Saint Paul Public Schools Visual Arts Elementary Scope and Sequence – Grade 5
Subject: Visual Art – Unit 1: Elements of Art – Line, Shape, and Value
Timeframe: (# days/week): First Quarter
Unit: Elements of Art – Line, Shape, and Value
Skills / Concepts:
MN Standard: Strand I: Artistic Foundations
Standard 1: Demonstrate knowledge of the foundations of
the arts area
1. Describe the characteristics of the elements of visual art,
including color, line, shape, value, form, texture, and space.
2. Describe how the principles of visual art, such as repetition,
pattern, emphasis, contrast and balance are used in the
creation, presentation or response to visual artworks
Big Idea:
There are many ways and techniques that can be
used to create depth in a work of art.
Skills:
Observing lines in the environment
Creating value using line
Using a camera
Vocabulary
Line: vertical,
horizontal, diagonal,
zigzag, curved
Weaving
Value: hatching,
cross-hatching,
contrast, stippling
Essential Question:
How can line create value?
How can you use value to indicate form?
What is one way photographers demonstrate
contrast in their work?
Resources
Visual Artists:
Unknown Cakchiquel Maya of Guatemala, Jackson
Pollock, Elizabeth Catlett, Ansel Adams
Websites
www.mayatraditions.com/backstrap.html
www.mayanindians.com/mayan-weavers.html
-Huipil weaving
www.artsconnected.org/resource/24857/6/womans-blouse-huipil
-Minneapolis Institute of Arts ArtsConnectEd
www.nga.gov/feature/pollock
-National Gallery of Art
www.artic.edu/artaccess/AA_AfAm/pages/AfAm_8.s
html
-The Art Institute of Chicago
-Elizabeth Catlett
www.zpub.com/sf/history/adams.html
Reading
Activities
SRA Connections:
Lessons: 1, 4, 6
Projects:
1. Expression with Lines:
Create a mixed-media
collage.
4. Value with Hatching:
Draw a model using
hatching to show value.
6. Value Contrast: Create
a scene using value
contrast in photography.
Writing
Concepts:
Using hatching and cross-hatching
to indicate value and form
Taking a photograph that shows a
high contrast in value
Assessment
Pre-Assessment:
Compare the similarities and contrast the
differences between Huipil Weaving and
Jackson Pollock’s Convergence.
Formative:
Ask students to list the types of lines around
them and connect each one to an emotion.
Create a value scale using hatching.
Create contrast in a drawing using marker.
Summative:
Student identifies teacher-selected lines, as
well as demonstrates knowledge of hatching
to create value.
Student’s photograph clearly illustrates value
contrast.
Students describe how they used line, shape
or value in their artwork.
Cross Curricular Connections
1. July, 2011
J Elliott,
The Wheel on the School, Meindert DeJong
Sarah, Plain and Tall, Patricia MacLachlan
The First Woman Doctor, Rachel Baker
Ask students to write an A, B, C list of the types of lines around them
and names of shapes made with lines, and connect each one to an
emotion.
Have students write a descriptive paragraph that explains the scene
they chose to photograph from lesson 6.
Title and Artist
Have students choose a reproduction of art and write a descriptive
paragraph explaining how the artist used line, shape or value in the
artwork.
Title and Artist
Women’s blouse (Huipil), Artist Unknown (Maya,
Kaqchikel), c.1970
Sharecropper, Elizabeth Catlett, 1970
Art Criticism – Blooms Taxonomy
Describe the different types of lines you see. (Understanding)
Compare and contrast how value is used in a variety of artworks. (Analyzing)
Demonstrate depth in a photograph you have taken. (Applying)
Math: Connect the idea of form
in art and math
Movement: Use lines of the
body to create a pose and
sequence of movements.
Social Studies: Investigate
Guatemala Mayan culture and
describe lines, shapes and values
found in Mayan objects
Title and Artist
Aspens, Northern New Mexico, Ansel Adams,
1958
Visual Thinking Strategies Protocol www.vtshome.org
Take a quiet moment to look.
What’s going on in this picture?
What do you see that makes you say that?
What more can we find?
2. July, 2011
J Elliott,
Saint Paul Public Schools Visual Arts Elementary Scope and Sequence – Grade 5
Subject: Visual Art – Unit 2, Space, Shape and Form
Timeframe: (# days/week): First Quarter
MN Standard: Strand I: Artistic Foundations
Standard 1: Demonstrate knowledge of the foundations of the
arts area
1. Analyze the use of the elements of visual art, including color,
line, shape, value, form, texture, and space in the creation of,
presentation of, or response to visual artworks.
Strand II: Artistic Process: Create or Make
Standard 1: Create or Make in a variety of contexts in the arts
area using the artistic foundations
2. Revise artworks based on feedback of others, self-reflection
and artistic intention
Vocabulary
Space: positive and
negative, shape
reversal,
perspective, depth,
converging
Perspective
techniques:
overlapping, size,
placement, detail,
color, converging
lines/ vanishing
point
Form, freestanding
sculpture, relief
sculpture
Unit: Elements of Art –
Space, Shape, and Form
Big Idea:
Artists use the elements
of space, shape, and form
to create depth in an
artwork.
Essential Question:
How does the creation of
space lead to the illusion
of depth?
What is the relationship
between shape and form?
Skills / Concepts:
Skills:
Perspective drawing techniques
Drawing negative space
Creating a sculpture using malleable material
Concepts:
Positive and negative space is used to create mood and
interest in artwork.
Space in two-dimensional art is created when perspective
techniques are used on a flat surface, giving the illusion of
depth.
Form is used to create three-dimensional works of art.
Resources
Visual Artists: Jasper Johns, Georges Seurat, Frank Stella, Robert J.
Lang, Linda Brooks, Marisol Escobar
Activities
SRA Connections:
Lessons: 1, 2, 5
Websites:
http://www.moma.org/interactives/exhibitions/1996/johns/
-Museum of Modern Art
www.theartstory.org/artist-johns-jasper.htm
www.ibiblio.org/wm/paint/auth/seurat/
-Web Museum
www.moma.org/collection/artist.php?artist_id=5640
-Museum of Modern Art
-Frank Stella
www.nga.gov/kids/stella/stella1.htm
-National Gallery of Art
www.langorigami.com/
-Origami and paper-folding artist Robert J. Lang
www.artsconnected.org/resource/10764/9/fantasy-volumes
Projects:
1.Positive and Negative
Shapes and Space: Draw a
still-life emphasizing
negative space
2. Space in TwoDimensional Art: Paint an
outdoor scene, including
depth
5. Form: Create a threedimensional form using
paper
Assessment
Pre-Assessment:
Brainstorm the many uses
for the term space.
Label the three dimensions
of a form.
Visual Thinking Strategies
to Seurat’s piece.
Formative:
Divide a paper into six
boxes and illustrate all
perspective techniques.
Revise artwork based on
peer feedback on rough
draft of outdoor scene.
Summative:
3. July, 2011
J Elliott,
-Minneapolis Institute of Arts
-photographer Linda Brooks
http://www.moma.org/collection/browse_results.php?criteria=O%3A
AD%3AE%3A3774&page_number=2&template_id=1&sort_order=1
-Museum of Modern Art
-Marisol Escobar
Reading
Writing
Shadow, Marcia Brown
Keep an alphabet list as a class, labeling terms related to
Walk Two Moons, Sharon Creech
space learned throughout the unit.
Call It Courage, Armstrong Sperry
Viewing Frank Stella’s sculpture, students identify facts
and opinions related to the piece.
Title and Artist
Cups 4 Picasso, Jasper Johns, 1972
Title and Artist
A Sunday Afternoon on the Island of La Grande
Jatte, Georges Seurat, 1884
Art Criticism – Blooms Taxonomy
Demonstrate various methods to create depth in an artwork. (Applying)
Compare and contrast positive and negative space. (Analyzing)
Identify two- and three-dimensional artworks. (Understanding)
Darken the negative spaces
in a still-life.
Identify three forms and
three shapes.
Cross Curricular Connections
Math: Use tessellations as an example
of shape reversal
Social Studies: Have students identify
the positive and negative spaces on a
map of the world. Emphasize continents
and major bodies of water.
Title and Artist
St. Michaels Counterguard, Frank Stella, 1984
Visual Thinking Strategies Protocol www.vtshome.org
Take a quiet moment to look.
What’s going on in this picture?
What do you see that makes you say that?
What more can we find?
4. July, 2011
J Elliott,
Saint Paul Public Schools Visual Arts Elementary Scope and Sequence – Grade 5
Subject: Visual Art – Unit 3, Unit Title: Color and Pattern
Timeframe: (# days/week): First Quarter
Unit: Elements of Art and Principles of Design – Color
and Pattern
Big Idea:
Artists use the elements of color and pattern to create
mood and interest in their artwork.
Skills / Concepts:
MN Academic Standard in the Arts: Artistic Foundations
Skills:
Standard 1: Demonstrate knowledge of the following arts
Creating tints and shades of one
area
hue
1.Describe the characteristics of the elements of visual art,
Printmaking techniques
including color, line, shape, value, form, texture and space.
Essential Questions:
2. Describe how the principles of art such as repetition,
How does color connect to the mood of an artwork?
Concepts:
pattern, emphasis, contrast and balance are used in the
How do artists create color contrast in their work?
Monochromatic color
creation, presentation or response to visual artworks.
What patterns are found in art and objects from
Complementary color
Standard 3: Demonstrate understanding of the personal,
various cultures?
Using observation to paint a still
social, cultural and historical contexts that influence the art
life
areas
2. Describe how visual art communicates meaning.
Vocabulary
Resources
Activities
Assessment
Color:
Visual Artists: Ben Jones, Willis “Bing” Davis, The Wari Empire (Peru),
SRA Art Connections:
Pre-Assessment:
monochromatic,
Kuba Group (Congo)
Lessons: 1, 3, 5
Brainstorm a list of colors
hue, tint, shade,
seen in the classroom and
complementary,
Websites:
Projects:
create categories for those
intensity
http://www.africa-news.eu/africans-in-uk/1776-in-conversation-with1. Monochromatic Colors:
colors.
artist-ben-jones.html
Real or Imaginary Animal
Formative:
Pattern, motif,
-Africa News, Ben Jones
3. Complementary Colors: Sketch a pattern you seen in
random pattern
http://www.artbabble.org/search/bvideo/Willis%20Bing%20Davis
Still Life
your environment.
-Willis “Bing” Davis
5. Pattern: Create
Create a value scale using
http://www.dispatch.com/live/content/life/stories/2008/08/31/2_YAT Wrapping Paper
monochromatic colors.
ES31.ART_ART_08-31-08_E6_1EB4P6T.html?sid=101
Summative:
-Willis “Bing” Davis exhibition review
Student demonstrates the
http://www.metmuseum.org/special/andean_tunic/view_1.asp?item=
correct use of
11
complementary colors in
-The Metropolitan Museum of Art
their still life.
-Wari tunics
Student is able to identify
http://art98.stores.yahoo.net/emkubclotstr.html
and describe patterns and
-Authentic Africa
motifs in art and their
5. July, 2011
J Elliott,
-Kuba cloth strip
Reading
My Fellow Americans: A Family Album, Alice
Provensen
Grass Sandals: The Travel of Basho,
Dawnine Spivak
A View From Saturday, E. L. Konigsburg
Title, Artist, Year
King Family, Ben Jones, 1971
Writing
Students brainstorm a list of colors they see in
their classroom and create categories for those
colors.
Students reflect about their favorite professional
sports team and describe what color category
their uniforms fall in. Are they complementary
colors? Why do you think those colors were
chosen?
Create a word web using color as the main
concept.
Title, Artist, Year
Ancestral Spirit Dance #187, Willis “Bing” Davis,
environment and what they
were conveying using their
chosen patterns and motifs.
Cross Curricular Connections
Math: Create graphs from the list of color categories
they brainstormed.
Identify geometric shapes in the textile examples.
Music: Compose an ostinato. (Ostinato = A short
melody or pattern that is constantly repeated, usually
in the same part at the same pitch.)
Social Studies: Explore Martin Luther King’s impact on
the Civil Rights’ Movement.
Ask students to locate Peru and the Democratic
Republic of Congo on a world map.
Title, Artist, Year
Ceremonial Panel, Shoowa People (Kuba sub-group),
1925-50
Art Criticism – Blooms Taxonomy
Identify monochromatic, as well as complementary, color schemes in the environment.
(Understanding)
Compare and contrast the patterns in the Wari tunic and Kuba textile. (Analyzing)
Describe the process of printmaking. (Understanding)
1.
2.
3.
4.
Visual Thinking Strategies Protocol
www.vtshome.org
Take a quiet moment to look.
What’s going on in this picture?
What do you see that makes you say
that?
What more can we find?
6. July, 2011
J Elliott,
Saint Paul Public Schools Visual Arts Elementary Scope and Sequence – Grade 5
Subject: Visual Art – Unit 1, Unit Title: Proportion and Distortion
Timeframe: (# days/week): First Quarter
Unit: Elements of Art – Proportion and
Distortion
Big Idea:
Artists use the elements of proportions and
distortion to express a feeling, as well as
emphasize a particular area of their artwork.
MN Academic Standard in the Arts:
Artistic Foundations
Standard 3: Demonstrate understanding of the personal, social,
cultural and historical contexts that influence the art areas.
1. Describe the personal, social, cultural or historical contexts that
influence the creation of visual artworks, including the contributions of
Essential Questions:
Minnesota American Indian tribes and communities.
What are the correct proportions of the face
2. Describe how visual art communicates meaning.
and body?
Artistic Process: Create/Make
How does distorted face and body
Standard 1: Create or make in a variety of contexts in the art area
proportions affect the mood of a work of
using the artistic foundations.
art?
1. Create original two and three-dimensional artworks to express
specific artistic ideas.
Vocabulary
Resources
Activities
Face proportions,
Visual Artists: Elizabeth Catlett, Robert Henri, Fernando
SRA Art Connections:
central axis, profile
Botero, Amedeo Modigliani, Kongo People of the Democratic
Lessons: 3, 4, 5
proportions
Republic of Congo, Tsimshian of North America, Oscar Howe
Projects:
Distortion,
Websites:
3. Face Proportions: Draw a
exaggeration, body
http://monet.unk.edu/mona/pioneer/henri/henri.html
portrait.
proportions
-Museum of Nebraska Art
4. Distortion of Body
-Robert Henri
Proportions: Create an
http://www.artsconnected.org/resource/5438/1/nkisi-nkonde original superhero.
-Minneapolis Institute of Arts
5. Distortion of Face
-Nkisi Nkonde
Proportions: Create a papierhttp://www.artsmia.org/surrounded-bymache’ mask.
beauty/northwest/trans_home.html
-Minneapolis Institute of Arts
-Kwakiutl Transformation Mask
http://www.artsconnected.org/resource/51553/93/frontlet
-Minneapolis Institute of Arts
Skills / Concepts:
Skills:
Measurement
Distortion/Exaggeration
Papier Mache’
Concepts:
Proportions of the face and
body
Mask-Making
Cartooning
Assessment
Pre-Assessment:
Draw a person (face and body)
in your sketchbook.
Formative:
Draw a rough draft of a
portrait using correct
measurements for face
proportions
Students will evaluate their
artwork using the four steps of
art criticism (Describe,
Analyze, Interpret, Decide).
Sketch of mask incorporating
facial distortion
Summative:
Student’s comic-strip
character and papier mache’
7. July, 2011
J Elliott,
-Frontlet
http://www.oscarhowe.org/
-Oscar Howe
http://www.artsconnected.org/resource/53150/1/siouxwarrior-chief
-Souix Warrior Chief information
Reading
Dear Mr. Henshaw, Beverly Clearly
A Wrinkle in Time, Madeleine L’Engle
Tuesday, David Wiesner
The People Could Fly: American Black
Folktales, Virginia Hamilton
Title, Artist, Year
Tilly, Robert Henri, 1917
Writing
Write a character description of the person
whose portrait was painted.
List the steps followed to measure and draw face
proportions.
Write lyrics to a theme song for a comic strip
character.
Write a script in order to prepare an oral
presentation explaining meaning behind mask.
Title, Artist, Year
Nkisi Nkonde, Artist Unknown (Kongo), late 19th c.
mask clearly illustrates the use
of distortion.
Cross Curricular Connections
Math: Use portraits when discussing balance and proportion.
Movement: Stand in a neutral position, then alter your body
to distort into an unnatural pose.
Social Studies: Explore the function of a nkisi within the
Kongo culture.
Art History: Research Oscar Howe and his contribution to
contemporary Lakota art.
Title, Artist, Year
Frontlet, Artist Unknown (Tsimshian), 1820
Sioux (Lakota) Warrior Chief, Oscar
Howe, 20th c.
8. July, 2011
J Elliott,
QuickTi me™ and a
decompressor
are needed to see t his pict ure.
Art Criticism – Blooms Taxonomy
Identify the use of face proportions in artistic portraits and on people’s faces. (Understanding)
Explain how artists use distortion of body proportions in works of art. (Understanding)
Support the intentional use of distortion in your cartoon and mask. (Evaluating)
Visual Thinking Strategies Protocol www.vtshome.org
5. Take a quiet moment to look.
6. What’s going on in this picture?
7. What do you see that makes you say that?
8. What more can we find?
9. July, 2011
J Elliott,
Saint Paul Public Schools Visual Arts Elementary Scope and Sequence – Grade 5
Subject: Visual Art – Unit 5, Unit Title: Texture, Rhythm, Movement, and Balance
Timeframe: (# days/week): First Quarter
Unit: Elements and Principles of Art - Texture, Rhythm, Movement,
and Balance
MN Academic Standard in the Arts:
Big Idea:
Artistic Foundations
Artists use the elements of texture, rhythm,
Standard 1: Demonstrate knowledge of the following arts movement, and balance to organize, enhance, and
area
control how the viewer’s eyes travel through a work
1.Describe the characteristics of the elements of visual art, of art.
including color, line, shape, value, form, texture and space.
2. Describe how the principles of art such as repetition,
Essential Questions:
pattern, emphasis, contrast and balance are used in the
What are two types of texture?
creation, presentation or response to visual artworks.
What are some ways artists use color, shape, and line
Standard 3: Demonstrate understanding of the personal,
to create rhythm in an artwork?
social, cultural and historical contexts that influence the
How is visual movement created by using rhythm in
art areas.
an artwork?
2. Describe how visual art communicates meaning.
Vocabulary
Texture: tactile and visual,
assemblage
Rhythm, visual rhythm,
positive and negative
space, repetition
Visual movement
Resources
Visual Artists: Joan Miro, Pablo Picasso
Websites:
http://www.amesgallery.com/FolkArtPages/Memo
ry.html
-The Ames Gallery
-Memory jars
http://www.moma.org/collection/object.php?obje
ct_id=80315
-Museum of Modern Art
-Joan Miro
http://www.moma.org/collection/object.php?obje
ct_id=79051
-Museum of Modern Art
-Pablo Picasso
Skills / Concepts:
Skills:
Drawing from observation
Weaving with paper
Concepts:
Texture
Rhythm
Assemblage
Weaving
Cubism
Activities
SRA Art Connections:
Lessons: 1, 2, 3
Projects:
1. Texture: Memory jar
2. Rhythm: Paper weaving
3. Movement Through Rhythm: Still-life
cubist drawing
Assessment
Pre-Assessment:
Students brainstorm
different textures and
objects that correspond to
each texture. (1)
Formative:
Create rhythm by
repeating a shape three
times. (2)
Create a still-life sketch
from multiple points of
view. (3)
Summative:
Students will analyze the
use of texture, rhythm,
movement, and balance in
10. July, 2011
J Elliott,
Reading
The Great Ancestor Hunt: The Fun of Finding
Out Who You Are, Lila Perl Yerkow
Bud, Not Buddy, Christopher Paul Curtis
The Jazz Man, Mary Hays Weik
Title, Artist, Year
Memory Bottle with Toys, Artist Unknown, c.
1890



Writing
Have students each write a poem about a favorite memory to
go into their memory jar.
Write a persuasive advertisement for an event that relates to
the action cut-out figure in the paper weaving.
Title, Artist, Year
Hirondelle/Amour, Joan Miro, 1933-34
Art Criticism – Blooms Taxonomy
Compare and contrast visual and tactile texture. (Analyzing)
Identify the use of visual rhythm in works of art. (Understanding)
Create a drawing in the cubist style, repeating shapes and colors to create
movement through rhythm. (Creating)
a teacher-selected
artwork. (1, 2, 3)
Cross Curricular Connections
Math: Identify pattern in a work of art.
Music: Discuss particular songs that
could accompany the rhythm
represented in Miro’s painting.
Movement: Connect the following
movements in dance to Ma Jolie:
smooth versus rigid, slow versus quick,
fluid versus choppy.
Title, Artist, Year
Ma Jolie, Pablo Picasso, 1911-12
Visual Thinking Strategies Protocol www.vtshome.org
9. Take a quiet moment to look.
10. What’s going on in this picture?
11. What do you see that makes you say that?
12. What more can we find?
11. July, 2011
J Elliott,
Saint Paul Public Schools Visual Arts Elementary Scope and Sequence – Grade 5
Subject: Visual Art – Unit 6, Unit Title: Harmony, Variety, Emphasis, and Unity
Timeframe: (# days/week): First Quarter
MN Academic Standard in the Arts:
Artistic Foundations
Standard 1: Demonstrate knowledge of the following arts area
2. Describe how the principles of art such as repetition, pattern, emphasis,
contrast and balance are used in the creation, presentation or response to visual
artworks.
Artistic Process: Perform/Present
Standard 2: Perform/Present in a variety of contexts in the art area using artistic
foundations
1. Select and assemble artworks for a personal portfolio
*To accomplish this standard, students will
be assembling their quilt as a class
portfolio
Vocabulary
Harmony, unity
Emphasis, focal
point, location
Unity, media,
symbolism
Unit: Elements of Art - Harmony, Variety,
Emphasis, and Unity
Big Idea:
Art, as well as the environment, presents us
with examples of harmony, emphasis, and
unity.
Essential Questions:
How is visual harmony used in works of
art?
How does placement influence emphasis in
an artwork?
What are some examples of harmony,
emphasis and unity in our neighborhood?
Resources
Visual Artists: Berthe Morisot, Thomas Hart Benton, Richard Yarde, Ana Rosa
Jimenez, Huichol
Websites:
http://www.nga.gov/fcgi-bin/tinfo_f?object=42012.0&detail=none
-National Gallery of Art
-Berthe Morisot
http://artbyafricanamericans.net/RichardYarde.html
-Richard Yarde
http://www.mexconnect.com/articles/178-yarn-painting-images-of-a-vanishingculture
-Huichol yarn art
http://www.indigoarts.com/gallery_huicholart1.html
-Indigo Arts Gallery
-Huichol, Ana Rosa Jimenez
http://www.womenfolk.com/historyofquilts/
Activities
SRA Art
Connections:
Lessons: 1, 4, 5
Projects:
1.Harmony: Create
a unifed class
mural
4.Emphasis
through
Placement: Create
an original yarn
painting design.
5.Unity through
Media: Design a
class quilt.
Skills / Concepts:
Skills:
Mural-making
Cut-paper techniques
Creating a
composition by gluing
yarn
Concepts:
Harmony
Symbolism
Unity
Emphasis
Assessment
Pre-Assessment:
Visual Thinking
Strategies using
Morisot’s The Sisters.
Formative:
In groups, find harmony
in works of art and share
your findings to the
class.
Summative:
Students identify
emphasis in their yarn
paintings and assess
their success in
employing this principle.
Each student’s quilt
12. July, 2011
J Elliott,
-America’s quilting history
http://memory.loc.gov/ammem/qlthtml/qlthome.html
-Library of Congress, quilting, Josie Goad
Reading
Play Me A Story—Nine Tales About Musical
Instruments, Naomi Adler
El Guero, Elizabeth Boron de Trevino
One Grain of Rice, Demi
Title, Artist, Year
Savoy: Heel and Toe, Richard Yarde, 1997
block clearly illustrates
the use of unity.
Writing
Write an artist statement, describing the process of
creating the yarn painting, including a story that
might be communicated.
To coincide with the quilt, write a continuing story
with each student contributing two sentences.
Title, Artist, Year
La Abeja Guia al Shaman, Ana Rosa Jimenez, c.2006
Art Criticism – Blooms Taxonomy
Identify visual harmony and understand how it is used in works of art. (Understanding)
Assemble a class work of art designed to demonstrate unity. (Applying, Creating)
Find the focal point in a teacher-selected artwork and support your decision with visual
identifiers. (Evaluating)
Cross Curricular Connections
Math: Measure the dimensions of the
completed class quilt.
Science: Look for harmony in outdoor
landscapes and formulate ways artists imitate
this natural harmony in their art.
Music: Harmony is created when voices blend
together to create one unified sound.
Social Studies: Explore Huichol culture. Study
the history of quilting in America.
Title, Artist, Year
Josie Goad, School House (“Log Cabin”), 1978
Visual Thinking Strategies Protocol www.vtshome.org
13. Take a quiet moment to look.
14. What’s going on in this picture?
15. What do you see that makes you say that?
16. What more can we find?
13. July, 2011
J Elliott,