dots and tiny sha~es and stars. I com lete a whole la -er of the same one element before I 0
onto m next ide
I am not sure that I can draw the exact same bee each time so I am not
going to try to do anything too complicated for this design. I have some raised details and some
pushed in details for greater interest. Shows before and after design examples. l'v1odels self-
assessment and subsequent refinement of design to meet criteria. Models journal entry to
reflect on their design and document potential personal meaning.
Student: Observes demonstration; suggests ideas for elements to add and what to avoid.
Embedded Assessment: Criteria-based self-assessment; journal reflection
6. Teacher: Demonstrates and encourages use of all tools and experimentation
beforehand on scrap pieces to establish the pressure needed. Leads class in
experimentation on scrap copper pieces with a stylus tool.
Student: Observes and discusses process, experiments on scrap copper.
7. Teacher: Distributes materials and guides class through the process of tracing the
edges of the template to create clear pie-shaped sections which meet at the center point.
Directs students to create a center/navel/seed design.
Student: Organizes materials and traces even sections onto the copper circle. Creates a center
design to begin the artwork.
Embedded Assessment: Criteria-based self assessment; teacher checklist; journal reflection
8. Teacher: Initiates a quiet, contemplative design process for the class with music to
encourage focus. Advises students during the process of doing their repousse designs,
brainstorming ways to edit or enhance faint marks or stray non-symmetrical elements so that
they will meet criteria.
Arts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry
6-29
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TRANSFORMATION DEFINI IONS
transformation (geometric): A change in position/location of a figure. Types of transformations
include translation (slide), reflection (flip), rotation (turn), (or combinations of these).
translation/slide: A transformation of a figure by sliding without turning or flipping in any direction,
Example:
reflection or reflection on a line: A transformation of a figure by flipping the figure over a line,
creating a mirror image.
Examples:
wQjb
rotation/turn: A transformation of a figure (or points) in a plane resulting from turning a figure
around a center point O-either clockwise counterclockwise.
Example:
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Arts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry
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Arts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry
6-29
ARTS IMPACT
_
FA~t:~R
VISUAL ARTS LESSON -
RadiaJ Symmetry
Dear Family:
Today your child participated in a visual arts lesson integrated with math. We studied radial
symmetry in visual art and math.
•
We looked at a Native American hat and a contemporary painting and found the ways the
artists used radial symmetry and how it adds visual interest. We also looked at radial symmetry
in visual art examples from around the world and the different meanings associated with those
designs.
•
We each made a copper Repoussage. This is a piece of art produced by a metal working
process known as Repousse. Repousse means to 'push back' in French. This method often
includes both embossing and indenting a metal surface from both sides to create a slightly
projecting relief surface.
•
We incorporated a radial symmetry design repeating shapes, lines and dots in different sections
of the design around a central point.
•
We practiced artistic craftsmanship. We used the copper material carefully so that we would
not damage it as we worked with it.
At home, you could look for examples of radial symmetry in nature and in the objects around you.
Enduring Understanding
Repeating lines and elements radiating from a central point based on a circle
can create radial symmetry in art.
A/ts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry
6-29
r------------------------------------------,
ARTS IMPACT LESSON PLANNING FORMAT
Arts
Visual Art
Disci line:
Patterns
with Tessellations
Grade
4/5 Title:
..
---------,---------,-------1
Level::
Bobby Nuttle with Meredith Essex at Southwood ES, Enumclaw School
Author:
District
Enduring Understanding: Tessellations and rotational symmetry are found in nature and human
made objects and can be produced using geometric shapes organized
around a central axis.
Examples:
Relates and repeats shapes in a grid.
Target Learnings and Assessment Criteria
f-T_a_r---""'-e_t_:
-+-_R_ec_o_r_d_s_ra_d_i_al_symmetry us~n~g..<....Lp-,,-att=.:..er:...;.n_b,,-l-,,-o-.:.;ck..:.:s;....' - - - - - - - - - - - - - - - - i
Criteria: Arranges wooden blocks in a--=s:.J:p...:.o_ke-"--..;.;li;k..:..e~o~rLa:..:.n.:.::iz::..;;a.;.:,ti...:.o__=n.:...-. - - - - - - - - - - - - 1
Ta et:
Records attern on attern a er.
Criteria:
Relates
and re eats sha es in a rid with colored encils.
f----------t--Ta rg et:
-t-=I:. =d.. :.e.:. :.n.:;.tifi;. :.le=.;s:--.a:;.:n. :. ;d;. . .;. .;re::. . : c. .:.o.:. .-rd::. . : s;. . r---=-a'-'-d.;.a'-'-l...::.s.L..m~m..:..;e:...:..t'--L-i...;.;n...;.;n--=a...:.tu.:;;;r:....:..e;....a;....n..:..;d"'---'-'--i
=i
n:- .h. :. ;U:. .;.m.;. :.a.:; ;n. :. .-. :. ;n. :. ;a1:.;. : d--=e'--.:s: . . : u-=b"L·e:..:..ctsc.=.;:.'~----!
f----C_r_it_e_r_ia_:--+-_M_a_kes drawings of spoke-Iik.e organizati9n in plants and in mach!_ne_s_.
-----i
Creates an e uilateral trian Ie desi n with radial mme
to use in tessellations.
Ta et:
Criteria: Creates shapes that organize around a center axis using a three~sided shape equal
on all sides.
Creates tessellation desi n on another surface to create rotational s mmet
Ta et~
Criteria: Transfers designs with pencil, aligns it in a rotational symmetry in a pattern
or anized around an axis, fillin u the a er.
Instructional Strategies
1. Identifies rotational symmetry by observing pictures of nature and machines. Identifies tessellations
in artwork. Prompts: What do you notice about this type of symmetry? What is the type of
organization found here in nature, machines, and art? Where is the axis? Where do we see shapes
interlockin or fittin tQgether: where do we see lines of s mmet ?
2. Models tessellations using pattern blocks and assists students as they develop tessellations.
Prompts: Use pattern blocks using slides and rotations to create fines of symmetry. Embedded
Assessment: Teacher Checklist
3. Reviews the idea of tessellations and models the tracing of a design using radial symmetry.
Prompts: We will be transferring drawings to a sheet. Remember to create an axis upon which all the
sha es will radiate. Embedded Assessment: Teacher Checklist
4. Models how to trace seconda d~sign using the tessellat!,_n.-L------'--L-----=--...:.....:.....:.....;;..--=-.----:...::......:......:........;"------:.....:..-_-"
I
equilateral graph paper.
5. Facilitates students as they practice on paper. Guides students as they produce the final product by
tracing the design on equilateral graph paper onto overlaid copier paper. Prompt: Tape the paper to
the qraph paper so it doesn't slide around. Embedded Assessment: Teacher Checklist
Vocabulary
•
•
•
•
•
•
•
axis
pattern
radial balance
rotational symmetry
tessellation
equilateral
isolateral
Resources:
Classroom, Visual
Historical Art or
Arts or Performing
Performance
Arts Materials
•
•
•
•
•
•
•
Islamic art
The Conqueror at
the Gate of a City
Victor Maldonado,
Ross Road,
Tacoma Art
Museum
Harry Bertonia,
Small Bush,
Tacoma Art
Museum
pictures of
machines
Scheduled Study
Visit: February 15,
2006
•
•
•
•
pattern blocks
pattern paper
colored pencils or
markers
(optional)
equilateral
triangle graph
paper
template of an
equilateral
triangle divided
into isolateral
triangles
white copier
paper (18 x 11'')
I
WAEssential
Learnings
AEL 1.1 concepts:
• Identifies radial
balance in 2 and 3 D
objects
• Identifies and uses
principles of balance
and repetition
AEL 1.2 skills and
techniques:
• design
AEL 1.3 Describes the
attributes of artworks
use by specific cultures
• Islamic
AEL makes connections
between the arts and
other content areas
•
math
I
I
2
Arts Discipline:
Grade
4/5
Level:
Students
I
Title:
Author:
Rotational
Symmetry
Arranges
wooden
blocks in a
spoke-like
organization
I
Patterns with Tessellations
Bobby Nuttle with Meredith Essex at Southwood ES, Enumclaw
School District
Pattern
Rotational
Tessellation
Drawing
Total
symmetry
Points
I
Relates
Makes
and
drawings of
repeats
spoke-like
shapes in a organization
grid with
in plants
and in
colored
pencils
machines
Create
shapes that
organize
around a
center axis
using a
three-sided
shape equal
on all sides
5
Transfers
designs with
pencil, aligns it
in a rotational
symmetry in a
pattern
organized
around an axis,
filling up the
paper.
I
l.
2.
3.
4.
5.
6.
7.
8.
9.
10.
ll.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
Total
Percentage
3
Were there any students especially
challenged by concepts in the
lesson; what instructional strategies
hel ed these students?
Were there lesson dynamics that
hel ed or hindered learnin ?
What classroom management
techniques supported student
learnin ?
Other comments:
Family Communication:
Key Thoughts in Communication to Family: Student learned to
recognize and make patterns and tessellations (patterns that fit
to ether. The created a stam ed rint as a tessellation.
4