VISUAL ART - GRADE 5 AESTHETIC APPRECIATION. Developing Criteria for Analysis of Works of Art Lesson 1

Transcription

1 VISUAL ART - GRADE 5 AESTHETIC APPRECIATION Developing Criteria for Analysis of Works of Art Lesson 1 CONTENT STANDARDS 4.3 Develop and use specific criteria as individuals and in groups to assess works of art. 4.4 Assess their own works of art, using specific criteria and describe what changes they would make for improvement. TOPICAL QUESTION How do I analyze and asses a work of art? What kind of tool can I use to help me analyze works of art? How do I use the tool to assess a work of art? How could I use the tool to edit or improve my own works of art in the future? OBJECTIVES & STUDENT OUTCOMES Learn to use a generalized rubric for analyzing works of art. Use the rubric to analyze master works of art independently. Reflect on how to use the generalized rubric in the future for improvement of individual works of art. ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning) Feedback for Teachers o Informal assessment from Class Discussion o Scored Let s Talk About Art Worksheets Feedback for Students o Scored Let s Talk About Art Worksheets WORDS TO KNOW analyze: examine methodically assess: to estimate the quality or value credit lines: information published with works of art including artist s name, title of the work, date the work was completed, medium or media used, size, country of origin and present location. elements of art: line, shape/form, color, texture, space and value free shapes: no recognizable or namable shape, blob geometric shapes: shapes relating to geometry (e.g., circles, rectangles, triangles, squares) media: plural form of medium medium: material used by an artist to create a work of art natural shapes: contour shapes seen in nature (e.g., trees, human figure, flower) principles of design: balance, contrast, dominance, emphasis, movement, repetition, rhythm, subordination, variation, unity/harmony balance: the way in which the elements of art are arranged to create a feeling of equilibrium in a work of art. rhythm: intentional, regular repetition of lines or shapes to achieve a specific effect or pattern. movement: the principal of design dealing with the creation of appearance of action contrast: the difference between two or more elements in a composition, the juxtaposition of dissimilar elements in a work of art. emphasis: special stress given to an element to make it stand out REFERENCES Portfolios, Grade: Five, by Robin Montana Turner, Barrett Kendall Publishing o Elements of Art and Principals of Design: page 1 o Talking about art: page 16

2 Instructional Media Center (IMC) 2441 Cardinal Lane, San Diego CA IMC InfoLine, (858) Internet Sites o American Works of Art The National Gallery of Art: The Metropolitan Museum of Art: Hispanic American Art: African American Art: San Diego Museum of Art: Timken Museum: MATERIALS & PREPARATION Sketchbook/journals, one per student (see Grade 3, Lesson 1 for a lesson on how to make an inexpensive sketchbook) Any reproduction of a master work of art Another reproduction of a master work of art (can be one for whole class, one per small group or individual works of art for each individual student) Chart paper or board space Markers or chalk Let s Talk About Art Worksheet, two per student pencil or pen, one per student WARM UP (Engage students, access prior learning, review, hook or focus the student for learning) Display a masterwork of art in an area easily seen by all students. Provide students one minute to visually examine the work of art independently and silently. Through class discussion questions, assist students in the process of analyzing and assessing the work of art. Class Discussion Questions: o Where do you see lines in this work of art? o What are the qualities of those lines? (e.g., short, thick, solid, broken, weak, strong, etc.) o What shapes do you see shapes in this work of art? o Are those shapes geometric, free or natural? o What colors do you see in this work of art? o Are there primary/secondary colors in this work of art? If so, where? o Are there warm/cool colors in this work of art? If so, where? o Are there complimentary colors in this work of art? If so, where? o What textures do you see textures in this work of art? o Where is positive space used in this work of art? Negative space? o What values (tints and shades) do you see in this work of art? List the Elements of Art (Line, Shape/Form, Color, Texture, Space and Value) on the chart paper. Instruct students to write the Elements of Art in their sketchbook/journal. o How is the work of art organized? o Are there patterns in the work of art? If so, where? o What do you think the artist was trying to communicate through this work of art? MODELING (Presentation of new material, demonstration of the process, direct instruction) Write the term credit line and its definition (artist s name, the title of the work, the completion date, what medium or media the artist used, size of the completed and present location of the original masterpiece) on chart paper or the board. Allow students to write the term credit line and its definition in their sketchbook/journals. Class Discussion Questions: Does the credit line information change how you analyze the work of art? If so, how? How does the time in history that a work of art was created effect how we analyze a work of art?

3 Distribute one Let s Talk About Art worksheet to each student. Share the artist s name, the title of the work, the completion date, what medium or media the artist used, size of the completed and present location of the original masterpiece displayed and discussed in the warm up section of this lesson. Instruct students to write in the credit line information about the displayed work of art on the Let s Talk About Art Worksheet. Allow students to individually answer the first question, What do you see? independently on the worksheet based on the masterwork displayed in the class. Direct students to address the Elements of Art (line, shape/form, color, texture, space and value) in their comments. Have students share the answers with partners or in small groups. This is a review of the class discussion, so does not need to be lengthy. As a class, discuss the second question on the Let s Talk About Art worksheet How is the work organized or arranged?) (e.g., symmetric, asymmetric, radial) Direct students to consider how the artist used the artist used balance, rhythm, movement, contrast, and emphasis in the work of art. (Note: These are Principles of Design covered in Grades 2 through 4) Write those ideas in the appropriate sections of the Lets Talk About Art worksheet. Instruct students to write at least three sentences about what the work means in the section of the worksheet entitled What is the artist trying to communicate? Instruct students to write at least three sentences reflecting three ideas about their own opinion(s) of the work of art and support with evidence in the What is your opinion? section of the worksheet. GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) Choose a different work of art to analyze. This reproduction may be from the Portfolios: Grade Five textbook, a library book, a selection of reproductions borrowed from the Instructional Materials Center, or web site resources. You may have each student choose a different work, create small groups or choose another piece for the whole class according to your needs. Distribute another blank Let s Talk About Art worksheet to each of the students. Instruct students to write the new credit line information on the Let s Talk About Art worksheet. Instruct individual students to write appropriate responses to each question in sequence using their chosen works of art. DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, come up with solutions, discuss learning that took place and review) Collect both Let s Talk About Art worksheets from each student. Teachers should use the Let s Talk About Art Rubric to score the students worksheets. Return the worksheets to the students and attach them to their sketchbook/journals. Class Discussion Questions: o How could a student artist use the Let s Talk About Art worksheet while making a work of art? o Compare and contrast the processes of editing a piece of writing and editing a piece of art. EXTENSION (Climate of expectation is created by the teacher that encourages students to do further research, look for connections and apply understanding and skills previously learned to personal experiences) Create a poster or chart displaying the four questions from the Let s Talk About Art worksheet to be and post in the classroom for future reference. Encourage students to locate and research pieces of art from any era in United States history or geographical area. Use the Let s Talk About Art worksheet to respond to the works of art. Use the four questions from the Let s Talk About Art worksheet when students are viewing art at the Balboa Park OCILE program.

4 LET S TALK ABOUT ART Worksheet Student Name Artist Title of art work Date Medium or Media Size of art work Present location of art work What do you see? How is the work organized? What is the artist trying to communicate? What is your opinion of the work of art? Support your thoughts with evidence.

5 LET S TALK ABOUT ART Scoring Rubric Advanced (4 pts) Proficient (3 pts) Basic (2 pts) Emerging (1 pt) Credit Lines Includes all 6 items of information Includes all 6 items of information includes 4-5 items of information Includes 3 or fewer items of information What elements of art do you see? Identifies all six Elements of Art: lines, shapes, colors, color schemes, color values and textures in the descriptions Identifies five out of six Elements of Art in the description Identifies four out of six Elements of Art in the description Identifies three or less Elements of Art in the description What principles of design were used in the organization of this work? Identifies asymmetrical, symmetrical or radial balance, the appearance of action or movement, pattern as rhythm, contrast and emphasis Identifies or mentions four out of five Principles of Design (balance, movement, rhythm, contrast, emphasis) Identifies or mentions three out of five Principles of Design (balance, movement, rhythm, contrast, emphasis) Identifies or mentions one or two Principles of Design (balance, movement, rhythm, contrast, emphasis) What is the artist trying to communicate? More than 3 distinct ideas or meanings about the work in at least 3 sentences 3 ideas or meanings in 3 sentences 2 ideas or meanings in 3 or fewer sentences 1 idea or meaning in at least 1 sentence What are your opinions of the work of art? Support your thoughts with evidence. More than 4 wellconstructed sentences revealing more thoughtful opinion(s), defended by referring elements present in the work of art 3 complete sentences revealing obvious opinion(s) supported by facts from the work of art 2 sentences revealing an opinion loosely supported by facts from the work of art 2 or fewer sentences revealing facts from the work of art; no opinion or opinion is not supported by facts Totals points 9 12 points 5 8 points 4 points or below

6 VISUAL ART - GRADE FIVE Gesture Drawings Creating Gesture Drawings Lesson 2 CONTENT STANDARDS 1.3 Use knowledge of all the elements of art to describe similarities and differences in works of art and in the environment. 2.2 Create gesture and contour observational drawings. TOPICAL QUESTIONS What are observational drawings? How does line capture the movement of the human figure? How do I observe and draw other people in a focused manner? OBJECTIVES & STUDENT OUTCOMES Describe an observational drawing. Define and identify a gesture drawing. Create at least 5 different gesture drawings. ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning) Feedback for Teachers Informal assessment from class discussion Informal observation of gesture drawings Feedback for Students o Gesture drawings o Informal assessment or comments from teacher MATERIALS & PREPARATION drawings of the masters that depict movement of the human body chart paper, 24 x 36 piece of construction paper OR newsprint 1 permanent medium or wide tip marker for demonstration student sketchbook/journal medium or fine tip markers, one per student 12 x 18 or 9 x 12 drawing paper arrange a visit to the physical education or dance class on campus or secure a video of sports or dance activities Words to Know: observational drawing: drawing done while looking at an object, figure or scene inanimate object: not alive, showing no signs of life figure drawing: drawing of the human figure gesture drawing: drawing lines quickly and loosely to show movement of the subject essence: the intrinsic nature or quality of something REFERENCES Portfolios, Grade: Five, by Robin Montana Turner, Barrett Kendall Publishing o Observational drawing: page 11 o Drawing moving objects or figures: pages 2, 24, 25, 44 o Gestures: pages 32, 33, 47, 63, 66, 88 IMC

7 2441 Cardinal Lane, San Diego, CA IMC InfoLine, (858) Internet links to works of art by masters o o o WARM UP (Engage students, access prior learning, review, hook or focus the student for learning) Display at least three drawings of the masters that capture movement of the human body. Discussion Questions: o Explain what you know about an observational drawing. o How is an observational drawing of an inanimate object different from an observational drawing of a moving object? o What problems might an artist encounter when drawing a moving object or moving human figure? (e.g., car, bicycle, ocean wave, bird, etc.) o What kinds of things might an artist do to solve these problems? MODELING (Presentation of new material, demonstration of the process, direct instruction) Place a piece of chart paper, 24 x 36 piece of construction paper or newsprint in an area of the classroom easily seen by all students and have a marker ready to demonstrate gesture drawing. Choose a student volunteer as a model for a demonstration of gesture drawing. Ask the student model to position his/her body in an action pose (e.g., throwing a football, picking up a package from the floor, walking, etc.) in an area easily seen by the students and you. Choose a different student to be the timekeeper. When the timekeeper says, Begin, demonstrate for the students how to quickly draw the posing student. Use simple fluid lines with your marker. No facial features or details of any kind should appear in this gesture drawing. The timekeeper says, Stop, when 45 seconds have passed. Stop the gesture drawing and ask the posing student to join the rest of the class. NOTE: For students who have been instructed in Visual Art - Grade Four: Lesson Three, this activity is a review.

8 List the following characteristics of your gesture drawing on chart paper. o Quick, fluid lines o Show the movement or gesture of the figure o Catch the essence of the gesture, not the details Discuss the meaning of essence, the intrinsic nature or value of something Good examples of the essence of a gesture drawing are as follows: o Consider a figure in a running position. o A gesture drawing of a dancer or a football player both in the same running position should differ to reveal their essence. The dancer might have hand gestures different than the football player holding a football. o Details such as clothing or items carried by the subject reveal the essence of the gesture drawing. Distribute sketchbook/journals and pencils to each student. (See Grade 3, Lesson 1 for a lesson on creating a simple, inexpensive sketchbook/journal.) Ask students to write the characteristics of a gesture drawing in their sketchbook/journals. Collect or instruct students to put away the pencils, not the sketchbook/journals. Distribute a fine or medium tipped black marker to each student. Choose a different student to strike an action pose in an area easily seen by all students. Remind students they will have 1 minute to practice the drawing of each gesture in their sketchbook/journal using the marker. Be the timekeeper and announce, Start when ready. Walk around the room and guide students as necessary while they draw the gesture. Remind students: o to work quickly o that this is practice o starting over on the same page of the sketchbook/journal is allowed Give a verbal warning when 30 seconds has elapsed. Say, Stop when 1 minute has elapsed. Continue to rotate students as class models and set up new gestures at least three times or until most or all students have achieved success capturing movement in their drawings. Students should draw several gesture drawings on a single page in the sketchbook/journal. GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) Prepare students to draw gesture and movement on location, going to the multipurpose room, library, playground, etc. by gathering the sketchbook/journals and the black tipped markers.

9 Option: Instead of moving to a separate location you can show a video or DVD of people in action participating in a variety of activities, including sports, dance, music, etc. Brainstorm and review appropriate student behavior for this task. List should include ideas similar to these: o We are there to watch, not participate. o Never talk, interrupt or get the attention of the people you are observing. o These people will not be posing, so draw quickly to catch the movement. o Gesture drawings made in this environment will be less detailed. o Try to capture the essence of the movement. Have students write these positive behaviors in their sketchbook/journals. Direct students to create at least 5 different gesture drawings in the sketchbook/journal that depict the movements demonstrated when they get to the location. Take students to the specified location to observe and draw. Place students in unobtrusive areas of the location. Students spend at least 15 minutes creating at least 5 gesture drawings capturing movement of human bodies in space. DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, come up with solutions, discuss learning that took place and review) Have students get into small groups and discuss their drawing experiences. Each group should make a list of tips for future drawing success. Give 5 minutes for this task. Have students share and discuss their tips and suggestions in a large group. Have students share at least 3 similarities and 3 differences encountered between capturing continuous movement vs. capturing poses of movement. Provide students the opportunity to write their reflections in the sketchbook/journals. EXTENSION (Climate of expectation is created by the teacher that encourages students to do further research, look for connections and apply understanding and skills previously learned to personal experiences) Assign students homework requiring at least 5 gesture drawings of human body movement not covered in class. (e.g., watching TV, sights from their neighborhood, at the park, etc.) Have other students guess the activities being portrayed when the drawings are shared in class.

10 VISUAL ART - GRADE FIVE Contour Line Drawings Contour Line Drawings Lesson 3 CONTENT STANDARDS 1.3 Use their knowledge of all the elements of art to describe similarities and differences in works of art and in the environment. 2.2 Create gesture and contour observational drawings. TOPICAL QUESTIONS What observational skills can be built by creating contour line drawings? How can a continuous line create the contour of an object? What knowledge and performance skills do I need to solve artistic problems? How do I synthesize the elements of art to create works of art? OBJECTIVES & STUDENT OUTCOMES Create a contour line drawing of an object. Name at least three similarities between gesture and contour line drawings. Name at least three differences between gesture and contour line drawings. ASSESSMENT (Various strategies to evaluate instruction and student learning) Feedback for Teacher o Wire drawing of an object o Contour line drawing of an object o Informal assessment from class discussions Feedback for Student o Wire drawing of an object o Contour line drawing of an object o Informal assessments or comments from teacher WORDS TO KNOW contour: an outline, especially one representing or bounding the shape or form of something contour line drawing: drawing done in one continuous line representing the outline of an object, sometimes called a blind contour drawing observational drawing: drawing done while looking at an object, figure or scene REFERENCES Portfolios, Grade: Five, by Robin Montana Turner, Barrett Kendall Publishing MATERIALS & PREPARATION sketchbook/journals, one per student plastic coated wire, one-24 to 36 piece per student 12 x 18 drawing paper, one per student medium point, black felt tip markers, one per student student portfolios, one per student to store works (See Grade 1, Lesson 1) WARM UP (Engage students, access prior learning, review, hook or focus the student for learning) Ask each student to think of a single object. You can create a list of appropriate objects and post it, brainstorm a list with the students or have students choose an object that is in the classroom. Distribute one piece of plastic coated wire to each student.

11 Instruct the students to use the wire to create the outline or contour of the object. Share the resulting wire drawings with partners, small groups or the whole class. Discussion Questions: o What object is the wire drawing depicting? o What was the most difficult part of the object to represent in the wire drawing? Instruct students to write the term contour and its definition in their sketchbook/journal. Attach the wire drawing to a piece of construction paper, tag or poster board using a contrasting color or tie them to string and hang them like mobiles in the classroom. MODELING (Presentation of new material, demonstration of the process, direct instruction) Choose a large common object (e.g., backpack, plant, stuffed animal, lamp, chair, guitar, etc.) and place it in a central area of the classroom. It is best to place the object in the middle of the room with students around it on 3 sides. Display two pieces of unlined chart paper or 2-12 x 18 (or larger) pieces of drawing paper, in a place that can be easily seen by all students. Explain that the type of drawing the students are about to create is called a contour line drawing. This type of drawing is sometimes called blind contour line drawing. Write the following rules on the board or one of the chart papers while students copy them into their sketchbook/journals. o Do not look at your paper. o Look at the object only, NEVER at the paper. o Keep the marker on the paper at all times creating one continuous line. o No pencils. o No erasures. Before the students draw, demonstrate how to do a contour line drawing on paper that all students can see. Demonstrate turning your head (and body if possible) away from the chart paper or drawing paper, and face the object as you draw. Place the marker on the paper and slowly move your eyes over the edges of the object. As your eyes move, move the marker creating a line that matches the edges or contour of the object. Do not look at the paper, only at the object. Do not remove the marker from the surface of the paper. Keep one continuous line during this process. Draw for no more than 1 to 2 minutes. Lift your marker wherever you are in the process and take a look at what you created.

12 Ask the class if they can identify what parts of the object you were drawing. Place the marker at the spot where you ended and continue the demonstration, reinforcing the continuous line and slow observation procedure. When you are confident that the students know how to begin this exercise, stop the demonstration. Explain that contour line drawing is an exercise that forces the artist to visually examine an object and draw only what is actually seen. This procedure builds observational skills. GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) Distribute one 12 x 18 piece of drawing paper and one marker to each student. Sit students in such a way that their heads and bodies are facing the object and the drawing paper is behind them or away from their line of vision so that they must turn away from their paper as they draw. Allow students 2 minutes to begin a contour line drawing of the displayed object. While students are drawing, watch the students eyes and remind them to look only at the object. Repeat this exercise several times on the same drawing paper, either continuing their original drawing or completing additional attempts. Attach this exercise to the sketchbook/journal or place it in the students portfolios. DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, come up with solutions, discuss learning that took place and review) At the end of the lesson, compare and contrast the wire drawing and contour line drawing. Class Discussion Questions: o How are the wire drawings and the contour line drawings the same? o How are they different? o Which technique was easiest? Why? o Which technique best built your visual knowledge of the object? Students write reflections in their sketchbook/journals recording their thoughts during the blind contour line drawing. EXTENSION (Climate of expectation is created by the teacher that encourages students to do further research, look for connections and apply understanding and skills previously learned to personal experiences) Encourage students to do contour line drawings on their own in their sketchbook/journals as the first step in developing good observational drawing habits.

13 Use wire to create a 3-dimensional sculpture of an object or figure. Using a photograph of a figure in action, create a gesture drawing, then a contour line drawing of the same figure. Compare and contrast the two techniques. Create contour line drawings of animals and land formations from a science unit, characters or objects from a literacy unit or objects from a social science unit.

14 VISUAL ART - GRADE FIVE Illusion of Space: Perspective Single Point Perspective Lesson 4 CONTENT STANDARDS 2.1 Use one-point perspective to create the illusion of space. 2.6 Use perspective in an original work of art to create a real or imaginary scene. 5.1 Use linear perspective to depict geometric objects in space. TOPICAL QUESTIONS How do I make geometric shapes appear 3-dimensional on a 2-dimensional surface? What is the difference between drawing transparent and opaque geometric forms? How do I define and use single point perspective to create art? OBJECTIVES & STUDENT OUTCOMES Create at least 4 geometric forms that appear transparent. Create at least 4 geometric forms that appear opaque. Exhibit understanding of horizon line, vanishing point and orthogonal lines. Create a landscape using single point perspective. ASSESSMENT (Various strategies to evaluate instruction and student learning) Feedback for Teacher o Shapes to Forms Classroom Checklist o Single Point Perspective Drawing Rubric Scoring Sheets Feedback for Student Informal feedback from teacher Single Point Perspective Drawing Rubric Scoring Sheet WORDS TO KNOW form: a three dimensional volume or the illusion of three dimensions shape: a two dimensional area or plane that may be open or closed, free-form, geometric or natural transparent: allowing light to pass through so that object behind can be distinctly seen: clear, seethrough opaque: not able to be seen through, visually solid illusion of depth: the organization of shapes in a work of art to make a flat surface appear as if it has depth or three dimensions placement: the action of putting something in a particular area or place overlapping: to extend over or cover partially background: the part of the picture plane that seems to be farthest from the viewer foreground: the part of a two-dimensional artwork that appears to be nearer the viewer or in the front middle ground: area of a two dimensional work of art between the foreground and the background vanishing point: a point at which receding lines seem to converge horizon Line: the line representing where earth meets sky orthogonal lines: vanishing lines in a perspective drawing parallel: lines, planes surfaces or objects side by side and having the same distance continuously between them horizontal: the right to left, or across orientation of a line, shape or form vertical: the up and down orientation of a line, shape or form REFERENCES Portfolios, Grade: Five, by Robin Montana Turner, Barrett Kendall Publishing

15 o Single Point Perspective: pages 56, 57, 89, 92, 93, 94,105, 108 Internet Sites o Works of art with horizon line, vanishing point and orthogonal lines: Monet, Beach at Trouville: Stella, The Brooklyn Bridge, A/Brooklyn_Bridge.htm o Watch perspective drawing occur: PointPersp.htm o Perspective drawing in comics: MATERIALS AND PREPARATION large open area of the board or four unlined pieces of chart paper dry erase marker for white board or permanent chisel point marker for chart paper yard stick sketchbook/journal, one per student 12 x 18 drawing paper, two per student pencil and eraser, at least one per student ruler circle template colored pencils, one package per student Single Point Perspective Rubric, one per student WARM UP (Engage students, access prior learning, review, hook or focus the student for learning) Prepare a large area of the board for demonstration or display 2 unlined pieces of chart paper in a place easily seen by all students. You are going to demonstrate perspective drawing with a yardstick and dry erase marker for the board or a permanent chisel point marker for the chart paper. Allow students to locate their sketchbook/journals, pencils, erasers and rulers. Ask students to open in their sketchbook/journals to the next blank page. Draw a 12 x 12 square on the chart paper using marker and a yardstick or ruler. (Figure 1) Instruct students to draw a 2 x 2 square in their sketchbook/journals using pencil and a ruler. Demonstrate how and instruct students to place a dot in the middle of the square. (Figure 2) Draw a second 12 x 12 square on the board or chart paper using the dot as the upper left hand corner of this second square. (Figure 3) Instruct students to draw a second 2 x 2 square in their sketchbook/journal using the dot as the upper left hand corner of this second square. Draw a straight line from the upper left corner of the first 12 x 12 square to the upper left corner of the of the second 12 x 12 square using a yardstick or ruler. (Figure 4) Instruct the students to do the same in their sketchbook/journals. Draw a straight line from the lower left corner of the first 12 x 12 square to the lower left corner of the second 12 x 12 square. (Figure 5) Instruct students to do the same in their sketchbook/journals. Demonstrate how and instruct students to draw straight lines between the first and second squares from the upper right corner of the first square to the corresponding upper right corner of the second square and the lower right corner of the first square to the corresponding lower right corner of the second square. (Figure 6)

16 Practice drawing at least 3 different flat geometric shapes (e.g., a circle, isosceles triangle, rectangle, etc.) and convert them into transparent 3-dimensional forms. (e.g., cylinder, pyramid, slab, etc.) Demonstrate on the board or chart paper and have students practice in their sketchbook/journal. Figure 7 Discuss which lines need to be erased or never drawn on the three dimensional forms for them to appear opaque or solid. Demonstrate how to draw a cube so that it appears opaque or solid: o Draw another 12 x 12 square on the board on chart paper. (Figure 8) o Draw a 6 line at a 45-degree angle upward from the lower left corner of the square. (Figure 9) o Draw another 6 line at a 45-degree angle, parallel to the first 6 line from the upper left corner of the o square. (Figure 10) Draw a third 6 parallel line at a 45-degree angle from the upper right corner of the square. (Figure 11) o Draw a vertical line connecting the first 6 line to the second 6 line. (Figure 12) o Draw a horizontal line connecting the second 6 line to the third 6 line. (Figure 13)

17 Practice drawing at least 3 different flat geometric shapes and convert them into opaque 3-dimensional forms on the board or chart paper and in the sketchbook/journals. (Figure 14) Figure 14 Teachers may use the Shapes to Form Classroom Checklist and the individual students sketchbook/journals to assess this level of learning. MODELING (Presentation of new material, demonstration of the process, direct instruction) Display a master work of art that depicts horizon line, vanishing point and orthogonal lines in an area easily seen by all students. (Note: See Resources Section of this lesson for appropriate Works of Art.) Display 2 more pieces of unlined chart paper or clear a large area of the white board. Review the concepts of creating the illusion of depth in a two-dimensional work of art through placement and overlapping of objects. (refer to Visual Art Grade 3, Lesson 2) Review foreground as the part of a work of art that appears closest to the viewer, background as the area farthest away from the viewer and middle ground as the area in between. On the master work of art, point out the horizon line, or the line representing where earth and sky visually meet.

18 Write the term horizon line and its definition on the chart paper or board. Instruct students to write the term horizon line and its definition in their sketchbook/journals. Locate the vanishing point, or a point at which receding lines seem to converge on the displayed work of art. Write the term vanishing point and its definition on the chart paper. Instruct students to write the term vanishing point and its definition in their sketchbook/journals. Distribute one 12 x 18 piece of drawing paper to each student. Draw a horizontal, straight line in the middle of a clean piece of chart paper or on the white board that does not have the definitions displayed. Identify this line as the horizon line. Instruct students to turn their drawing papers to landscape orientation and draw a straight, horizontal line in the middle of their drawing paper from the left edge to the right edge, using a pencil and a ruler. Demonstrate how and instruct students to place a dot in the center of the horizon line. Identify this dot as the vanishing point. Figure 15 Draw an 8 x 8 square, several inches below the horizon line, in the lower right quadrant of the chart paper. (Figure 16) Instruct students to draw a 2 x 2 square in the lower right quadrant of their drawing papers. Demonstrate how and instruct students to draw a straight line from the vanishing point to the upper right corner of the square. This is an orthogonal line, or a vanishing line in a perspective drawing. (Figure 17) Write the term orthogonal and its definition on the chart paper or on the white board and instruct students to do the same in their sketchbook/journals. Demonstrate how and instruct students to draw a straight line from the vanishing point to the upper left corner of the square. (Figure 18) Demonstrate how and instruct students to draw a straight line from the vanishing point to the lower left corner of the square. (Figure 19) Demonstrate how and instruct students to draw a straight horizontal line parallel to the top of the square between the first and second orthogonal line. (Figure 20) Demonstrate how and instruct students to draw a straight vertical line from the intersection point of that vertical line and the second orthogonal line to the third orthogonal line. This should make the square appear as a cube. (Figure 21)

19 Demonstrate how and instruct students to erase the part of the orthogonal lines that extend from the back of the cube toward the vanishing point.

20 Figure 22 Draw a 20 x 8 vertically oriented rectangle above and below the horizon line on the left side of the chart paper or board. (Figure 23) Instruct students to draw a 6 x 2 vertically oriented rectangle above and below the horizon on the left side of the drawing paper. Demonstrate how and instruct students to erase the horizon line on what appears to be the inside of this rectangle. (Figure 24) Demonstrate how and instruct students to draw a straight orthogonal line from the upper right hand corner of the rectangle to the vanishing point. (Figure 25) Demonstrate how and instruct students to draw another straight orthogonal line from the lower right corner of the rectangle to the vanishing point. (Figure 26) Demonstrate how and instruct students to draw a straight vertical line parallel to the right side of the rectangle from the upper orthogonal line to the lower orthogonal line. This should make the rectangle appear as a slab. (Figure 27) Demonstrate how and instruct students to erase the part of the orthogonal lines that extend from what appears to be the back of the slab to vanishing point. (Figure 28)

21 Demonstrate how and instruct students to erase the part of the horizon line that now appears inside the slab. (Figure 29)

22 Figure 29 Discuss what these two forms might represent if this was a landscape drawing. GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) Instruct students to add at least one more geometric form to the landscape. (e.g., building in a cityscape, container in a shipping yard, school building on a campus) Instruct students to add details to the drawing. (e.g., windows, doors, sidewalks, train tracks, telephone poles, etc.) Remind students that all orthogonal lines must be lined up with the vanishing point, and all horizontal and vertical lines must be parallel. Distribute the Single Point Perspective Drawing Rubric to the students or project it for all students to see. Instruct students to use the rubric to check their drawing for errors and make corrections before color is added. Distribute a packet of colored pencils to each student once a significant number of details have been added to the drawing in graphite pencil. Instruct students to use the colored pencils to fill in areas of the drawing with color to complete the drawing. Use the Single Point Perspective Drawing Rubric to score each student. DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, come up with solutions, discuss learning that took place and review) When students have received their scored Single Point Perspective Drawing Rubric, give them the opportunity to write about the corrections they made and why they made them in their sketchbook/journals. Allow students to sketch other single point perspective landscape scenes in their sketchbook/journals. EXTENSION (Climate of expectation is created by the teacher that encourages students to do further research, look for connections and apply understanding and skills previously learned to personal experiences) Encourage students to share visual experiences from their lives that remind them of the single point perspective lesson (e.g., driving down Grape Street and realizing that perspective is a real visual phenomenon). Gather photographs and other works of art that exhibit single point perspective. Ask students how this lesson might connect with science, math, social science or language arts.

23 Single Point Perspective Drawing Rubric STUDENT NAME: DATE: Horizon Line Horizon Line Horizon Line Horizontal Lines Parallel Vertical Lines Perpendicular Vertical Lines Orthogonal Lines Additional Forms Theme and details ADVANCED (4 PTS.) Horizon line is straight. Horizon line extends from one side of the drawing to the other. Horizon line is at the appropriate height from the bottom of the paper. All horizontal lines are parallel with the horizon line. All vertical lines are parallel with each other. All vertical lines are perpendicular to the horizon line. All orthogonal lines are oriented to the vanishing point. More than two additional forms appear All forms are part of a single scene and illustrate exceptional detail. PROFICIENT (3 PTS.) Horizon line is generally straight. Horizon line extends almost completely from one side of the drawing to the other. Horizon line is slightly high or slightly low from the appropriate height from the bottom of the paper. Most horizontal lines are parallel with the horizon line. Most vertical lines are parallel with each other. Most vertical lines are perpendicular to the horizon line. Most orthogonal lines are oriented to the vanishing point. Two additional forms appear All forms are part of a single scene and illustrate considerable detail. BASIC (2 PTS.) Horizon line is somewhat straight Horizon line extends half way from one side of the drawing to the other. Horizon line is considerably higher or lower than the appropriate height from the bottom of the paper. Some horizontal lines are parallel with the horizon line. Some vertical lines are parallel with each other. Some vertical lines are perpendicular to the horizon line. Some orthogonal lines are oriented to the vanishing point. One additional form appears All forms are part of a single scene and illustrate some detail. APPROACHING BASIC (1PT.) Horizon line appears, but is not straight. Horizon line extends slightly from one side of the drawing to the other Horizon line is almost at the top or bottom of the paper. Few or no horizontal lines are parallel with the horizon line. Few or no vertical lines are parallel with each other. Few or no vertical lines are perpendicular to the horizon line. Few or no orthogonal lines are oriented to the vanishing point. No additional forms appear Forms are not cohesive to a single scene and/or lack detail. TOTAL POINTS Total Points Advanced= 32 to 36 total points Proficient=28 to 31 total points Basic= 24 to 27 points Approaching Basic= 23 points or below

24 TRANSPARENT SHAPES TO FORM CLASSROOM CHECKLIST STUDENT NAMES CUBE End squares Same size CUBE 4 side lines parallel CYLINDER End circles Same size CYLINDER 2 side lines parallel SLAB End rectangles Same size SLAB 4 vertical sides parallel PYRAMID End triangles Same size PYRAMID Base sides & top line parallel

25 OPAQUE SHAPES TO FORM CLASSROOM CHECKLIST STUDENT NAMES CUBE Square has 4 = sides CUBE 3 horizontal parallel sides CUBE 3 vertical parallel sides CUBE 3 diagonal parallel sides CYLINDER Equal curved edges CYLINDER 2 side lines parallel SLAB 2 = horizontal 2 = vertical SLAB 3 horizontal parallel lines SLAB 3 vertical parallel lines SLAB 3 diagonal parallel lines PYRAMID 3 = sides

26 VISUAL ART-GRADE FIVE Abstract Expressionism Self Expression Using Elements of Art Lesson 5 CONTENT STANDARDS 1.2 Identify and describe characteristics of representational, abstract, and non-representational works of art. 2.1 Create an expressive abstract composition based on real objects. TOPICAL QUESTIONS How do I recognize representational, abstract and non-representational art? What is abstract expressionism? How do I use the elements of art to create an abstract composition that expresses emotion? OBJECTIVES & STUDENT OUTCOMES Identify and describe the characteristics of representational works of art. Identify and describe the characteristics of abstract works of art. Identify and describe the characteristics of non-representational works of art. Create an expressive abstract composition using a real object as the theme. ASSESSMENT (Various strategies to evaluate instruction and student learning) Feedback for Teacher o Informal assessment from class discussion o Informal assessment from observations of students while working o Abstracted drawings of a single object (planning) o Abstract Expressionist drawing (final composition) Feedback for Student o Informal verbal comments from teacher during Guided Practice o Informal verbal assessment of Abstract drawings of a single object (planning stage) o Written teacher feedback on Abstract Expression drawing (final composition) WORDS TO KNOW representational: relating to art that aims to depict the physical appearance of things abstract: relating to art with subject matter that is simplified or distorted with little or no attempt to appear realistic non-representational: having no recognizable object, also called nonobjective expressionism: a style of visual art in which the artist seeks to express emotional experiences rather than impression of the external world. distortion: pulled or twisted out of shape REFERENCES Portfolios, Grade: Five, by Robin Montana Turner, Barrett Kendall Publishing Abstract: pages 8, 21, 30, 35, 43, 70, (D), 124 Non-Representational: page 12, 28 (B), 29 (C), 91 (C), 121 Representational: page 22, 32, 33, 34, 39, 88, 92 Instructional Media Center (IMC) 2441 Cardinal Lane, San Diego CA Internet Sites: Abstract: o Self Portrait by Picasso:

27 o o o Yellow Table on Green by Hans Hoffman: La Tristesse Du Roi by Henri Matisse: TRISTESSE-DU-ROI_ htm Circus by Marc Chagall: Non-Representational (Non-Objective): o Combinable Wall I and II by Hans Hoffman: o Gardens by Paul Klee: o Composition by VIII by Kandinsky: 8.jpg o Number 8 by Jackson Pollack: Representational: o Mona Lisa by Leonard Da Vinci: o Early Sunday Morning by Edward Hopper: o Self Portrait by Rembrandt: o The Boating Party by Mary Cassatt o Emotions of Color: o Color Wheel: MATERIALS & PREPARATION 3 masterworks of art: one representational, one abstract, one non-representational three 12 x 18 posters, one displaying the word representational, one abstract and one nonrepresentational sketchbook/journals, one per student unlined chart paper marker pencil and eraser, one per student choose a medium: Colored pencils, crayon and watercolor, tempera paint, markers or combinations of mediums Emotions of Color reference sheet, one per student or project for all to see WARM UP (Engage students, access prior learning, review, hook or focus the student for learning) Display three masterworks of art that clearly fall into each of the following categories: one representational, one abstract, and one non-representational (non-objective) in an area easily seen by all students. (Note: choose from the list of works in the Resource Section of this lesson.) Hold up three small laminated posters with the words representational, abstract, and nonrepresentational. Ask students to place the correct word with the corresponding work of art. When words are correctly placed, review the characteristics of each style. Distribute the sketchbook/journals to each student. Instruct students to write the following three terms and list the characteristics of each in their sketchbook journals. o representational: realistic, depicting true physical appearance, o abstract: simplified objects, distorted characteristics, objects appear to have unreal quality o non-representational: (non-objective) no objects appear in the work MODELING (Presentation of new material, demonstration of the process, direct instruction) Place a piece of unlined chart paper in an area easily seen by all students or clear a 36 x 36 area of the board. Draw a vertical line separating the chart paper or divide the board into two equal halves - right and left. Divide the halves once again by drawing a horizontal line from side to side, creating four equal sections on the chart paper or board. Instruct students to turn to the next unused page in their sketchbook/journals and draw a similar pattern creating four quadrants.

28 In your mind, choose a common object that represents you in some way, (e.g., an apple, a hand bell, a book, a pencil, a surfboard, dog, football, etc.) Draw the chosen object in a simplified manner in the upper left hand quadrant of the chart paper or board. (Figure 1). Ask students to students identify what you have drawn. Discuss how the object you chose represents you. Ask students to think of an object that represents them as students. (e.g., bicycle, violin, football helmet) (Note: This may be difficult for some students. You may help them by pointing out objects in the room that may represent them as students.) Instruct students to create a simple drawing of their selected object in the upper left quadrant of their sketchbook/journals using pencil. Explain that you and the students are going to now draw the first object three more times. Each time the object is drawn, it will change in a significant way. Model how you, as an artist, will modify or change your object (based on how you feel about the reason you chose the object) by talking about the process out loud. (e.g., I chose a pencil because I love to draw. What part of the pencil represents drawing the most? HUMMMMM.the sharpened, lead area of the pencil. Therefore, I am going to make that area of the pencil larger and the rest of the pencil smaller in my next drawing. ) Demonstrate your second exaggeration by drawing your chosen object again in the upper right quadrant of the chart paper or board. (Figure 2) Instruct students to choose an area of their object that is most important to them. Have the students draw their object in the upper right quadrant of their sketchbook/journals so that one part is much larger or exaggerated while the rest of the object stays normal size or smaller. Discuss the term distortion (pulled or twisted out of shape) and how the selected objects have been distorted so far. Model how you, as an artist, might modify or change your object again by talking about the process out loud. Example: I think I will draw my pencil with a twist in it now. I am going to twist the whole pencil as though it was made out of rubber instead of wood and lead. Draw the pencil for the third time in a manner that makes it appear as though it is twisted in the lower left quadrant of the chart paper or board. (Figure 3) Instruct students to draw their chosen object a third time making it appear twisted or distorted further in the lower left quadrant of their sketchbook/journal page. Remind students of the three concepts that you introduced in the Warm Up section of this lesson: representational, abstract and non-representational. Discuss how the process of distorting and twisting an object in works of art is an example of abstraction. Demonstrate how and instruct students to further distort and exaggerate the object by drawing it a fourth time in the lower right quadrant of the chart paper or board and the sketchbook/journals. (Figure 4)

29 Distribute one 12 x 18 piece of white construction paper to each student. Place one 12 x 18 piece of white construction paper on an area easily seen by all students. Demonstrate how and instruct students to transfer the fourth, abstracted drawing onto the construction paper using space appropriately. Discuss what of the following media might be appropriate to complete this work of art: o colored pencils o use of crayon to outline the abstraction and use of watercolor in positive (inside the object) and negative (background) space. o tempera paint o markers o combinations of mediums

30 GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) Select a medium and distribute it to the students. Discuss how color can communicate emotion or ideas. (e.g., red = strong emotion like love or hate, yellow =joy, light, blue = calm, quiet) Distribute the Emotions of Color reference sheet. Discuss and instruct students to attach it to their sketchbook/journal for reference. Explain that by choosing color and creating patterns on the object based on an emotion or idea is considered expressionism. Choose a color of the chosen medium and place it on the area of your transferred abstraction as an example of how to complete this abstract expressionist work of art. Explain that by combining the concept of abstraction and expressionism, you and the students are creating an abstract expressionist work of art. Remind students that choosing a contrasting background color will make the object stand out on the surface of the paper. Instruct students to carefully complete their abstract expressionist works of art by using the chosen medium to color all areas of the work meaningfully. DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, come up with solutions, discuss learning that took place and review) Class Discussion Questions: o Think back to how we chose our objects and drew them in our sketchbook/journals. What part of the process would be considered abstraction? o What part of the process would be called expressionism? Display an abstract expressionist work of art. (Note: choose one from the Resource Section of this lesson.) o Where are the lines in this work of art? Describe the quality of the lines. o Identify the shapes in this work of art. o Identify the colors used in this work of art. o Identify the textures in this work of art. o Where are the positive and negative spaces? o What do you think the artist was trying to communicate? Why? (Note: The answers to these questions could be answered orally, written as reflections in individual sketchbook/journals or as a combination of both.) EXTENSION (Climate of expectation is created by the teacher that encourages students to do further research, look for connections and apply understanding and skills previously learned to personal experiences) Create another abstract expressionist work of art using the #4 drawing of each student s sketches, but use # 1-3 drawings in the background. Choose a different object (or objects) that symbolize a character from literature or an historical figure, abstract the object and use it in another abstract expressionist work of art completed in a different medium.

31 Emotions of Color Basically, in North American mainstream culture, the following meanings are signaled by color: Red: urgency, passion, heat, love, blood, excitement, strength, speed, danger Yellow: warmth, sunshine, cheer, happiness, cowardice, brightness Blue: truth, dignity, power, coolness, melancholy, heaviness, trust, reliability, belonging Orange: playfulness, warmth, vibrancy Green: nature, health, cheerfulness, environment, money, vegetation, nature, freshness, cool, growth, abundance Purple: wealth, royalty, sophistication, intelligence, spirituality, dignity Pink: soft, sweet, nurture, security Black: sophistication, elegance, mystery, death, rebellion, strength, evil White: purity, cleanliness, lightness, emptiness, clean, youthful, mild Gold: prestige, expensive Silver: prestige, cold, scientific Compiled from: and

32 VISUAL ART- GRADE FIVE VALUES, OPINIONS AND INSIGHTS Making Your Voice Heard Visually Lesson 6 CONTENT STANDARDS 2.7 Communicate values, opinions, or personal insights through an original work of art. 3.4 View selected works of art from a major culture and observe changes in materials and styles over a period of time. 4.2 Compare the different purposes of a specific culture for creating art. TOPICAL QUESTIONS Why do people make art? How do works of art tell us about the culture and time in history in which they are made? What are universal themes in art? How do I tell about my culture and time in history in my own works of art? OBJECTIVES & STUDENT OUTCOMES o Explore reasons why humans create art. o Explore the culture of the Cliff Dwellers and Pueblo People through their walls. o Identify basic universal themes in visual art. o Create a cave wall that reflects personal insight about the students current culture. WORDS TO KNOW universal theme: a subject or main idea that appears in works of art created by most or all peoples culture: the customs, arts, social institutions and intellectual achievements of a particular people artifact: an object made by a human being, typically an item of cultural or historical significance medium: the material or form used by an artist petroglyph: a prehistoric rock carving pictographs: a pictorial symbol for a word or phrase REFERENCES Portfolios, Grade: Five, by Robin Montana Turner, Barrett Kendall Publishing Walls: page 11, 100, 105 Murals: page 34, 35, 101 Rock Art o o o Southwestern Desert: Kumeyaay petroglyphs: _art/pictographs1.html Sheep Canyon, California m MATERIALS & PREPARATION o Mural paper (roll of brown craft paper or butcher block) or canvas o Photographs (included at end of this lesson) o Pencils, erasers o 12 x 18 or larger white construction group planning paper, one per group o crayons

33 o Mixed media: your choice of markers, chalk, or oil pastels o Rock Art Handout, one per student or may be projected for the class to view WARM UP (Engage students, access prior learning, review, hook or focus the student for learning) Display photographs that depict a variety of walls in an area of the classroom easily seen by all students. (Note: You may use the photos at the end of this lesson by projecting them via internet connection, document camera or by printing them in color on overheard transparencies.) Class Discussion Questions: What can we learn from walls? What kind of place is this? How do you know? What kind of people would be found in this place? Why? What do the walls of our classroom say about us? Distribute the Rock Art handout to each student or display a copy on a transparency for shared reading. Read and discuss Rock Art. Make a chart listing the differences and the similarities between Rock Art or Cave Paintings and the photographs of modern walls. MODELING (Presentation of new material, demonstration of the process, direct instruction) Choose one or more universal themes that relate to the students (e.g., holidays, celebrations, rite of passage, etc.) Ask students to share various ideas they might draw or paint on a wall that would represent information for others in the future. Discuss creating a present-day cave wall. Direct students to design symbols and patterns in their sketchbook/journals that tell the story of their own culture or personal history as related to the class universal theme. Divide students into small groups of 3-4 students. Distribute a sheet of 12 x 18 or larger, white construction paper to each group. This will be the planning sheet for their larger mural. Direct the groups to: o Create designs, patterns and ideas that represent the group members cultures and backgrounds. o Incorporate each student s symbols, designs and patterns on the mural planning sheets using pencils and erasers. o Decide how to effectively use color by planning where colors should be placed. o Use crayons as the media. Students should use the criteria from the Let s Talk About Art scoring rubric from Grade Five, Lesson 1 to determine if the design plan is complete. If changes should be made, then students are to redraw or edit their work on a new mural planning sheet. When the mural plan is complete, draw parallel lines one inch apart both horizontally and vertically creating a graph over the drawn plan. For Separate Small Group Murals: Distribute the mural paper, sized according to your needs, to each small group. Discuss how students will transfer the mural plan onto the larger mural paper by changing the scale of the plan. Draw parallel horizontal and vertical graph lines on the mural paper. (Note: Use a ratio appropriate to the chosen size of the mural. Example: One inch to one foot.) Transfer the symbols from the drawn mural planning sheet to the mural paper. Allow student groups to brainstorm what art mediums they should use to complete their group murals. Gather selected materials. Skip to Guided Practice section of this lesson. For One Classroom Mural: Ask each group to present their mural planning sheet to the class, posting it so all can see.

34 Cut a 36 x 40 piece of white butcher block and hang it on the board or on a wall. This sheet will become the class mural plan. Choose ideas, designs and patterns from each small group planning sheet and transfer them to the class mural planning sheet. The actual transfers can be drawn by a representative student or students from each group or cut out of the individual planning sheets and attached to the class planning sheet. When the class plan is completed with the mural planning sheet, discuss the placement of color and use crayons to represent the class s decisions. Cut and hang a sheet of brown mural paper on the wall or board at a height convenient for students to work. The size depends on the number of students and size of the working area. Discuss how to transfer the mural plan onto the larger mural paper by changing the scale of the plan. Allow students to brainstorm what art mediums they would like to use to complete their mural. Gather the selected materials. GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) Organize students to share the following responsibilities: o Transferring the plan illustrations on to the mural paper. o Pencil in details and patterns. o Place general areas of color on the mural using the selected mediums. (e.g. marker, chalk, oil pastels, crayon, etc.) o Use media to add details to the images. When the images are complete, take the mural off the wall and carefully crunch it creating wrinkles and bumps in the surface. This process may take several crunchings to give an overall effect of ancient rock or a cave wall. Lay the mural paper out on a large surface and smooth it out with student hands on the backside so no smearing occurs. Re-hang the mural in an appropriate place. DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, come up with solutions, discuss learning that took place and review) Have students use the criteria from the Let s Talk About Art scoring rubric from Grade Five, Lesson 1 to reflect on the outcome of the mural. This can be done orally or written in the sketchbook/journals. Ask students to recount their own efforts to create the mural by identifying their own ideas, designs and patterns and the areas they helped to complete on the final mural. EXTENSION (Climate of expectation is created by the teacher that encourages students to do further research, look for connections and apply understanding and skills previously learned to personal experiences) For small group murals, hang the completed works of art in a manner where they are actually connected to other murals. If small group murals or one large class sized mural is not appropriate for your classroom, allow students to create individual cave walls for display in the hallways or library.

35 SOUTHWESTERN ROCK ART Along the canyons walls in the remote areas of the American Southwest you can find rock art. Rock art includes prehistoric carvings and paintings made on rock walls by people who lived hundreds, even thousands of years ago. Rock art drawings show human like figures and animals; like snakes, big horn sheep, elk. Rock art tells us about the culture of the people who lived in the desert long ago. A petroglyph is a prehistoric drawing that has been chipped, or etched into the rock surface. It is believed that petroglyphs were created by making a series of holes in the rock surface then connecting the holes with carved lines. Over the years, rain and sun stain the rock surfaces and make the petroglyphs appear dark. Scientists can use the darkness of a petroglyph to estimate the age of the markings. Once the age of the petroglyph is determined, the pictures tell us about life in that time period. Some people think petroglyphs are just doodles made by ancient man, but it would have taken hours, maybe days to create rock art, so they seem much more important thoughtless doodles. A pictograph is rock art that has been painted on a flat rock surface using mixtures of natural materials. Pre-historic artists mashed or ground stone into colorful powders then added plant or animal oils to make paint. The ancient artists had to make their own paintbrushes too, using animal hair and plant fibers. Sometimes the paint was smeared on to the rock surface like finger paint. Pictographs are easily faded by the sun and washed away by rain, so prehistoric pictographs are very rare. The dry climate with very little rain and sparse plant life of the American Southwest desert has helped preserve rock art. Rock illustrations use symbols of a culture that existed long ago. A well-known human like design found in rock art and in cave paintings are flute players known as Kokepelli. Animal like figures are called zoomorphs. These characters are not like words in a book that can be read from left to right, but may be used as storytelling symbols. Complied with information from

36 Source: Easy Guide to Rock Art Symbols of the Southwest by Rick Harris (1995)

37 Source: Easy Guide to Rock Art Symbols of the Southwest by Rick Harris (1995)

38 Red Rock Canyon Las Vegas, Nevada Photo by: M. Stegeman 2009

39 Aladdin Bail Bonds Building San Diego, California Photos by: M. Stegeman 2009

40 Wyland Painting San Diego National Bank Building San Diego, California Photo by: Marty Stegeman 2009

41 Logan Community Center San Diego, California Photos by: M. Stegeman 2009

42 St. Vincent de Paul Center San Diego, California Photo by: M. Stegeman 2009

43 World Beat Center Balboa Park San Diego, California Photo by: M. Stegeman