Delaware Recommended Curriculum Unit Template

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1 Delaware Recommended Curriculum Unit Template Preface: This unit has been created as a model for teachers in their designing or redesigning of course curricula. It is by no means intended to be inclusive; rather it is meant to be a springboard for a teacher s thoughts and creativity. The information we have included represents one possibility for developing a unit based on the Delaware content standards and the Understanding by Design framework and philosophy. Subject/Topic Area: Visual Art Grade Level(s): 4 Searchable Key Words: cartoon, animation, cel, storyboard Designed By: Dave Kelleher District: Red Clay Time Frame: Eight 45 minute classes Date: November 18, 2008 Revised: May 2009 Brief Summary of Unit Creating, performing, responding and making connections are learning concepts that are at the core of the Visual and Performing Arts curriculum. This unit will stress the responding concept and the product for responding will be animation. Students will view animated cartoons (non-computer generated) and analyze how multiple uses of one image, or cel (short for celluloid- thin sheets of clear plastic that characters are drawn on and then painted), create a story in motion and convey the point/opinion of the animator. Ultimately, focus will center on one individual cel and how it relates to the given point/opinion and, due to its cartoon nature, may/may not effectively convey the opinion (i.e. some people might find it difficult to relate to a serious topic when the character presented is an adorable pink bunny with a bowtie). Because the art world had previously considered animation beneath it, artistic skill and creativity in the creation of characters, emotions, storyline, and backgrounds were often ignored. Now, major auction houses like Sotheby s and Christie s devote attention to major sales of animation cels which can command five figure results, especially when depicting a moment of a key scene and/or key character(s). Because of computers, traditional cel animation is now obsolete. Computers are able to quickly produce images with little costs, unlike the pen/paint/cel sheet process of traditional animation that was painstakingly done by hand. However, students will understand the animation process by becoming animators and will create their own images in the same manner as a traditional animator, culminating in a cel image of their own creation. The transfer task will require students to apply their understanding by creating their own cel set-up that conveys a thought/view. This unit is scheduled to be taught in May.

2 Stage 1: Desired Results (Determine What Students Will Know, Do and Understand) DE Content Standards Standard 1- Understanding and applying media, techniques, and processes 1.2 Use selected two-dimensional and three-dimensional media to communicate ideas 1.6 Identify different media, techniques, and processes that are used to create works of art Standard 3- Choosing and evaluating a range of subject matter, symbols, and ideas 3.2 Integrate a variety of sources for subject matter, symbols, and/or ideas which best communicate an intended meaning in works of art 3.6 Analyze how the use of subject matter, symbols, and ideas are used in works of art Big Idea Through art, humans express their world Unit Enduring Understandings Students will understand that Art is a form of expression that employs a system of visual symbols Artists make thoughtful choices in creating works of art Certain images/symbols obtain mass appeal Certain images/symbols evoke emotion Unit Essential Question(s) To what extent can you be limited in your expression through art? How and why is art used as a vehicle for communication? Knowledge & Skills Students will know. Key terms- animation, cel, storyboard Sequencing in animated film production- story/storyboard, conceptual art, model sheets, layout drawings, backgrounds, animation rough, animation clean-up, cel creation Emotion can be increased/diminished/introduced through a chosen media Students will be able to Emulate the process/result of an animator Analyze/interpret works of others/their peers Develop a thought/idea from beginning to end Stage 2: Assessment Evidence (Design Assessments To Guide Instruction) Essential Questions: To what extent can you be limited in your expression through art? How and why is art used as a vehicle for communication? Suggested Performance Task(s) Students are in charge of their own animation company and must develop a new series featuring characters of their own creation. They will create concept art (design the look/feel of the animated series), the storyboard (like a comic strip, each segment of action is depicted like a visual script- usually each moment is on separate pieces of paper to be moved as the story changes), backgrounds, model sheets (these show various poses and

3 expressions for each character from different angles), animation drawing (which is traced or photocopied onto a blank cel). For presenting to network executives (their classmates), students must pinpoint a key moment of their animated storyline to depict with one cel set-up (a single or multiple cels on top of a background). Rubrics/checklists for Performance Tasks

4 Animation Cel Concept- Storyboard- Background Model sheet Animation rough/ clean-up Cel- Cel Set-up Critique- 4 Outstanding Much effort and originality in creating noncopyrighted characters and story idea with a n event or crisis Shows all of the most important events of the story, is easy to read, and has included the event to depict on the cel Background image chosen has relevance to event/crisis, drawing and painting done in a preplanned and neat manner, final effect is interesting and eyecatching Characters are original, creative and eyecatching. The depiction of body views and facial expressions are inventive, expressive, and well drawn. Characters are drawn neatly with light blue pencil, carefully outlined with black felt tip marker. Characters have evolved from storyboard and displays an obvious personality. Cels have been painted on back, with much attention to painting sequence (small to big areas) and preplanned color application. Painting is extremely neat and rest of cel is clean. Cels and background together create a clean, colorful, eye catching image that depicts an easy to understand moment. Actively participates, uses correct critique etiquette, uses multiple criteria to discuss artwork 3 Good Effort and originality in creating noncopyrighted characters and story idea Shows most of the important events of the story but might have some flow problems, and has included the event to depict on the cel Background image chosen has relevance to event/crisis, drawing and painting done fairly neat Characters are interesting. The depiction of body views and facial expressions are represented in a neatly drawn manner. Characters are drawn with light blue pencil, and outlined with black felt tip marker. Characters have evolved from storyboard. Cels have mostly been painted on back, with some attention to painting sequence (small to big areas) and mostly painted carefully. Cels and background together are neat and interesting and depicts an easy to understand moment. Participates, uses correct critique etiquette, uses some criteria to discuss artwork 2 Satisfactory Some effort and originality in creating noncopyrighted characters and story idea Shows few of the most important events of the story but is hard to read/understand Background image depicted has little relevance to event/crisis, drawing and painting done show lack of control Characters are roughly drawn and lacking detail. The depiction of body views and facial expressions are not varied or interesting. Characters are roughly drawn with light blue pencil, and hastily outlined with black felt tip marker. Characters have evolved from storyboard. Cels have mostly been painted on back, some smaller details have been omitted from a unique color, and painting appears rushed and rough. Cels and background together are obviously a bit rough and depicts and event is vague Passive participant, uses general ideas to express their thoughts on the artwork 1 Developing Little effort and originality in creating non-copyrighted characters and story idea Shows random events that do not create a story, little/no effort used in creating storyboard Background image depicted has no relevance to event/crisis, drawing and painting are messy and poorly done Characters are poorly drawn and missing depictions of body views and facial expressions. Characters are poorly drawn with light blue pencil, and poorly outlined with black felt tip marker. Characters have little similarity to earlier development Cels have been painted on both sides, no attempt at painting small details, and painting skills are poor. Cels and background together are too messy, distracting, and confusing- audience is lost at what is happening in scene Requires yes/no responses, evaluates work on personal tastes rather than lesson criteria, poor etiquette Other Evidence

5 Assessment will encompass: Preliminary work- Teacher-created samples for students to work through process Group critique Peer assessment (formal/informal) Student Self-Assessment and Reflection Students bring in examples of animation images they find interesting and/or exemplary Reflection by writing- notes/ideas/opinions about the process Group peer critiques (think/pair/share) Artist statements Stage 3: Learning Plan (Design Learning Activities To Align with Goals and Assessments) Key learning events needed to achieve unit goals Lesson 1 Essential Question: How and why is art used as a vehicle of communication? Strategy 1 *List and discuss different types of cartoons- one panel, multiple panel (comic strips), comic books/graphic novels, and animated, and how they convey messages of the artist. Show a brief animated movie clip, either on the computer or classroom monitor, and ask students: *how did this cartoon get created? What is the process? *what did the artist(s) have to think about to create it? *what are the pros/cons of the piece? *why would an artist want to animate? *why do artists tend to humanize the non-human? (animals, vegetables, etc.) *how is this similar/different to traditional comics in the newspaper? To help students understand animation, show a flipbook and explain how one image is gradually altered and when pages are flipped through, the pictures depict some sort of movement or change. Strategy 2 *Teacher explains the main steps involved with the creation of an animated film, showing examples. These steps include- 1. Concept sketches- What is the idea of the piece? What will the characters/setting/look/feel be? 2. Storyboard- What is the storyline/message of the piece? How quickly/slowly will it unfold? What will be the conflict/resolution? 3. Model sheets- Each character is depicted from various angles, in various poses, and with multiple expressions so that teams of animators will all know exactly what the character looks like at any time during the story. To create a short 4 minute video, animators must create around 4,000 images so multiple animators work together to create the piece. They all need to know and draw all characters the same for continuity.

6 4. Background- Final image(s) of settings that do not depict characters as they will be animated and must be done separately. 5. Animation rough/clean-up- final individual drawings that will then be hand painted (early days of animation) or photocopied onto cels. 6. Cel- character that has been painted from the back of the cel (to hide brush strokes) and completed 7. Cel set-up- a combination of two/more cels, with/without background, that creates a complete image. Strategy 3 For formative assessment for understanding the concept of animation: *Teacher hands out teacher created examples of: *concept art- teacher drawn characters/sketches to show a finished example *a storyboard- teacher drawn example of a story using some of the concept characters but leaving the last two boxes empty for students to finish the story *a sample model sheet that shows multiple views and expressions for the teacher developed characters. Students will be required to finish a missing view and add an additional expression for a character *cel painting- premade small cel examples (teacher draws a simple character image, and copies it four times onto a single copy transparency. This is then cut into four 4.25x5.5 rectangles so that each student is given a small clear cel of the teacher drawn image. They will then practice painting the cel on the back as a real. animator would. This will be done with acrylic paint, and to keep this practice simple, students can select from one or two different colors placed at each table. *Share the Animated Cel Rubric, which the students will use for grading themselves. *Home/School Connection- students are given a blank 4.25x5.5 piece of white paper and they are to draw a background and color it in, with media of their choice, to attach to the cel, once dry, during the next class. Students will also continue to brainstorm their own animated cartoon/series and come prepared with possible storylines and thoughts on characters. They are to create their own characters but could use familiar storylines, such as nursery rhymes or fairy tales. Students can also gather examples of animated characters that they consider exemplary. Check for Understanding: In student journal, students explain the animation process in their own words and images. Lesson 2 Essential Question: To what extent can you be limited in your expression through art? *Select a few returned backgrounds and display with the child s painted cel. Presented

7 to the class as a cel set-up, have students review what animation is and what the steps are in creating an animated film. Students will begin the project by starting their concept art- thumbnails and sketches to begin creating non-copyrighted characters and a story of their own choosing. The storyline needs to have some sort of conflict for the character(s) to work through. *The new cartoon series project can be assigned individually or as a group project. Strategy 1 *Teacher demonstrates how animators take their ideas from concept art to storyboard. This can be done by having students draw a series of boxes (similar to a comic strip) or use numbered post-its attached to a larger piece of paper and have them fill in segments of their story. In order to make their final cel set-up more interesting, there should be some type of conflict/crisis (comical or serious) as well as a resolution so that the students have a few options to pick from for their final cel set-up. To keep the lesson manageable, the storyline should consist of roughly 8 boxes. Strategy 2 *Once the storyboard is complete, students then begin to develop their characters on a model sheet. Demonstrate how animators need to know everything about their characters features so the model sheet will show each character viewed in multiple ways (side view, three-quarters, worm s eye as examples) as well as how their face changes with different facial features/emotions (angry, sad, tired, happy, surprised, etc.). Students should illustrate one or two of their characters on the model sheet, which is simply a 9x12 piece of white or manilla paper. *For closure, start asking students how animators might be limited in their expression through animation (Essential Question). Checking for understanding In student journal, students evaluate their own progress on the animation process. Lesson 3 Essential Question: To what extent can you be limited in your expression through art? Strategy 1 *With the completion of student model sheets, teacher demonstrates how to take a key moment from their storyboard and begin to draw an animated rough of the character(s) using a light blue colored pencil on 8.5x11 white drawing paper (so that it may be run

8 through the photocopier). By using a light blue colored pencil, it does not photocopy as easily and therefore makes mistakes non-transferable onto transparencies. Also stress that only one character is to be drawn on each piece of white paper. This is because animated features usually require thousands of cels and multiple people will be delegated to working on specific characters. It is also because if only one character is moving during a scene, the other non-moving cels do not have to be redrawn/repainted. The character should not be placed near the edges of the paper, as it may not photocopy due to image margins on the photocopier. Once the student has drawn his character in light blue, the image can then be outlined with a black felt tip pen. If the student wants to create multiple characters, in order for them to have a relationship to each other, have students place a fresh piece of white paper over their markered character and draw their new character with the light blue pencil in relation to the first character. Repeat the process until any/all characters are done in black felt tip. These may now be photocopied onto transparencies. *If students complete their characters on white paper, the background may be started. The background can be drawn with light blue pencil, even though this piece will not be photocopied. Background, drawn on 8.5x11 white paper, should continue to enhance the feel of their animated series by location, color, depiction. Backgrounds should not depict anything that might move- birds, cars (unless parked), animals, people. This is because only images created on clear cels will move in a flipbook-like manner once filmed. Check for Understanding: Students use the Animated Cel Rubric to critique their work. Later, teacher will use it for grading. Lesson 4 Essential Question How and why is art used as a vehicle for communication? *Teacher needs to photocopy the drawings onto transparencies. Strategy 1 *Students need to begin/continue their backgrounds. Backgrounds can be colored in teacher/student selected media. Lesson 5 Strategy 1 *Backgrounds should finish this class. *If students are ready to begin painting cels, they need to paint the BACK of the cel.

9 This is done so that, if this was actually going to be filmed, the outlines are not covered with paint when photographing and to avoid brushstrokes when photographing. Students will often become confused as to which is the front/back, so have them place the transparency on top of the original drawing so that they match. Then have them place a small piece of masking tape on the left upper corner of their cel. When they flip the transparency over, to the back which is the side that needs to be painted, the tape is now on the upper right corner and students can then remember tape on the right is right (correct). *Put the original drawing aside so that students don t become confused which image they are painting. *When students begin to paint their cels, they should start with small areas first and then, once paint is dry, they can paint other colors over top of the small areas. If student go out of the lines, acrylic paint wipes off easily from transparencies with a moist cotton swab but students should rub carefully as transparencies can scratch. A quick spray of window cleaner, once cels are completed, is recommended to make them smudge-free and allow the background to show thru clearly, but use a non-scratching towel/cloth. Checking for understanding Students should prepare an artist statement about what their characters are and why they were depicted as such, what the storyline is about, why the moment depicted was chosen, how they feel about the process and where it will take them in the future (as a viewer, and artist, or both) Lesson 6-7 Students continue painting cels and, if needed, refining background. Checking for understanding With the Essential Question, How and why is art used as a vehicle for communication?, have students begin formulating their thoughts on what they were communicating and why they chose those characters to do so. This will help with the culminating class critique of presenting their series idea to the network executives (their classmates and teacher). Lesson 8 *Group critique: *Students need to assemble their cel set-ups by cleaning off all smudges on their cels *Place the cels on top of the background making sure the painted sides are facing towards the background *Use clear tape to tape the corners of the cels around the background. *Hang on the whiteboard, or other central spot for easy group viewing.

10 *Have students pick out cels that catch their eye. Have them explain what attracted them, what they think is going on in this moment in time depicted, and have the animator comment on those ideas. General Tips for Successful Critiques Learning to critique or assess art is a vital part of an artist s growth. Teach your students how to critique themselves, with a partner, in small groups and in large groups. It takes practice and modeling to ensure respectful, beneficial critiquing. Display the animated series. For a large group display, you may choose to have students critique anonymously, in pairs and offer comments as a team, or gather in small groups. Be aware that some students may be uncomfortable displaying their artworks. After the critique process feels safe and friendly, more students will want to participate. Set the ground rules for the style of questions, comments, and suggestions that are courteous and constructive. Encourage positive phrasing and focus on each art work s strengths. Be inclusive and try to address each artwork. Avoid words like favorite, the best.... Focus on the objectives! Emphasize the learning process rather than the final result. When you are first starting, have students brainstorm and practice appropriate phrasing. Model effective critique protocol. Here are some phrases that might help students get started. What really caught my eye was. That artwork shows really well. I think would improve that artwork. I d like to see more of. That artist is really skilled at. I am a little confused by. At first, you may spend more time on the critiquing process than the actual critique but it is essential to build an atmosphere of trust and encouragement. Checking for Understanding: Students select one of the animated cartoons and write a critique including a description, analysis, interpretation and evaluation. Critiquing Works of Art Teacher uses the following scoring rubric to assess each student s written critique. Category Score Description Make a complete and detailed description of the subject matter and/or elements seen in a work. Make a detailed description of most of the subject matter and/or elements seen in a work. Make a detailed description of some of the subject matter and/or elements seen in a work. Descriptions are not detailed or complete. Analysis Accurately Accurately Describes some Has trouble

11 Interpretatio n Evaluation describes several dominant elements or principles used by the artist and accurately relates how they are used by the artist to reinforce the theme, meaning, mood, or feeling of the artwork. Forms a somewhat reasonable hypothesis about the symbolic or metaphorical meaning and is able to support this with evidence from the work. Uses multiple criteria to judge the artwork, such as composition, expression, creativity, design, communication of ideas. describes a couple of dominant elements and principles used by the artist and accurately relates how these are used by the artist to reinforce the theme, meaning, mood, or feeling of the artwork. Student identifies the literal meaning of the work. Uses 1-2 criteria to judge the artwork. dominant elements and principles used by the artist, but has difficulty describing how these relate to the meaning or feeling of the artwork. Student can relate how the work makes him/her feel personally. Tries to use aesthetic criteria to judge artwork, but does not apply the criteria accurately. picking out the dominant elements. Student finds it difficult to interpret the meaning of the work. Evaluates work as good or bad based on personal taste. Total Score Resources & Teaching Tips o What text/print/media/kit/web resources best support this unit? Examples of animation- film clips, photos, DVD segments, actual cels/storyboards/model sheets *Certain websites show the creative process behind animation, although many have an end result of computer animation rather than traditional animation. Such sites are eyecatching and often interactive and include: and Examples of flip books- purchased, from the web, handmade *Typing flip book in a Google search reveals printable sources, on-line animated sources, and resources to purchase inexpensive pocket-sized books Materials needed- various drawing paper, pencils, erasers, 8.5x11 white drawing paper,

12 light blue pencils, black fine felt-tip markers, transparencies for photocopies, acrylic paints and a variety of brushes, writing paper, window cleaner, cotton swabs o What tips to teachers of the unit can you offer about likely rough spots/student misunderstandings and performance weaknesses, and how to troubleshoot those issues? The biggest trouble spots will be- *characters are too detailed, making painting difficult *students will paint the wrong side of the cell (use the masking tape to mark- right is right ) *students will want to paint large areas first and then small areas- but the small areas could end up being covered by the previous paint application *being sloppy and having transparencies that are no longer transparent- be neat and use window cleaner Accommodation/Differentiation ideas and tips This lesson can be modified for the teacher in many ways: *Flip books can be student generated to have them better understand the small variation in movement needed to animate 2-D work. This could also be done in place of the painted cels, as cost and access to transparencies and photocopiers might not be practical. Students can then view one individual frame of each other s flipbook to discuss the impact of viewing this piece without the others and if/how it can stand alone. *Students could make their cel move by creating additional drawings/transparencies and then use a digital camera to take photos. By taking a photo, switching the next movement and taking another photo, and continuing this process, students can place images into a computer slideshow and see their image move. *Students could use computer programs, either CD Roms or computer programs, to animate simple to complex images. *Students could go from 2-D to 3-D by using stop-film animation/claymation and can use digital cameras/camcorders to capture the movement. This lesson can be modified for the student in many ways: *Extended time- students may set their own pace as well as come in during recess (at their choice) *Small grouping- some students might need to be pulled together for more intensive instruction and to keep them focused/on task *Word wall- animation vocabulary can be posted, and directions/expectations can be on classroom monitor and/or printed and at each table so students can always know what they should be doing and what they will be graded on *Simplicity- steer students who struggle with fine motor skills towards big, easy backgrounds and characters. *Students may create the animation individually or as a group project.

13 Content Connections Alignment of instruction addressing content standards in Visual Arts, Social Studies, and English Language Arts indicates the diverse nature of the unit of instruction.

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