MULVANE ART MUSEUM S EDUCATION PROGRAMS

Transcription

1 MULVANE ART MUSEUM S EDUCATION PROGRAMS PROGRAM GUIDE with Common Core Mulvane Art Museum Washburn University 1700 SW College Ave. Topeka, KS Kandis Barker, Curator of Education Jane Hanni, Assistant Curator of Education Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 1

2 Mulvane Art Museum, Education Introduction The purpose of this Program Guide is for use in artist-educator in-services, to facilitate lesson planning, for presentations and to unify and inform our best practices. Artist-educators use this Program Guide to develop lessons that engage participants in experiencing and responding to visual art, to dovetail age levels and to address special needs in art museum education. Artists use our Curriculum Resource Library, which includes art and art-across-curriculum lesson plans, art education periodicals, art reproductions, art history and artist books, and other curriculum guides to plan their educational visits. This Program Guide Includes: Our Mission and Philosophy Program Descriptions Bus and Tour Information Lesson Planning Guides Create Your Own! Lesson Planning Matrix, Quick Reference, Lesson Plan Format Pedagogy and Practice Resources and Quick n Easy Links Rubrics for Outreach Program Evaluations National Common Core Standards for the Visual Arts Lesson Plans Additional Program and Curriculum Guides are available from the Mulvane Art Museum s Teacher Resource Program that features works from our Museum s Permanent Collection. Now available online! Narrative Art: Romare Bearden, Ando Hiroshige, Tom Huck, Elizabeth Layton, Roger Shimomura. Geography of the Plains: Robert Sudlow, Larry Schwarm, Bea Opelka, Keith Jacobshagen, Birger Sandzen Multicultural Art: Anonymous Artist, Mexico, Utagawa Kuniyoshi, Elizabeth Terrell, Yu Yu Yang, Martina Vigil and Florentino Montoya. Stickwork: the Art of Patrick Dougherty Twist & Turn Program Curriculum Guide The Kansas Quilt Collection: Art, Math and Social Studies Coming Soon! Kentucky Folk Art from the Burns Collection: Art, Appalachia and Social Studies Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 2

3 Mission of the Mulvane Art Museum The mission of the Mulvane Art Museum at Washburn University is to provide members of the Washburn community, Topeka residents and visitors to the capital district of Kansas an arena in which they can learn to think independently and critically about art, to appreciate art as a vehicle for communicating human values, and to value the diversity of human creativity. Our Education Philosophy The Mulvane Art Museum s educational mission is to offer opportunities for people to experiment freely with visual art media, learn basic art concepts, think critically about aesthetic issues and learn about the art of many cultures and eras. Our programs are premised on the position that art can reinforce an integrated world of knowledge. We endeavor to serve the community by making art experiences and learning accessible and available to all. We are dedicated to providing art education and art resources to Topeka, KS, and the surrounding area. Our educational philosophy is that arts-learning takes place in both doing and in viewing. Our outreach programs, in-house classes, professional in-services, Tours and ArtLab programs support an integration of art educational paradigms, teaching strategies and museum educational methods. Artist-educators The educators who instruct in our programs are practicing artists and those who are skilled in a variety of artistic media. They include licensed art teachers, licensed Elementary Education teachers, and students completing BFA degrees with K-12 Licensure and/or those completing Elementary Teaching Licensure. Program artist-educators pass a background check and TB test as part of their employment requirements and are employed on a year-to-year basis. Washburn University Teaching Assistants, Emerging Educators, Preservice Teachers and Students The Museum employs University students in outreach programs. Leading program activities enable preservice teachers to complete critical tasks in their college experiences and coursework. Washburn University uses the Reflective Educator Conceptual Framework as their model. Working in our programs provides unique opportunities for college students to adapt their knowledge and skills in a variety of educational settings. Additionally, Washburn work-study students lead activities and apply their skills to working with children in the ArtLab and giving guided gallery tours. In so doing, these Washburn students from a variety of fields of study hone their skills of communication, reflection, public interaction, artistic learning, and teaching. Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 3

4 Program Sequences Our classes are divided in two broad categories: outreach and in-house. Although all of our offerings could be considered outreach, our program definitions classify our outreach programs as those that occur off-site, in-house are those that occur on-site. Each program has an independent course sequence. These sequences are unified by our Museum s Mission, our philosophy, and our Learning Goals that support the Core Standards for the Visual Arts. Outreach Program Support The Mulvane Art Museum is a public, non-profit organization, 501 c (3). The Museum is supported in part by the fund-raising efforts of the Friends of the Mulvane Art Museum, Inc., Washburn University, grants, corporate sponsorships and individual contributions. Our Outreach programs were made possible through funding from the Institute of Museum and Library Services (IMLS) Museums for America Engaging Communities. Program support has also been provided by (but not limited to) Washburn University, the Topeka Women s Fund, Enterprise Holdings Foundation, Prairie Band Potawatomi Nation, Cox Communications, Target Corporation, Kansas Gas Service a division of OneGas, Leadership Greater Topeka, Rotary, the Topeka Active 20/30 Club, and corporate sponsors and individual contributions. Outreach Programs Our programs, including Art After School, Art Beginning in Childhood, and Art In School, share three overarching creativity-based goals for people s growth in the visual arts: Individuals learn artistic skills and techniques Individuals develop aesthetic awareness Individuals engage in creative exploration As a framework for these goals, we concentrate on the National Core Standards for the Visual Arts to guide our instructional plan. Moreover, because learning to respond to art is a vital part of lifelong learning, our instructors follow combined methods of Studio Thinking Strategies, Discipline Based Art Education methods, Visual Thinking Strategies, and innovative active and dynamic learning approaches. In our three main outreach programs, the Mulvane Art Museum offers free community art education because we know that economic factors limit access to the visual arts and art education for children living in low-income settings. The Museum s outreach programs provide children grades K-5 opportunities for creative exploration, expanding perceptual curiosity, developing critical thinking skills and for artistic growth. Through these opportunities, children form the foundations of art appreciation and cultural understanding. Studies have shown that economic factors limit access to the visual arts and that students who are exposed to the arts perform better in academic studies with improvements in creativity and critical thinking skills. We work to reduce the gap in art encounters that exists between low-income students and their more advantaged peers. The arts are an important part of childhood and of life-long learning and should be available equally to all. Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 4

5 The purpose of our Museum s education design is to enhance people s abilities to understand and appreciate museum collections, exhibitions and interpretive initiatives. We create possibilities for people to experiment freely with visual art media, learn basic art concepts, think critically about aesthetic issues and learn about the art of many cultures and eras. We believe art reinforces an integrated world of knowledge. As a community leader in art education, the Museum partners with area school districts, universities, educational and cultural institutions and social service organizations to provide art education and art opportunities and make art accessible and available to all. After school organizations and public schools throughout the region have benefited from art programs organized and presented by the Mulvane s educational initiatives. Outreach Programs for Youth Art After School at the Mulvane (AAS), 2015-current Art After School at community locations (AAS), 1993-current Art Beginning in Childhood (ABC) Art In School (AIS) , st Century Learning Centers 2011-current Select Summer School Programs Outreach Program Sequences Each program has specific guidelines. Please meet with the Curator of Education. Within the overall guidelines of each program, the order and content of individual lessons are determined by artisteducator preference. Lesson plans may be based upon those provided in this Program Guide. Artisteducators are allowed creative planning and are permitted to substitute other lesson plan ideas that focus on our curriculum objectives. Lesson ideas and lesson plans are discussed with the Museum s Education Administrators. Outreach Programs for Adults A teaching artist meets with people at Brewster Place Retirement Center monthly. Art projects include process-oriented activities in which each participant finds success. A teaching artist meets with people at TARC day and senior services twice a week, every week. Art projects include exploration in a variety of art materials and techniques to encourage creativity and self-expression. In-House Programs Our in-house programs offer people opportunities to learn about specific media and techniques, to explore a variety of art making processes, and to engage in creative activities. In the St. Francis Art and Wellness class, participants meet weekly to work in many artistic mediums. They create artwork for themselves, and they create artworks to support community charities such as the Caritas Ball, Relay for Life, Race Against Breast Cancer, Sheltered Living and other community organizations. Museum classes are offered during the Spring, Summer and Fall. Individual class schedules occur on weekdays, evenings or weekends. Special individual workshops are scheduled throughout the year. Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 5

6 Our professional in-service programs provide educators appropriate, engaging and inventive art processes that support student creativity. Participants discover how the visual arts support student learning. Education programs are presented in conjunction with each exhibition and include films, lectures, workshops, classes, tours, symposia, gallery talks, and cultural conversations. Exhibitions and educational programs create unique opportunities for dialogue between artists, scholars, community, students and faculty around contemporary issues. Docent-led Tours Program Our Docent-led Tours Program offers free guided gallery tours based on Visual Thinking Strategies and active learning methods in which children engage in fun multi-sensory experiences, discussions, and kinesthetic activities to increase their knowledge about art and to help support their interpretive abilities. For adults, we offer formal aesthetic tours and special content tours. Special tours may be arranged. Spanish language and Sign language tours are available with advance notice. ArtLab In the Museum's on-site ArtLab, children and families explore art and creativity and gain art appreciation through a wide variety of media from drawing, painting, printmaking, and mixed media. Through guided visual learning stations people of all ages find a foundation in basic art principles and elements. In ArtLab, they have time to gain a deeper understanding of the arts. Specially designed activities in the ArtLab that correspond to the Museum's collections and exhibitions encourage participants discover their creative selves. Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 6

7 A Bus Reimbursement Fund is available to classes wishing to visit the Mulvane Art Museum and ArtLab. We provide this document to school teachers: Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 7

8 Quick References for Lesson Planning, Preparation and Presentation Our General Learning Goals Individuals use artistic skills and techniques. Individuals develop aesthetic awareness. Individuals in creative exploration. National Endowment for the Arts Outcome #1 Children and youth demonstrate increased skills, knowledge, and/or understanding of the arts, consistent with national or state standards. National Core Standards for the Visual Arts Kansas Early Learning Standards: Fine Arts Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 8

9 CREATE YOUR OWN LESSON PLANS ARTIST-EDUCATOR MATRIX WORKSHEET FOR CROSSING THE CURRICULM Planning an Integrated/Infused Lesson Idea Chart Art FOCUS Elements of Art Line Shape Color Texture Space Value Principles Design Movement Balance Contrast Repetition Unity Vocabulary 2D or 3D Organic Geometric Overlap Critical Thinking Identifying Reworking Naming Listing Describing Matching Comparing Interpreting Technical Skills Tearing Cutting Painting Drawing Sculpting Designing Gluing Folding Measuring Mixing Printing Big Idea Symbols Themes Visual Culture Symbols Themes Interpreting Evaluating Responding Art Music/ Movement Math Science Health Social Studies/ Multicultural Language Arts Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 9

10 CREATE YOUR OWN LESSON PLANS QUICK REFERENCE FOR LESSON PLANNING Multiple Intelligences from Howard Gardner s Frames of Mind: The Theory of Multiple Intelligences: Visual/Spatial Intelligence Verbal/Linguistic Intelligence Logical/Mathematical Intelligence Bodily/Kinesthetic Intelligence Musical/Rhythmic Intelligence Interpersonal Intelligence Intrapersonal Intelligence Lowenfeld s Stages of Artistic Development from Creative and Mental Growth 1. Scribble (2 To 4 Years) 2. Pre-schematic (4 To 6 Years) 3. Schematic (7 To 9 Years) 4. Dawning Realism (9 To 11 Years) 5. The Pseudo-realistic Stage (11 to 13 years) Questioning Strategies When Talking About Art From: Making Sense of Art by Pat Villeneuve. Spencer Museum of Art, 1992: Leading questions encourage agreement. Selective questions give a choice of answers. Parallel questions ask for additional information. Constructive questions ask for specific information in a short answer. Productive questions ask for general information in a describing answer. Using Questioning Strategies Avoid yes/no questions. Ask one question at a time and wait for response. Wait. Give the child time to think about his/her answer. This shows that you value the person s response. If you get no response, rephrase the question. Vary the types of questions you are asking. This keeps the discussion interesting and encourages everyone s participation. Multiple answers can be correct; often there is no right/wrong answer. Visual Thinking Strategies, Studio Thinking Strategies and Blooms Taxonomy Information Available. See Education Curators. Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 10

11 SAMPLE LESSON PLAN FORMAT LESSON TITLE Program(s): Participant age/grade range: Preschool, Elementary, Middle or High School, Adults, etc. General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards of the Visual Arts: 1. Creating 2. Presenting 3. Responding 4. Connecting Ties, connections or purposes: Such as, the Discipline, the Elements of Art, the Principles of Design, the what and why of your lesson, etc. Other content areas, if applicable: Social studies Science Math Language arts Music or Performing Arts Materials and Supply List: What supplies and materials you will need to offer the lesson. Description: The overall description of your lesson. Art Specific Language: Words or ideas that you will emphasize. Preplanning: What do you need to do ahead of time? Ordered Steps: What is the step-by-step process you will use? Guided Discussion Questions and Reflections: What questioning strategies will you use to encourage discussion and reflection? Review: What are the high points, vocabulary or processes will you review with the children? Lesson Extensions: What, if any, extension activities would be appropriate? Reference & Resource Materials: What resources are available from the Museum? Or, other? Pictures of sample projects, if you have available. Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 11

12 Some, but not all, Resources Available from the Mulvane Art Museum s Curriculum Resource Library Pedagogy: References and Resources Beattie, Donna Kay. Assessment in Art Education. Worcester, MA: Davis, Burton, Judith, Robert Horowitz, and Hal Abeles. Learning In and Through the Arts: Curriculum Implications. Champions of Change: Impact of Learning in the Arts. Ed. Edward B. Fiske. Washington, DC, Clements, Robert, and Frank Wachowiak. Emphasis Art: Qualitative Art Program for Elementary and Middle Schools. 9 th ed. Boston: Allyn & Bacon, Congdon, Kristin. Community Art in Action. Worcester, MA: Davis, Consortium of National Arts Education Associations, AATE, MENC, NAEA, NDEO. Authentic Connections: Interdisciplinary Work in the Arts. Reston, VA: n.p., Deasy, Richard, ed. Critical Links: Learning in the Arts and Student Academic and Social Development. Arts Education Partnership, Dobbs, Stephen Mark. Learning In and Through Art: A Guide to Discipline-Based Art Education. LA: Getty Trust, Efland, Arthur D. Art and Cognition: Integrating the Visual Arts in the Curriculum. NY: College Press; Reston, VA: National Art Education Association, Teachers Eisner, Elliot. Arts and the Creation of Mind. New Haven and London: Yale UP, Freedman, Kerry. Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art. NY: Teachers College Press; Reston, VA: National Art Education Association, Gardner, Howard. Frames of Mind: The Theory of Multiple Intelligences. 10 th Anniversary ed. NY: Basic Books, Perseus, Gazzaniga, Michael. Learning, Arts and the Brain: Dana Consortium Report of Arts and Cognition. Washington, DC: Dana Press, < Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 12

13 Herberholz, Donald, and Barbara Herberholz. Artworks for Elementary Teachers: Developing Artistic and Perceptual Awareness. 9 th ed. Boston: McGraw-Hill, Hetland, Lois, et al. Studio Thinking: The Real Benefits of Visual Arts Education. NY: Teachers College Press, Hurwitz, Al, and Michael Day. Children and Their Art: Methods for Elementary School. 8 th ed. Belmont, CA: Wadsworth, Kansas State Department of Education. Kansas Curricular Standards for the Visual Arts. Kansas State Board of Education. May, Keifer-Boyd, Karen, and Jane Maitland-Gholson. Engaging Visual Culture. Worcester, MA: Davis, Lowenfeld, Viktor, and W. Lambert Brittain. Creative and Mental Growth. 8 th ed. NY: Prentice-Hall, Mulcahey, Christine. The Story in the Picture: Inquiry and Artmaking with Young Children. NY: Teachers College Press, National Art Education Association. Learning in a Visual Age < Partnership for 21 st Century Skills. 21 st Century Student Outcomes and Support Systems < Seidel, Steve and Shari Tishman, et al. The Qualities of Quality: Understanding Excellence in Arts Education. Cambridge, MA: Project Zero at Harvard Graduate School of Education, Harvard UP, Smith, Ralph, ed. Discipline-Based Art Education: Origins, Meaning and Development. Urbana and Chicago: U of Illinois Press, Stankiewicz, Mary Ann. Roots of Art Education Practice. Worcester, MA: Davis, Stewart, Marilyn. Thinking Through Aesthetics. Worcester, MA: Davis, Stewart, Marilyn, and Sydney Walker. Rethinking Curriculum in Art. Worcester, MA: Davis, Villeneuve, Pat. ed. From Periphery to Center: Art Museum Education in the 21 st Century. Reston, VA: National Art Education Association, Walker, Sydney. Teaching Meaning in Artmaking. Worcester, MA: Davis, Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 13

14 Some, but not all, Resources Available from the Mulvane Art Museum s Curriculum Resource Library In Practice: Series, Periodicals and Resources for Lesson Planning Alger, L.H. Games for Teaching Art. Portland, MA: J. Weston Walch, Arty Facts: Linking Art to the World Around Us. (Series). NY: Crabtree. Barker, Phyllis Clausen. Short Lessons in Art History: 35 Artists and Their Work. Portland, ME: J. Weston Walch, Bould, Roberta. Making Cool Crafts & Awesome Art: Kids Treasure Trove of Fabulous Fun. Charlotte, VT: Williamson, Bunchman, Janis, and Stephanie Bissell Briggs. Activities for Creating Pictures and Poetry. Worchester, MA: Davis, Henkes, Robert. 300 Lessons in Art. Portland, ME: J. Weston Walch, Kohl, MaryAnn. Preschool Art: Process not Product. Beltsville, MD: Gryphon House, Kohl, MaryAnn. Global Art. Beltsville, MD: Gryphon House, Kohl, MaryAnn, and Cindi Gainer. Good Earth Art: Environmental Art for Kids. Bellingham, WA: Bright Ring, Kohl, MaryAnn, and Jean Potter. Storybook Art. Bellingham, WA: Bright Ring, Kohl, MaryAnn, and Kim Solga. Discovering Great Artists. Bellingham, WA: Bright Ring, Monaghan, Kimberly. Organic Crafts: 75 Earth-Friendly Art Activities. Chicago: Chicago Review Press, Reid, William. Great Studio Projects in Art History. Portland, MA: J. Weston Walch, Robinson, Dindy. World Cultures Through Art Activities. Engelwood, CO: Teacher Idea, Stephens, Pamela, and Nancy Walkup. Bridging the Curriculum Through Art: Interdisciplinary Connections. Glenview, IL: Crystal Productions, Thompson, Kimberly Boehler, and Diana Standing Loftus. Art Connections: Integrating Art Throughout the Curriculum. Glenview, IL: GoodYearBooks, Topal, Cathy Weisman. Children and Painting. Worchester, MA: Davis, Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 14

15 Quick n Easy! Web Resources for Lesson Planning Arts and Activity Magazine. (Series). Publishers Development Corp. < Scholastic Art Magazine. (Series.) Scholastic Publishing. < SchoolArts Magazine. (Series).Davis Publishing. < Studies in Art Education. National Art Education Association. < 21 st Century Student Outcomes and Support Systems. Partnership for 21 st Century Skills < ARTS EDGE < Education Place Activity Search. < Elementary Art Lessons, Princeton Online Lesson Plans. Department < J. Paul Getty Museum/Resources for the Classroom. < Learning, Arts and the Brain: Dana Consortium Report of Arts and Cognition. Gazzaniga, Michael. Washington, DC: Dana Press, < Learning in a Visual Age. National Art Education Association < Lesson Planning National Art Education Association. < The Metropolitan Museum of Art. < Mulvane Art Museum, Education. Artist-Educator Curriculum Guide, Page 15

16 ART BEGINNING IN CHILDHOOD PROGRAM REVIEW FORM Please complete this evaluation and survey and return it to Mulvane Art Museum. FAX: Mail: , Attention Kandis Barker Mulvane Art Museum, Education 1700 SW College Ave. Topeka, KS Location Teacher Address Teacher Program Director Name Contact Information: Sponsoring Organization (If applicable) We evaluate our programs based on the following three general creativity-based goals. These goals correspond to the National Core Standards for the Visual Arts for Pre-K. Please check the space provided for your response to our general goals. We welcome your additional comments! Thank You! 1. Children used artistic skills, techniques and a variety of materials to create works of art. Yes No Comments: CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work: Engage in self-directed play with materials and creative artmaking. Anchor Standard 2: Organize and develop artistic ideas and work: Use a variety of art making tools; share materials with others; create and communicate about art. Anchor Standard 3: Refine and complete artistic work: Share and talk about artwork. 2. Children developed aesthetic awareness and used appropriate art vocabulary to describe their work and comment on the works of others. Yes No Comments: PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation: Reasons we display art. Anchor Standard 5: Develop and refine artistic techniques and work for presentation: Places where art is displayed. Anchor Standard 6: Convey meaning through the presentation of artistic work: Identify art in-and-out of school. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work: Recognize what is art (ie. sculpture, painting, drawing, etc.) Anchor Standard 8: Interpret intent and meaning in artistic work: Identify and describe subject matter. Anchor Standard 9: Apply criteria to evaluate artistic work: Select a favorite artwork. 3. Children engaged in creative exploration by creating art that connected them to others and to themselves. Yes No Comments: CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art: Explore art-making words. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding: Recognize that people (human beings) make art.

17 What do you feel are the primary benefits of art for your students? (Use a separate page, if necessary.) What was your favorite lesson and art project? What were your students? Why? (Use a separate page, if necessary.) What physical factors help or hinder art at your school? (Use a separate page, if necessary.) What reactions did you receive from those who participated in the program? (Use a separate page, if needed.) Your Artist-Educator Your Artist-educator established rapport with and took an interest in your students success. always almost always often occasionally rarely Your Artist-educator arrived on time and conducted the class efficiently. always almost always often occasionally rarely You assisted your Artist-educator with set up, during the project and following the project. always almost always often occasionally rarely Information About Your Class: Total number of children enrolled: You provide art lessons to the children: daily weekly monthly not often You share project ideas with other childcare professionals and teachers: almost always often occasionally rarely The Future At this time, we do not have Art Beginning in Childhood funding to offer the program for the upcoming school year, However, we will continue to diligently seek supporters to fund this valuable program. We appreciate your help with advocacy and encouragement.

18 ASSESSMENT RUBRIC MULVANE ART MUSEUM S ART BEGINNING IN CHILDHOOD ( ), SITE VISIT AND PARTICIPANT LEARNING FORM GENERAL GOALS: Children learn artistic skills and techniques; Children develop aesthetic awareness; Children engage in creative exploration. BASED ON NATIONAL CORE VISUAL ARTS STANDARDS (2014) PreK CREATING (VA:CR) PRE K Anchor Standard 1: Generate and conceptualize artistic ideas and work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Creativity and innovative thinking are essential life skills that can be developed. Engage in self directed play with materials. Enduring Understanding: Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative art making. Engage in self directed, creative making. Anchor Standard 2: Organize and develop artistic ideas and work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches Use a variety of art making tools Enduring Understanding: Artists and designers balance experimentation and safety, freedom and responsibility while developing and creating art. Share materials with others. Enduring Understanding: People create and interact with objects, places, and design that define, shape, enhance, and empower their lives. Create and tell about art that communicates a story about a familiar place or object. Share and talk about personal artwork. Anchor Standard 3: Refine and complete artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artist and designers develop excellence through practice and constructive critique, reflecting on, revising, and refining work Use art vocabulary to describe choices while creating art. PRESENTING (VA:PR) PRE K Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artists and other presenters consider various techniques, methods, venues, and criteria when analyzing, selecting, and curating objects artifacts, and artworks for preservation and presentation. Identify reasons for saving and displaying objects, artifacts, and artwork. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artists, curators and others consider a variety of factors and methods including evolving technologies when preparing and refining artwork for display and or when deciding if and how to preserve and protect it. Identify places where art may be displayed or saved. Anchor Standard 6: Convey meaning through the presentation of artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Objects, artifacts, and artworks collected, preserved, or presented either by artists, museums, or other venues communicate meaning and a record of social, cultural, and political experiences resulting in the cultivating of appreciation and understanding. Identify where art is displayed both inside and outside of school. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Not Yet W/Prompt In Progress Proficient Enduring Understanding: Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments Recognize art in one s environment. Enduring Understanding: Visual imagery influences understanding of and responses to the world. Distinguish between images and real objects. Anchor Standard 8: Interpret intent and meaning in artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: People gain insights into meanings of artworks by engaging in the process of art criticism. Interpret art by identifying and describing subject matter.. Anchor Standard 9: Apply criteria to evaluate artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: People evaluate art based on various criteria. Select a preferred artwork.

19 CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Through art-making, people make meaning by investigating and developing awareness of perceptions, knowledge, and experiences. Explore the world using descriptive and expressive words and art making. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Not Yet W/Prompt In Progress Proficient Enduring Understanding: People develop ideas and understandings of society, culture, and history through their interactions with and analysis of art. Recognize that people make art.

20 ART IN SCHOOL and ART AFTER SCHOOL PROGRAM REVIEW Please complete this evaluation and survey and return it to Mulvane Art Museum. FAX: Mail: , Attention Kandis Barker Mulvane Art Museum, Education 1700 SW College Ave. Topeka, KS School Name Address Principal Classroom Teacher Teacher Phone: We evaluate our programs based on the following three general creativity-based goals. These goals correspond to the National Core Standards for the Visual Arts. Please check the space provided for your responses to our general goals. We welcome your additional comments! Thank You! 1. Children used artistic skills, techniques and a variety of materials to create works of art. Yes No Comments: CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. 2. Children developed aesthetic awareness and used appropriate art vocabulary to describe their work and comment on the works of others. Yes No Comments: PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work. Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work Anchor Standard. 3. Children engaged in creative exploration by creating art that connected them to others and to themselves. Yes No Comments: CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

21 What do you feel are the primary benefits of art experiences for children? (Use a separate page, if necessary.) What was your favorite lesson and art project? Why? (Use a separate page, if necessary.) What physical factors help or hinder art opportunities in school? (Use a separate page, if necessary.) What reactions did you receive from those who participated in the program? (Use a separate page, if needed.) Your Artist-Educator Your Artist-educator established rapport with and took an interest in your students success. always almost always often occasionally rarely Your Artist-educator arrived on time and conducted the class efficiently. always almost always often occasionally rarely You assisted your Artist-educator with set up, during the projects, and following the project. always almost always often occasionally rarely Information About Your Class: Total number of children enrolled in your class: You provide art lessons for your students: daily weekly monthly not often You share project ideas with other teachers: almost always often occasionally rarely The Future Would you advocate for Art In School in your class in the future? (Use a separate page, if necessary.) Yes No Comments:

22 ASSESSMENT RUBRIC MULVANE ART MUSEUM S ART IN SCHOOL ( ), SITE VISIT AND PARTICIPANT LEARNING FORM MULVANE ART MUSEUM S ART AFTER SCHOOL ( ), SITE VISIT AND PARTICIPANT LEARNING FORM GENERAL GOALS: Children learn artistic skills and techniques; Children develop aesthetic awareness; Children engage in creative exploration. BASED ON NATIONAL CORE VISUAL ARTS STANDARDS (2014) 4 th Grade CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Creativity and innovative thinking are essential life skills that can be developed. Elaborate on an imaginative idea. Brainstorm multiple approaches to a creative art or design problem. Enduring Understanding: Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative art making. Collaboratively set goals and create artwork that is meaningful and has purpose to the makers. Anchor Standard 2: Organize and develop artistic ideas and work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches Explore and invent art making techniques and approaches. Enduring Understanding: Artists and designers balance experimentation and safety, freedom and responsibility while developing and creating art. When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. Enduring Understanding: People create and interact with objects, places, and design that define, shape, enhance, and empower their lives. Repurpose objects to make something new. Document, describe, and represent regional constructed environments. Anchor Standard 3: Refine and complete artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artist and designers develop excellence through practice and constructive critique, reflecting on, revising, and refining work Revise artwork in progress on the basis of insights gained through peer discussion. Discuss and reflect with peers about choices made in creating artwork. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artists and other presenters consider various techniques, methods, venues, and criteria when analyzing, selecting, and curating objects artifacts, and artworks for preservation and presentation. Analyze how past, present, and emerging technologies have impacted the preservation and presentation of artwork. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Artists, curators and others consider a variety of factors and methods including evolving technologies when preparing and refining artwork for display and or when deciding if and how to preserve and protect it. Analyze the various considerations for presenting and protecting art in various locations, indoor or outdoor settings, in temporary or permanent forms, and in physical or digital formats. Anchor Standard 6: Convey meaning through the presentation of artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Objects, artifacts, and artworks collected, preserved, or presented either by artists, museums, or other venues communicate meaning and a record of social, cultural, and political experiences resulting in the cultivating of appreciation and understanding. Identify the roles and responsibilities of people who work in and visit museums and other art venues. Identify and explain how and where different cultures record and illustrate stories and history of life through art. Compare and contrast purposes of art museums, art galleries, and other venues, as well as the types of personal experiences they provide.

23 RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Not Yet W/Prompt In Progress Proficient Enduring Understanding: Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments Compare responses to a work of art before and after working in similar media. Speculate about processes an artist uses to create a work of art. Enduring Understanding: Visual imagery influences understanding of and responses to the world. Analyze components in visual imagery that convey messages. Determine messages communicated by an image. Anchor Standard 8: Interpret intent and meaning in artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: People gain insights into meanings of artworks by engaging in the process of art criticism. Interpret art by referring to contextual information and analyzing relevant subject matter, characteristics of form, and use of media.. Anchor Standard 9: Apply criteria to evaluate artistic work. Not Yet W/Prompt In Progress Proficient Enduring Understanding: People evaluate art based on various criteria. Classify artwork based on different reasons for preferences. Apply one set of criteria to evaluate more than one work of art. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Not Yet W/Prompt In Progress Proficient Enduring Understanding: Through art-making, people make meaning by investigating and developing awareness of perceptions, knowledge, and experiences. Identify times, places, and reasons by which students make art. Create works of art that reflect community cultural traditions. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Not Yet W/Prompt In Progress Proficient Enduring Understanding: People develop ideas and understandings of society, culture, and history through their interactions with and analysis of art. Through observation, infer information about time, place, and culture in which a work of art was created. Recognize that responses to art change depending on knowledge of the time and place in which it was made.

24 Dear artists, Please read this outline of responsibilities for creating a Case Summary, Each year, Artist-educators from each of our programs may write a case summary/report about one child's learning in the arts as a result of our art visits. This report is an opportunity to put a "child's face" and the human story to the success of our programs. The report is qualitative, written in your voice and includes your experiences. One to two pages is sufficient. These summaries are your observations. Please do not "interview" the child. Do not include the child's name or class location...but you may use a pseudonym. The narrative should include: a. A paragraph describing one person who participated in your program. (including age, gender, brief background, challenges and previous arts experience) b. A paragraph describing how this person came to participate in the program. c. A description of what you perceive the impact of the program was on the participant, how the student changed or what he or she learned as a result of participation. d. A brief statement from the participant and from you about the participant s experience in the program. e. Tell about your experience as an Artist-educator, if desired. f. If you have a photo available of the participant s artwork, please forward it to me. Please do not take photos of the children s faces. For Case Summaries, it is hard to keep track of their Permission for Use files. You can take an over the shoulder photo though! Thank You! Kandy Kandis Barker, Curator of Education Mulvane Art Museum 1700 SW College Washburn University, Topeka, KS

25 Investigate - Plan - Make Document early stages of the creative process visually and/or verbally in traditional or new media. Collaboratively shape an artistic investigation of an aspect of presentday life using a contemporary practice of art and design. Use multiple approaches to begin creative endeavors. Shape an artistic investigation of an aspect of presentday life using a contemporary practice of art or design. Individually or collaboratively formulate new creative problems based on student s existing artwork. Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. Visualize and hypothesize to generate plans for ideas and directions for creating art and design that can affect social change. Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept. Page 1, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. VISUAL ARTS - Creating Anchor Standard 1: Generate and conceptualize artistic ideas and work. Enduring Understanding: Creativity and innovative thinking are essential life skills that can be developed. Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cr1.1.PKa VA:Cr1.1.Ka VA:Cr1.1.1a VA:Cr1.1.2a VA:Cr1.1.3a VA:Cr1.1.4a VA:Cr1.1.5a VA:Cr1.1.6a VA:Cr1.1.7a VA:Cr1.1.8a VA:Cr1.1.Ia VA:Cr1.1.IIa VA:Cr1.1.IIIa Engage in selfdirected play with materials. Engage in exploration and imaginative play with materials. Engage collaboratively in exploration and imaginative play with materials. Brainstorm collaboratively Elaborate on an multiple approaches imaginative idea. to an art or design problem. Brainstorm Combine ideas to multiple approaches generate an to a creative art or innovative idea for design problem. art-making. Combine concepts collaboratively to generate innovative ideas for creating art. Apply methods to overcome creative blocks. Enduring Understanding: Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative artmaking goals. Essential Question(s): How does knowing the contexts histories, and traditions of art forms help us create works of art and design? Why do artists follow or break from established traditions? How do artists determine what resources and criteria are needed to formulate artistic investigations? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cr1.2.PKa VA:Cr1.2.Ka VA:Cr1.2.1a VA:Cr1.2.2a VA:Cr1.2.3a VA:Cr1.2.4a VA:Cr1.2.5a VA:Cr1.2.6a VA:Cr1.2.7a VA:Cr1.2.8a VA:Cr1.2.Ia VA:Cr1.2.IIa VA:Cr1.2.IIIa Engage in selfdirected, creative making. Engage collaboratively in creative art-making in response to an artistic problem. Use observation and investigation in preparation for making a work of art. Make art or design with various materials and tools to explore personal interests, questions, and curiosity. Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the art-making process. Collaboratively set goals and create artwork that is meaningful and has purpose to the makers. Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. Formulate an artistic investigation of personally relevant content for creating art. Develop criteria to guide making a work of art or design to meet an identified goal.

26 Investigate Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing. Select, organize, and design images and words to make visually clear and compelling presentations. Engage in making a work of art or design without having a preconceived plan. Explain how traditional and nontraditional materials may impact human health and the environment and demonstrate safe handling of materials, tools, and equipment. Collaboratively develop a proposal for an installation, artwork, or space design that transforms the perception and experience of a particular place. Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. Demonstrate awareness of ethical implications of making and distributing creative work. Redesign an object, system, place, or design in response to contemporary issues. Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept. Demonstrate understanding of the importance of balancing freedom and responsibility in the use of images, materials, tools, and equipment in the creation and circulation of creative work. Demonstrate in works of art or design how visual and material culture defines, shapes, enhances, inhibits, and/or empowers people's lives. Page 2, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. Anchor Standard 2: Organize and develop artistic ideas and work. Essential Question(s): How do artists work? How do artists and designers determine whether a particular direction in their work is effective? How do artists and designers learn from trial and error? Enduring Understanding: Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cr2.1.PKa VA:Cr2.1.Ka VA:Cr2.1.1a VA:Cr2.1.2a VA:Cr2.1.3a VA:Cr2.1.4a VA:Cr2.1.5a VA:Cr2.1.6a VA:Cr2.1.7a VA:Cr2.1.8a VA:Cr2.1.Ia VA:Cr2.1.IIa VA:Cr2.1.IIIa Use a variety of artmaking tools Through experimentation, Explore uses of build skills in various materials and tools media and to create works of approaches to artmaking. art or design. Experiment with various materials and tools to explore personal interests in a work of art or design. Create personally satisfying artwork using a variety of artistic processes and materials. Explore and invent art-making techniques and approaches. Experiment and develop skills in multiple art-making techniques and approaches through practice. Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design. Enduring Understanding: Artists and designers balance experimentation and safety, freedom and responsibility while developing and creating artworks. Essential Question(s): How do artists and designers care for and maintain materials, tools, and equipment? Why is it important for safety and health to understand and follow correct procedures in handling materials, tools, and equipment? What responsibilities come with the freedom to create? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cr2.2.PKa VA:Cr2.2.Ka VA:Cr2.2.1a VA:Cr2.2.2a VA:Cr2.2.3a VA:Cr2.2.4a VA:Cr2.2.5a VA:Cr2.2.6a VA:Cr2.2.7a VA:Cr2.2.8a VA:Cr2.2.Ia VA:Cr2.2.IIa VA:Cr2.2.IIIa a. Share materials with others. a. Identify safe and non-toxic art materials, tools, and equipment. Demonstrate safe and proper procedures for using materials, tools, and equipment while making art. Demonstrate safe procedures for using and cleaning art tools, equipment, and studio spaces. Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. Explain environmental implications of conservation, care, and clean-up of art materials, tools, and equipment. Demonstrate awareness of ethical responsibility to oneself and others when posting and sharing images and other materials through the Internet, social media, and other communication formats. Demonstrate awareness of practices, issues, and ethics of appropriation, fair use, copyright, open source, and creative commons as they apply to creating works of art and design. Enduring Understanding: People create and interact with objects, places, and design that define, shape, enhance, and empower their lives. Essential Question(s): How do objects, places, and design shape lives and communities? How do artists and designers determine goals for designing or redesigning objects, places, or systems? How do artists and designers create works of art or design that effectively communicate? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cr2.3.PKa VA:Cr2.3.Ka VA:Cr2.3.1a VA:Cr2.3.2a VA:Cr2.3.3a VA:Cr2.3.4a VA:Cr2.3.5a VA:Cr2.3.6a VA:Cr2.3.7a VA:Cr2.3.8a VA:Cr2.3.Ia VA:Cr2.3.IIa VA:Cr2.3.IIIa Create and tell about art that communicates a story about a familiar place or object. Create art that represents natural and constructed environments. Identify and classify uses of everyday objects through drawings, diagrams, sculptures, or other visual means. Repurpose objects to make something new. Individually or collaboratively construct representations, diagrams, or maps of places that are part of everyday life. Document, describe, and represent regional constructed environments. Identify, describe, and visually document places and/or objects of personal significance. Design or redesign objects, places, or systems that meet the identified needs of diverse users. Apply visual organizational strategies to design and produce a work of art, design, or media that clearly communicates information or ideas.

27 Reflect - Refine - Continue Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress. Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision. Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision. Page 3, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. Anchor Standard 3: Refine and complete artistic work. Enduring Understanding: Artist and designers develop excellence through practice and constructive critique, reflecting on, revising, and refining work over time. Essential Question(s): What role does persistence play in revising, refining, and developing work? How do artists grow and become accomplished in art forms? How does collaboratively reflecting on a work help us experience it more completely? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cr3.1.PKa VA:Cr3.1.Ka VA:Cr3.1.1a VA:Cr3.1.2a VA:Cr3.1.3a VA:Cr3.1.4a VA:Cr3.1.5a VA:Cr3.1.6a VA:Cr3.1.7a VA:Cr3.1.8a VA:Cr3.1.Ia VA:Cr3.1.IIa VA:Cr3.1.IIIa Share and talk about personal artwork. Explain the process of making art while creating. Use art vocabulary to describe choices while creating art. Discuss and reflect with peers about choices made in creating artwork. Elaborate visual information by adding details in an artwork to enhance emerging meaning. Create artist Revise artwork in progress on the basis of insights gained through peer discussion. statements using art vocabulary to describe personal choices in artmaking. Reflect on whether personal artwork conveys the intended meaning and revise accordingly. Reflect on and explain important information about personal artwork in an artist statement or another format.

28 Analyze Select Develop and apply criteria for evaluating a collection of artwork for presentation. Analyze, select, and curate artifacts and/or artworks for presentation and preservation. Collaboratively prepare and present Analyze and selected themebased artwork for evaluate the reasons and ways display, and an exhibition is formulate exhibition presented. narratives for the viewer. Analyze, select, and critique personal artwork for a collection or portfolio presentation. Evaluate, select, and apply methods or processes appropriate to display artwork in a specific place. Critique, justify, and present choices in the process of analyzing, selecting, curating, and presenting artwork for a specific exhibit or event. Investigate, compare, and contrast methods for preserving and protecting art. Page 4, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. VISUAL ARTS - Presenting Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Enduring Understanding: Artists and other presenters consider various techniques, methods, venues, and criteria when analyzing, selecting, and curating objects artifacts, and artworks for preservation and presentation. Essential Question(s): How are artworks cared for and by whom? What criteria, methods, and processes are used to select work for preservation or presentation? Why do people value objects, artifacts, and artworks, and select them for presentation? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Pr4.1.PKa VA:Pr4.1.Ka VA:Pr4.1.1a VA:Pr4.1.2a VA:Pr4.1.3a VA:Pr4.1.4a VA:Pr4.1.5a VA:Pr4.1.6a VA:Pr4.1.7a VA:Pr4.1.8a VA:Pr4.1.Ia VA:Pr4.1.IIa VA:Pr4.1.IIIa Identify reasons for saving and displaying objects, artifacts, and artwork. Select art objects for personal portfolio and display, explaining why they were chosen. Explain why some objects, artifacts, and artwork are valued over others. Categorize artwork based on a theme or concept for an exhibit. Investigate and discuss possibilities and limitations of spaces, including electronic, for exhibiting artwork. Analyze how past, present, and emerging technologies have impacted the preservation and presentation of artwork. Define the roles and responsibilities of a curator, explaining the skills and knowledge needed in preserving, maintaining, and presenting objects, artifacts, and artwork. Analyze similarities and differences associated with preserving and presenting twodimensional, threedimensional, and digital artwork. Compare and contrast how technologies have changed the way artwork is preserved, presented, and experienced. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Enduring Understanding: Artists, curators and others consider a variety of factors and methods including evolving technologies when preparing and refining artwork for display and or when deciding if and how to preserve and protect it. Essential Question(s): What methods and processes are considered when preparing artwork for presentation or preservation? How does refining artwork affect its meaning to the viewer? What criteria are considered when selecting work for presentation, a portfolio, or a collection? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Pr5.1.PKa VA:Pr5.1.Ka VA:Pr5.1.1a VA:Pr5.1.2a VA:Pr5.1.3a VA:Pr5.1.4a VA:Pr5.1.5a VA:Pr5.1.6a VA:Pr5.1.7a VA:Pr5.1.8a VA:Pr5.1.Ia VA:Pr5.1.IIa VA:Pr5.1.IIIa Identify places where art may be displayed or saved. Explain the purpose of a portfolio or collection. Ask and answer questions such as where, when, why, and how artwork should be prepared for presentation or preservation. Distinguish between different materials or artistic techniques for preparing artwork for presentation. Identify exhibit space and prepare works of art including artists statements, for presentation. Analyze the various considerations for presenting and protecting art in various locations, indoor or outdoor settings, in temporary or permanent forms, and in physical or digital formats. Develop a logical argument for safe and effective use of materials and techniques for preparing and presenting artwork. Individually or collaboratively, develop a visual plan for displaying works of art, analyzing exhibit space, the needs of the viewer, and the layout of the exhibit. Based on criteria, analyze and evaluate methods for preparing and presenting art.

29 Share Analyze why and how an exhibition or collection may influence ideas, beliefs, and experiences. Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings. Make, explain, and justify connections between artists or artwork and social, cultural, and political history. Curate a collection of objects, artifacts, or artwork to impact the viewer s understanding of social, cultural, and/or political experiences. Page 5, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. Anchor Standard 6: Convey meaning through the presentation of artistic work. Enduring Understanding: Objects, artifacts, and artworks collected, preserved, or presented either by artists, museums, or other venues communicate meaning and a record of social, cultural, and political experiences resulting in the cultivating of appreciation and understanding. Essential Question(s):What is an art museum? How does the presenting and sharing of objects, artifacts, and artworks influence and shape ideas, beliefs, and experiences? How do objects, artifacts, and artworks collected, preserved, or presented, cultivate appreciation and understanding? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Pr6.1.PKa VA:Pr6.1.Ka VA:Pr6.1.1a VA:Pr6.1.2a VA:Pr6.1.3a VA:Pr6.1.4a VA:Pr6.1.5a VA:Pr6.1.6a VA:Pr6.1.7a VA:Pr6.1.8a VA:Pr6.1.Ia VA:Pr6.1.IIa VA:Pr6.1.IIIa Identify where art is displayed both inside and outside of school. Explain what an art museum is and distinguish how an art museum is different from other buildings. Identify the roles and responsibilities of people who work in and visit museums and other art venues. Analyze how art exhibited inside and outside of schools (such as in museums, galleries, virtual spaces, and other venues) contributes to communities. Identify and explain how and where different cultures record and illustrate stories and history of life through art. Compare and contrast purposes of art museums, art galleries, and other venues, as well as the types of personal experiences they provide. Cite evidence about how an exhibition in a museum or other venue presents ideas and provides information about a specific concept or topic. Assess, explain, and provide evidence of how museums or other venues reflect history and values of a community. Compare and contrast viewing and experiencing collections and exhibitions in different venues.

30 Perceive Compare and contrast contexts and media in which viewers encounter images that influence ideas, emotions, and actions. Hypothesize ways in which art influences perception and understanding of human experiences. Analyze how one s understanding of the world is affected by experiencing visual imagery. Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments. Analyze how responses to art develop over time based on knowledge of and experience with art and life. Determine the Evaluate the commonalities effectiveness of an within a group of image or images to artists or visual influence ideas, images attributed to feelings, and a particular type of behaviors of specific art, timeframe, or audiences. culture. Page 6, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. VISUAL ARTS - Responding Anchor Standard 7: Perceive and analyze artistic work Enduring Understanding: Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments. Essential Question(s): How do life experiences influence the way you relate to art? How does learning about art impact how we perceive the world? What can we learn from our responses to art? Explain how a person s aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others. Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Re.7.1.Pka VA:Re.7.1.Ka VA:Re.7.1.1a VA:Re.7.1.2a VA:Re.7.1.3a VA:Re.7.1.4a VA:Re.7.1.5a VA:Re.7.1.6a VA:Re.7.1.7a VA:Re.7.1.8a VA:Re.7.1.Ia VA:Re.7.1.IIa VA:Re.7.1.IIIa Recognize art in one s environment. Identify uses of art within one s personal environment. Perceive and Select and describe describe aesthetic works of art that characteristics of illustrate daily life one s natural world experiences of one s and constructed self and others. environments. Speculate about processes an artist uses to create a work of art. Compare responses to a work of art before and after working in similar media. Identify and interpret works of Compare one's own art or design that interpretation of a work reveal how people of art with the live around the interpretation of others. world and what they value. Explain how the method of display, the location, and the experience of an artwork influence how it is perceived and valued. Enduring Understanding: Visual imagery influences understanding of and responses to the world. Essential Question(s): What is an image? Where and how do we encounter images in our world? How do images influence our views of the world? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Re.7.2.Pka VA:Re.7.2.Ka VA:Re.7.2.1a VA:Re.7.2.2a VA:Re.7.2.3a VA:Re.7.2.4a VA:Re.7.2.5a VA:Re.7.2.6a VA:Re.7.2.7a VA:Re.7.2.8a VA:Re.7.2.Ia VA:Re.7.2.IIa VA:Re.7.2.IIIa Distinguish between images and real objects. Describe what an image represents. Compare images that represent the same subject. Categorize images based on expressive properties. Determine messages communicated by an image. Analyze components in visual imagery that convey messages. Identify and analyze cultural associations suggested by visual imagery. Analyze ways that visual components and cultural associations suggested by images influence ideas, emotions, and actions. Analyze multiple ways that images influence specific audiences.

31 Interpret Analyze Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, artmaking approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed. Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts. Establish relevant criteria in order to evaluate a work of art or collection of works. Identify types of contextual information useful in the process of constructing interpretations of an artwork or collection of works. Determine the relevance of criteria used by others to evaluate a work of art or collection of works. Analyze differing interpretations of an artwork or collection of works in order to select and defend a plausible critical analysis. Construct evaluations of a work of art or collection of works based on differing sets of criteria. Page 7, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. Anchor Standard 8: Interpret intent and meaning in artistic work. Essential Question(s): What is the value of engaging in the process of art criticism? How can the viewer "read" a work of art as text? How does knowing and using visual art vocabularies help us understand and interpret works of art? Enduring Understanding: People gain insights into meanings of artworks by engaging in the process of art criticism. Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Re8.1.Pka VA:Re8.1.Ka VA:Re8.1.1a VA:Re8.1.2a VA:Re8.1.3a VA:Re8.1.4a VA:Re8.1.5a VA:Re8.1.6a VA:Re8.1.7a VA:Re8.1.8a VA:Re8.1.Ia VA:Re8.1.IIa VA:Re8.1.IIIa Interpret art by identifying and describing subject matter. Interpret art by identifying subject matter and describing relevant details. Interpret art by categorizing subject matter and identifying the characteristics of form. Interpret art by identifying the mood suggested by a work of art and describing relevant subject matter and characteristics of form. Interpret art by analyzing use of media to create subject matter, characteristics of form, and mood. Interpret art by referring to contextual information and analyzing relevant subject matter, characteristics of form, and use of media. Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed. Interpret art by distinguishing between relevant and non-relevant contextual information and analyzing subject matter, characteristics of form and structure, and use of media to identify ideas and mood conveyed. Interpret art by analyzing artmaking approaches, the characteristics of form and structure, relevant contextual information, subject matter, and use of media to identify ideas and mood conveyed. Anchor Standard 9: Apply criteria to evaluate artistic work. Enduring Understanding: People evaluate art based on various criteria. Essential Question(s): How does one determine criteria to evaluate a work of art? How and why might criteria vary? How is a personal preference different from an evaluation? Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Re9.1.Pka VA:Re9.1.Ka VA:Re9.1.1a VA:Re9.1.2a VA:Re9.1.3a VA:Re9.1.4a VA:Re9.1.5a VA:Re9.1.6a VA:Re9.1.7a VA:Re9.1.8a VA:Re9.1.Ia VA:Re9.1.IIa VA:Re9.1.IIIa Select a preferred artwork. Explain reasons for selecting a preferred artwork. Classify artwork based on different reasons for preferences. Use learned art vocabulary to express preferences about artwork. Evaluate an artwork based on given criteria. Recognize differences in criteria used to Apply one set of evaluate works of art criteria to evaluate depending on styles, more than one work genres, and media as of art. well as historical and cultural contexts. Develop and apply relevant criteria to evaluate a work of art. Compare and explain the difference between Create a convincing an evaluation of an and logical artwork based on argument to personal criteria support an and an evaluation of evaluation of art. an artwork based on a set of established criteria.

32 Relate Synthesize Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity. Describe how knowledge of culture, traditions, and history may influence personal responses to art. Compare uses of art in a variety of Appraise the impact societal, cultural, and of an artist or a historical contexts group of artists on and make the beliefs, values, connections to uses and behaviors of a of art in society. contemporary and local contexts. Page 8, Visual Arts Copyright 2014 State Education Agency Directors of Arts Education (SEADAE) on behalf of NCCAS. All rights reserved. VISUAL ARTS - Connecting Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Essential Question(s): How does engaging in creating art enrich people's lives? How does making art attune people to their surroundings? How do people contribute to awareness and understanding of their lives and the lives of their communities through art-making? Individually or of Essential Question(s): How does art help us understand the lives of people of different times, places, and cultures? How is art used to impact the views of a society? How does art preserve aspects of life? Enduring Understanding: Through art-making, people make meaning by investigating and developing awareness of perceptions, knowledge, and experiences. Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cn10.1.Pka VA:Cn10.1.Ka VA:Cn10.1.1a VA:Cn10.1.2a VA:Cn10.1.3a VA:Cn10.1.4a VA:Cn10.1.5a VA:Cn10.1.6a VA:Cn10.1.7a VA:Cn10.1.8a VA:Cn10.1.Ia VA:Cn10.1.IIa VA:Cn10.1.IIIa collaboratively Utilize inquiry Synthesize Apply formal and Generate a create visual Make art Document the methods of knowledge of social, Identify times, conceptual collection of ideas Explore the world Create works of art Develop a work of Create works of art documentation of collaboratively to process of observation, cultural, historical, Create art that tells a places, and reasons vocabularies of art reflecting current using descriptive and about events in art based on that reflect places and times in reflect on and developing ideas research, and and personal life story about a life by which students and design to view interests and expressive words home, school, or observations of community cultural which people gather reinforce positive from early stages to experimentation to with art-making experience. make art outside of surroundings in new concerns that could and art-making. community life. surroundings. traditions. to make and aspects of group fully elaborated explore unfamiliar approaches to create school. ways through artmakingmaking. be investigated in art- experience art or identity. ideas. subjects through artmaking. art or design. meaningful works design in the community. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Enduring Understanding: People develop ideas and understandings of society, culture, and history through their interactions with and analysis of art. Pre K Kindergarten 1st 2nd 3rd 4th 5th 6th 7th 8th HS Proficient HS Accomplished HS Advanced VA:Cn11.1.Pka VA:Cn11.1.Ka VA:Cn11.1.1a VA:Cn11.1.2a VA:Cn11.1.3a VA:Cn11.1.4a VA:Cn11.1.5a VA:Cn11.1.6a VA:Cn11.1.7a VA:Cn11.1.8a VA:Cn11.1.Ia VA:Cn11.1.IIa VA:Cn11.1.IIIa Recognize that people make art. Identify a purpose of an artwork. Understand that people from different places and times have made art for a variety of reasons. Recognize that Compare and responses to art contrast cultural uses change depending of artwork from on knowledge of the different times and time and place in places. which it was made. Through observation, infer information about time, place, and culture in which a work of art was created. Identify how art is used to inform or change beliefs, values, or behaviors of an individual or society. Analyze how art reflects changing times, traditions, resources, and cultural uses. Analyze how response to art is influenced by understanding the time and place in which it was created, the available resources, and cultural uses.

33 SHAPES-TO-FORMS: the ART OF DALE CHIHULY Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children will create a flat tissue paper collage on transparent film and form it into a 3- dimensional sculpture to experience the difference between Shape (flat) and Form (3- dimensional). Children will also learn about the art of Dale Chihuly and use his work as inspiration for their sculptures. Vocabulary: Shape, Form, Color (Primary and Secondary), 2D, 3D, Collage, Transparent and Translucent Color. Materials: Lightweight copy transparency film. Tissue paper in variety of colors. White glue (thinned ½ glue, ½ water). Mat board platforms cut in 8 x 8 squares. Staplers. Glitter. Brushes to apply glue and dish-shaped containers for glue. Plastic table covers. kb Lesson Plan: SHAPES-TO-FORMS, the ART OF DALE CHIHULY Page 1/2

34 Lesson Overview: Children will make a 3D sculpture inspired by the glasswork of Dale Chihuly. Children will experience the activity of taking an art project from 2D to 3D. Directions: 1. Instructor will cover tables. 2. Instructor will show children images of Dale Chihuly s glass sculptures. 3. Instructor will lead discussion about the qualities of Chihuly s work: 3D & Translucent. Children will see how light passes through the colors and transparent areas of the pictured sculptures. 4. Instructor will show sample of the finished art project and ask children to describe the sculpture in the same terms as when they described Chihuly s work. 5. Instructor will show how the sculpture started as a 2D tissue paper collage. 6. Children will use 1 sheet of transparency film and begin as a collage project. 7. Children will apply tissue paper to the film using small amounts of water-glue applied with a paintbrush. 8. Instructor will review terms such as overlapping, color mixing, depth. 9. When children complete their tissue paper collage, they will hold them up to the light. 10. Children will discuss the qualities of light as it passes through a flat (2D) surface. 11. Children will then generously apply a coat of water-glue to the flat surface using a paintbrush. 12. The transparency film will begin to curl as more water is applied. 13. Children will grasp the center of their film (on the underside) and pinch their 2D tissue paper collage into a 3-dimensional form. 14. Instructor will staple the underside of the form at the place that the child has determined. 15. Children will mount their sculptures on mat board and sprinkle them with glitter. 16. Children will observe the qualities of light as it passes through their sculpture. Reflections: How are the qualities of light different as they show through your 2D and your 3D artwork? How are they the same? How are shapes and forms different? How are they the same? Review: Shape, Form, Color (Primary and Secondary), 2D, 3D, Collage, Transparent and Translucent Color. Reference & Resource Materials: Posters and Books featuring works by Dale Chihuly. Available from the Mulvane Art Museum s Resource Library: Chihuly Seaforms by Sylvia Earle, kb Lesson Plan: SHAPES-TO-FORMS, the ART OF DALE CHIHULY Page 2/2

35 SHAPE AND PATTERN: CLASS PAPER QUILTS Programs: Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Media and Technique: Collage. Focus: Individual images can be brought together to create group artwork. The art of quilts is both a historic medium and an expressive technique. Quilting includes communication, collaboration, community, storytelling and history. Quilting can correspond to Language Arts, Social Studies and Mathematics. Introduction: Children will learn about quilts as objects of art that use shape and pattern. Children will experience working individually and as a group to create a single artwork that is the sum of individual pieces. Vocabulary: Collage, shape, color, texture, value, overlapping, spatial relationships. Materials: Paper, glue, construction paper background 9 x 9, construction paper scraps 3 x 3, scissors, pencils. (Can include wallpaper squares and/or fabric squares). kb Lesson Plan: SHAPE AND PATTERN: CLASS PAPER QUILTS Page 1/3

36 Lesson Overview: Students will create a collage that represents a quilt block. The group will assemble individual quilt blocks into a classroom or site quilt that represents how individuals can each bring unique qualities to an overall image. Directions: 1. Instructor and children will together set up art area and include materials that will be used. 2. Instructor and children will look at a variety of reproductions of quilt images and read a book from the suggested selection. 3. Instructor will prompt children s discussion. 4. a) Instructor will model the use of scissors (if needed). b) Instructor will model the act of controlled tearing (if needed). 5. Instructor will demonstrate how 9 pieces of the 3 construction paper squares will fit on the 9 backgrounds. 6. Instructor will advise the children that all of their quilt pieces must appear on their quilt block no trash. So, if they cut an edge, they use the leftover piece elsewhere on their block. 7. Instructor will demonstrate how the small squares can be cut or torn to create symmetrical shapes and/or asymmetrical shapes. Including triangles, circles and organic shapes. 8. Children will choose colors of their preference and determine the shapes that they will create for their quilt block. 9. Children will tear or cut their quilt shapes. 10. Children will glue their shapes onto their 9 x 9 paper background. 11. Children will lay their construction paper blocks out on the floor. 12. Children will experiment with the placement of the individual works of art to decide the way it looks best (understanding aesthetics). 13. Instructor will tape the individual blocks onto a large sheet of white butcher paper. 14. Children will discuss their quilt as a work of individual and community efforts. Reflections: Instructor and children will talk about their overall quilt using art specific vocabulary and using story-telling skills about why each person chose the shapes and colors in their square. Instructor and children will discuss how creating individual works can be joined together to create a group portrait. Review: Collage, shape, color, texture, value, overlapping, spatial relationships. Available from the Mulvane Art Museum s Resource Library: Sam Johnson and the Blue Ribbon Quilt, Lisa Campbell Ernst The Quilt Story, Tony Johnston and Tomie depaola Shota and the Star Quilt, Margaret Bateson-Hill kb Lesson Plan: SHAPE AND PATTERN: CLASS PAPER QUILTS Page 2/3

37 Luka s Quilt, Georgia Guback Patchwork Quilt, Valarie Flournoy Tar Beach, Faith Ringhold Sweet Clara and the Freedom Quilt, Deborah Hopkinson Grandmother s Flower Garden Quilt, c From the Mulvane Art Museum s Permanent Collection. Technique: Machine pieced Construction: Mosaic hexagon Material: Cotton plain weave Quilting: Outline by hand Border: Scalloped Backing: Cotton Flour Sacks Measurements: 80 x 75 Stitches: 4-7 per inch Origination: Manhattan, KS The Grandmother s Flower Garden is a pieced pattern quilt developed in England. Garden quilts became a popular style in the United States during 1920s and 1930s because they used large amounts of small scraps and were inexpensive to make. The Grandmother s Flower Garden is the oldest of all geometric style patterns; this pattern style was documented in English quilts before Designs made of small geometric shapes were an English tradition, as was the intricate joining of one-patch designs (Houck 64). The Grandmother s Flower Garden was also popular because dye technology enabled fabric makers to create brighter cloth at lower expense. Some quilters were then able to afford inexpensive bright cloths to create quilts that featured a multi-colored palette. The back of this quilt from the Mulvane s Permanent Collection was made using flour sacks. o Cloth sacks were used as fabric during the Depression and during World War II because of fabric and paper shortages. Many items were sold in cloth sacks. Some of the items sold in cloth sacks were flour, sugar, corn, and beans. The flour sacks used on the back of this quilt are white. But many cloth sacks that were used for quilts and for making clothes were printed with floral and geometric patterns. This quilt may have been a community quilt or one produced in a social setting such as a quilting bee. Houck, Carter. The Quilt Encyclopedia Illustrated. New York: Harry Abrams, Inc. Pub. in Association with the American Folk Art Museum, kb Lesson Plan: SHAPE AND PATTERN: CLASS PAPER QUILTS Page 3/3

38 Participant Age Range: Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children will paint value charts and create monochromatic paintings that focus on Value as a property of the art-making processes. Vocabulary: Color (Primary and Secondary), Value (Light-Dark), Simplification, Gesture. Creative expression using color. Materials: Washable tempera paint in primary colors (red, blue, yellow) white, black, and brown. Paint brushes in variety of widths, white 80# sulfite paper in 9 x 12 sheets, pencils, paper plates (white), water cups, paper towels, table covers. Books with examples of the use of Value in art and illustrations of Value charts. Lesson Overview: Children will make Value charts and paintings using one color with variety of degrees of value to discover how Value can be used to express meaning in their artwork. Children will use their chosen single color in a variety of values to create a painting. kb Lesson Plan: Value in Painting. Page 1/2

39 Directions: 1. Instructor will cover tables and prepare the painting area. 2. Instructor will describe the lesson and appropriate use of art materials. For instance, the instructor will review the care and cleaning of brushes. 3. Children will choose one primary color of paint, paintbrushes, paper, pencil. (If child prefers to use a secondary color, instructions about color mixing will be provided.) 4. Instructor will prompt children to discuss how different colors make us feel and how different values (and intensities) of colors can express different emotions. 5. Instructor will discuss the term Monochromatic (one color) in art. Step-by-Step the Instructor will demonstrate how to create a Value chart: 6. Children will fold one piece of white 9 x 12 paper in half, vertically. 7. On the upper left half, children will write Light at the top. 8. On the lower right half, children will write Dark at the bottom. 9. Children will paint one line (or swatch) with the pure color at the bottom of the left side and the top of the right side. 10. Children will then mix small amounts of white into their color gradually, creating a lighter value with each addition of white. 11. With each addition of white, children will create a swatch of color from the bottom up on the left-hand side of their paper. 12. Children will then mix small amounts of black into their color gradually, creating a darker value with each addition of black. 13. With each addition of black, children will create a swatch of color from the top down on the right-hand side of their paper. 14. Children will experiment with the process until they feel comfortable with the use of Value. 15. Children will then pick up a new piece of paper to create a Monochromatic painting using Value to convey meaning. The child will choose his/her own subject matter and story. Reflections: Children describe the story that their work of art tells. What meanings do colors or different values of colors convey? Review: Color (Primary and Secondary), Value (Light-Dark), Simplification, Gesture. kb Lesson Plan: Value in Painting. Page 2/2

40 Image available from the Mulvane Art Museum s Resource Library: Philip Hershberger, Time Zone, from the Mulvane Art Museum Permanent Collection. kb Lesson Plan: Value in Painting. Page 3/2

41 LINE: DRAWING WITH YARN Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Instructor will guide a discussion about Lines. Lines can be zigzag, straight, curvy, dotted, horizontal or vertical, thick or thin. Lines can be made with drawing instruments and can be made using other media, too. We will use yarn to draw a picture. Vocabulary: Line, Shape, Overlapping, Contours, Outlines, Texture. Materials: Drawing and construction paper for background (24 x 18 ), glue, scissors, yarn in variety of colors, embellishments such as ribbon, buttons and sequins. Wax paper or craft sticks to hold yarn in place. Lesson Overview: Children will create line drawings using yarn as the drawing tool. Children will experiment with the variety of lines an artist can use to create a work of art. Lines can be outlines or contours. Lines can be used to fill in shapes or areas. Lines can be geometric or organic. kb Lesson Plan: LINE: DRAWING WITH YARN, Page 1/2

42 Directions: 1. Instructor and children will discuss the qualities of line. Children will use guided describing words to talk about how lines can be outlines or contours, lines can fill in shapes or areas, lines can be geometric or organic. 2. Children will select yarn in the colors that they wish to use. 3. Children will identify the colors that they have gathered and discuss how the different colors relate to each other. 4. Children will identify the different thicknesses of the yarns that they have gathered and discuss how the thickness of line contributes to the image they are making. 5. Children will determine the color of their background paper in relationship to the color yarns that they have chosen and the image they want to create. 6. Children will begin to determine where those images will be placed on their background paper. 7. Children will draw images on their paper using glue. (They could begin first drawing with pencil, but the objective is to experience using yarn as the drawing instrument.) 8. Children will press their yarn into the glue lines to create an image using line. Children may want to use wax paper or craft sticks to hold yarn in place while they work. 9. Children will determine if they want to fill-in the background using more yarn, or let the background remain the color of the paper. 10. Children will further embellish their works with ribbon, buttons, sequins or other objects. Extension Activity: Instructor may introduce children to the yarn art processes of the Huichol from central Mexico. The Huichol create yarn drawings by pressing colorful yarn into a mixture of beeswax and pine resin to create images called Nieli kas. (Standard 4: Understanding the visual arts in relation to history and culture.) Reflections: How are the different qualities of line (zigzag, straight, curvy, dotted, horizontal or vertical, thick or thin) similar? How are they different? What are more words that can be used to describe line? Review: Line, Shape, Overlapping, Contours, Outlines, Texture. kb Lesson Plan: LINE: DRAWING WITH YARN, Page 2/2

43 TEXTURE CLAY TILES Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children create a clay tile artwork in the classroom or after school setting. They will use clay to explore the properties of texture, make comparisons between the varied qualities of texture and experience how texture is a part of the art-making processes. Vocabulary: Texture, Line, Shape, Form, Clay, Bisque, Kiln. Materials: Wooden forms for rolling clay tiles. White earthenware clay. Texture tools: rope, toothbrushes, bolts and screws, combs, seashells, other odds-and-ends that can be pressed into the clay. Bumpy, ribbed, smooth and scroll rollers. Newspaper, baggies, paper towels, cardboard soda flats to transport tiles to Museum for firing. Book with illustrations of the clay-to-kiln process, such as Clay Art by Pamela Chanko. Examples of kiln fired tiles to use as comparison between clay (soft) and fired bisque ware (hard and fragile). Lesson Overview: Children will make tiles using clay and texture tools to experience a tactile and kinesthetic art-making process to understand that texture is the way something feels, or the way something looks like it feels. kb Lesson Plan: TEXTURE - CLAY TILES, Page 1/2

44 Directions: 1. Instructor will cover table with newspaper or craft paper. 2. Each child gets a mound of clay (approx 1-2 cup size mound). 3. Children will smash, pinch, pound, feel and manipulate the soft clay. 4. Instructor and children discuss the tactile properties of clay soft, smooth, cool, squishy, etc. 5. Instructor will give each child a tile form (4 forms work best). 6. Instructor will describe how the forms will be used to keep the thickness of the clay tile consistent and better for drying and firing. 7. Instructor will prompt children to place mound of clay inside the opening of the form and to begin smashing their clay into the square opening. 8. Children will smash their clay into the forms and roll the surfaces smooth and level with roller. 9. Instructor will provide children a variety of texture tools. 10. Children will experiment with the tools and create texture by pressing objects into the clay, removing the objects and feeling the texture left behind. 11. Instructor will encourage the children to erase by simply smoothing the clay surface. 12. Children will create their unique surfaces and work until they feel finished. 13. Instructor will transport clay tiles to Museum for bisque firing. 14. Instructor: When the texture tiles are returned to the children, the Instructor will bring a sample of unfired clay to remind children about the process in which they participated and to encourage Reflections. Extension Lesson: Children can paint the fired tiles using watercolor paints and explore the properties of color. Extension Lesson: Children can use their texture tiles as Rubbing Plates to create texture rubbings using paper and crayons. Reflections: How is real texture different from implied texture? How do artists use texture to convey meaning in their art? How is the material used to create the work the same from start-to-finish? How is it different? What made it change? Review: Texture, Line, Shape, Form, Clay, Bisque, Kiln. Resources: Clay Art by Pamela Chanko. Available from the Mulvane s Resource Library. kb Lesson Plan: TEXTURE - CLAY TILES, Page 2/2

45 Ceramic Tile Mural, (detail) Located in Garvey Fine Art Center, Washburn University. Artists: Jane Hanni William Wirth Maria Morales Vesna Mladenovic Helen Ma Rachel Lin Frankie Yeevia kb Lesson Plan: TEXTURE - CLAY TILES, Page 3/2

46 Participant Age Range: Elementary SCALE AND PERSPECTIVE! General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children will create a drawing that illustrates scale and perspective as an artmaking process. Vocabulary: Scale, Perspective, Line, Shape, Form, Dimension, Horizontal, Vertical. Materials: Newsprint and Drawing Paper cut in 9 x 12 pieces. Pencils, rulers, markers. Objects to illustrate Size, Scale and Perspective, such as a table and a chair. Lesson Overview: Children will create a drawing in which they begin with shapes and then transform those shapes into representations of form. They will use 1-point perspective to show how size and scale can suggest 3 dimensions on a 2D surface, and how perspective shows depth in a work of art. kb Lesson Plan: SCALE AND PERSPECTIVE, Page 1/2

47 Directions: 1. Instructor will demonstrate how our perceptions of perspective are influenced by that which is closest to us, and that which is further away. As an example, the instructor will set a table and chair side-by-side and children will look at the relationship of Size. Next, the instructor will move the chair further behind the table (the further away, the better). Children will notice how the Size appears to change. 2. Children use their finger and thumb to compare the relative Sizes of the table and chair, and note that the actual Size did not change, the Relative Scale is what changed and that Perspective is the guiding principle. 3. Instructor shows children a finished drawing of 1-point perspective using shapes that are drawn into forms using Perspective. 4. Children gather their newsprint paper, drawing paper, pencil and ruler (if used). Step-by-Step the Instructor demonstrates how to accomplish the following processes: 5. Children draw a horizontal line across the center of their paper and place a dot at the center of the line. 6. Children draw a square in the lower left hand corner of their page. 7. Children draw a rectangle in the upper right hand corner of their page. 8. Children identify the corners of their square and rectangle. 9. Children draw a line from each corner of their shapes to the center dot on the horizontal line. 10. Children draw a horizontal and vertical line along the guidelines to change the 2D shapes (square and rectangle) into 3D representations of forms. 11. Instructor and children practice the technique of 1-point perspective on newsprint. 12. Instructor and children discuss how forms appear to recede in space. They appear to get smaller. 13. Instructor and children discuss how artists use Size, Scale and Perspective to show distance. 14. Instructor and children discuss how artists use representations of 3D to show distance. 15. When children are feeling confident in the process (they may throw plenty away), they then create new drawings on drawing paper. These drawings may include other shapes such as triangles and rhombuses. Extension Activity: Children can color the different planes that they have drawn using complementary and secondary colors. Reflections: How do Shape and Form differ? How are they similar? What properties of Relative Scale affect how we create 3D inspired drawings? How does perspective show depth and/or distance? kb Lesson Plan: SCALE AND PERSPECTIVE, Page 2/2

48 Review: Scale, Perspective, Line, Shape, Form, Dimension, Horizontal, Vertical. Josef Albers, Seclusion, from the Mulvane Art Museum Permanent Collection. kb Lesson Plan: SCALE AND PERSPECTIVE, Page 3/2

49 SIZE, SCALE and the ART of GEORGIA O KEEFFE Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Sun flower Student, age 7. Introduction: Georgia O Keeffe was a painter. She worked during the 20 th Century. Georgia O Keeffe liked to work Big! However, her work was more than just about Size. Her work was about Scale. Scale in artwork is the size of the subject matter in relationship to other objects. Scale can sometimes be just one element of a work of art in relationship to other objects shown. Scale can also be surprising in relationship to what we know. For instance, Georgia O Keeffe would depict what we know is a small flower but she painted it to seem as if it were gigantic. Scale can express meaning in art. kb Lesson Plan: SIZE, SCALE and the ART of GEORGIA O'KEEFFE, Page 1/2

50 Vocabulary: Scale, Line, Color (Primary and Secondary), Value (Light-Dark), Simplification, Contour, Gesture, Shape. Materials: Reproductions of works by Georgia O Keeffe (esp. flower paintings), pencils, newsprint drawing paper (9 x 12 ), large butcher paper (cut in 36 x 36 pieces), colored pencils, washable markers, oil pastels. Artificial flowers, bones, other still-life materials. Lesson Overview: Children will make small and large drawings and compare how Scale can express meaning in their artwork. They will learn about Scale using images of artwork created by Georgia O Keeffe. Directions: 1. Instructor will begin with discussion of works by Georgia O Keeffe, and will show reproductions of her works. 2. Instructor and children will talk about size and scale and how the two concepts are similar and different. 3. Children will choose an object from the still-life selection, or will choose something from their environment to draw. 4. Children draw their chosen subject on newsprint in realistic Scale. 5. Instructor will show how to use simplification and focus on contours to transfer the small image to a much larger Scale drawing. 6. Children will practice simplifying their artwork. 7. Instructor will ask all children to stand up to do some air drawing. 8. Children will act out the way in which they just drew their small image by using small and controlled motions. 9. To loosen the children up, the Instructor will next ask children to reach up high, to bend and touch the floor, and to move their arms in large circular movements. 10. Instructor will encourage the kinesthetic connection between the loose, free movements that the children make with their bodies and the loose, gestural movements that they will use to draw Big! 11. Children will then use large, gestural motion to draw a simplified version of their small image onto their piece of large butcher paper. 12. Children will finish their large images using markers and colored pencils or oil pastels. Reflections: Children discuss what they are drawing and how the subject matter and meaning changes because of Scale. Review: Georgia O Keeffe, Scale, Line, Color (Primary and Secondary), Value (Light-Dark). Available from the Mulvane s Resource Library: Through Georgia s Eyes, by Rachel Rodriguez. Georgia O Keeffe by Mike Venezia Reproduction, Red Poppy No. 6, Georgia O Keeffe, kb Lesson Plan: SIZE, SCALE and the ART of GEORGIA O'KEEFFE, Page 2/2

51 RELIEF SCULPTURE and the ART of LOUISE NEVELSON Participant Age Range: Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children will design and create relief sculptures using cardboard, wood scraps and other embellishments. They will learn about the artist Louise Nevelson and her large-scale assemblage relief sculptures. Vocabulary: 3D, Sculptural Relief, Depth, Division of Space, Recycling. Materials: Cardboard, mat board, wood scraps, shoeboxes or other shallow sturdy boxes. Embellishments such as paper tubes, egg cartons, lids and pans. Tacky glue (white glue is not strong enough). Found object forms such as wooden drawer knobs, wooden biscuit joiners, craft sticks, corks, etc. Scissors (children will have difficulty cutting the cardboard-provide pre-cut shapes), paper, pencils. Posters of works by Louise Nevelson. Lesson Overview: Children will learn about Louise Nevelson and see reproductions of her artwork. They will experiment with dividing space and then filling those divisions with a variety of shapes, forms and object they have created or found. kb Lesson Plan: Relief Sculpture and the Art of Louise Nevelson Page 1/2

52 Directions: Pre-planning and Preparation: Instructor will cut a variety of weights of cardboard into random shapes some geometric, some organic. Instructor will provide a variety of found object forms such as wooden drawer knobs, wooden biscuit joiners, craft-sticks, etc., for students to use. 1. Instructor will tell the story of Louise Nevelson s work, including discussion about how she used assemblage sculpture as an expressive medium. 2. Instructor will show examples of Louise Nevelson s work. 3. Children will choose from the variety of cardboard boxes to use as their base. 4. Children will choose from the variety of cardboard and wooden found objects to include in their sculpture. 5. Children will use paper and pencil to make rough sketches of the way their sculptural pieces will fit together. 6. Children will choose from a variety of pre-cut cardboard rectangles to create separate chambers within their sculpture. 7. Children may tear off the top layer of the cardboard to expose the corrugated insides. 8. Children may curl or bend the cardboard to create complex forms. 9. Children will glue the found object materials in place, making determinations about depth, space and design. Extension activity: When the glue is dry, children can paint their works in monochromatic color in the style of Louise Nevelson. Reflections: In what ways does your sculpture tell a story? Why did you choose the divisions of space that you created? Were they determined by the materials, shapes or by your design? Review: 3D, Sculptural Relief, Depth, Division of Space, Recycling. Reference & Resource Materials Available from the Mulvane s Resource Library: Scholastic Magazine: Louise Nevelson, Working with Found Objects, March, School Arts Magazine: Relief Sculpture Lesson Plan. Aug.- Sept. 2009, Page 21. kb Lesson Plan: Relief Sculpture and the Art of Louise Nevelson Page 1/2

53 AMATE PAINTING of SOUTHERN MEXICO Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Writing and painting on amate paper was first practiced by the Aztecs. Papel amate (bark paper) is still produced by hand in Southern Mexico in the state of Puebla by Otomi Indians using bark from the mulberry or fig trees. Amate is bark paper. The bark is washed, boiled and laid in lines on a wooden board. The fibers are then beaten with stone until they fuse together. Much of the amate paper goes to villages in the state of Guerrero where artists paint imaginative scenes of everyday life, fanciful birds, animals and flowers on bark paper. A few symbols are common: the Aztec Calendar Symbols, Quetzal Birds, and references to legends. Bright colors are usually used to create vibrant contrast against the bark paper. Vocabulary: Color, Amate Paper, Outline, Line, Organic Shape, Aztec Calendar, Symbols, Quetzal Birds, storytelling art, art of other cultures. kb Lesson Plan: AMATE PAINTING Page 1/2

54 Materials: Brown paper grocery bags or brown butcher paper, paintbrushes, bright tempera paints, black markers, newsprint paper, pencils, pictures of flowers, birds and animals, water cups, paper towels, table covers. Lesson Overview: Children will create artworks using inspiration from nature. Children will experiment with tempera painting techniques while they learn about the art of Amate painting. Children can create works that reflect the imagery of this Southern Mexican art form, or they can create images that symbolize animals and flowers that are native to our geographic area. Directions: Pre-planning and Preparation: For a more dramatic effect, soak brown paper bags in water for about 10 minutes to release the sizing in the paper. Crumple the paper and then smooth it flat on towels. Allow paper to dry. This gives the paper extra texture, similar to the texture found on bark-paper. 1. Instructor will show the children examples of amate paper and allow children to feel the paper. (Museum has available). 2. Instructor will show the students examples of Amate painting (Museum has one available) and discuss this art form from Southern Mexico. 3. Children will observe how the painting shows birds, animals and flowers. 4. Children will observe how the images have black outlines. 5. Children will observe the bright colors. 6. Instructor will provide children with newsprint paper to begin designing their own pictures. 7. Children can look at magazines and books to get inspiration for their scenes. 8. Children will draw their determined images onto their brown paper amate. Children can create works that reflect the images from Southern Mexico, or they can create works that reflect animals and flowers that are native to our geographic area. 9. Children will outline their images using black markers. (Permanent marker is best but black crayon works well, too.). 10. Children will choose their tempera colors to paint their scenes. 11. Children will create a story to tell about their image. Reflections: Narrative art tells a story. What story does your artwork tell? Do you see other people that have a similar story in their artwork? Do you see other people that have created a very different story from the one you have? In what ways are the works similar or different? Extension activity: Children can write their story. Reference & Resource Materials: Sample of images of amate paintings. Available for check out from Kandis. Sample of amate paper. Available for check out from Kandis. kb Lesson Plan: AMATE PAINTING Page 2/2

55 Shape, Collage and the Narrative Art of Romare Bearden Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children will create a collage that tells a story about something important in their lives. They will look at the works of Romare Bearden and see that abstraction is one way to explore the expressive qualities of art. Their works will tell a story just as Bearden s works are narrative. Children will see reproductions of Bearden s works including The Train, c.1960, a work in the Mulvane s Permanent Collection. Vocabulary: Collage, expression, narrative art, art in relation to current life. Materials: Drawing and construction paper for background (24 x 18 ), glue, scissors, magazines, construction paper scraps, embellishments such as ribbon, buttons and sequins. Lesson Overview: Children will learn about Romare Bearden and see reproductions of his artwork. They will use collage to create images that are narrative or storytelling. kb Lesson Plan: Shape, Collage and the Art of Romare Bearden Page 1/3

56 Directions: 1. Instructor will tell the story of Romare Bearden s work, including how he used collage as an expressive medium and how his created prints from his collages. 2. Children will look through magazines to choose images that reflect the important elements of their lives, such as faces, sports, nature, animals, locations and objects. 3. Children will cut or tear the images from the magazines. a) Instructor will model the use of scissors (if needed). b) Instructor will model the act of controlled tearing (if needed). 4. Children will look at the colors that they can identify in the images that they have gathered. 5. Children will determine the color of their background paper in relationship to the images that they have chosen. 6. Children will begin to determine where those images will be placed on their background paper. 7. Children will return to looking at magazines for pictures that represent textures or specific words or images that they would like to include in their artwork. 8. Children will design their artwork, and glue their images in place. 9. Children will embellish their works with ribbon, buttons, sequins or other objects. Extension activity: Children can write their stories to accompany their artwork. Reflections: Narrative art tells a story. What story does your artwork tell? Do you see other people that have a similar story in their artwork? Do you see other people that have created a very different story from the one you have? In what ways are the works similar or different? Review: Collage, 2D and 3D, expression, narrative art, art in relation to current events or personal experiences. Reference & Resource Materials Available from the Mulvane s Resource Library: Reproductions of works by Romare Bearden. Catalog of works from the Walter O. Evans Collection of African American Art. kb Lesson Plan: Shape, Collage and the Art of Romare Bearden Page 2/3

57 Copy of the Image, The Train, 1960s, by Romare Bearden. This print is in the Mulvane Art Museum s Permanent Collection. Ask Kandis or Jane for a copy of the image. The Train 1960s Romare Bearden Etching, stencil, aquatint This print is in the Mulvane Art Museum s Permanent Collection. It was inspired by a collage. Children can look at the image and determine what parts were originally collages and what parts were painted and printed. Cultural and Historical Information From the 1960s on, Bearden s images focused on African American identity issues. He called the train a chief icon of African American society. Romare Bearden said: I used the train as a symbol of the other civilization, the white civilization and its encroachment on the lives of blacks. The train was always something that could take you away and could also bring you back to where you were. (Exhibition Catalog: 75 Years, 75 Treasures. Mulvane Art Museum, Topeka, KS., 1999.) kb Lesson Plan: Shape, Collage and the Art of Romare Bearden Page 3/3

58 FINGER PAINTING MONO-PRINTS! A Comprehensive Lesson Participant Age Range: Preschool (People of all ages would love this!) General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. Kansas Early Learning Standards: Fine Arts 1: Demonstrates creativity through the arts. Pre3: Plans and works independently to create own representations. Pre4: Recognizes and describes various art forms (e.g. photographs, sculpture, painting). National Core Standards for the Visual Arts, See Sample Pre-K Standards pages CREATING (VA:CR) PRESENTING (VA:PR) RESPONDING (VA:RE) CONNECTING (VA:CN) Introduction: This activity forms the culmination of the five lessons offered in Art Beginning in Childhood. Classes are invited to the Museum for a free lesson in which they explore all of the art elements used in the Art Beginning in Childhood classes. Bus transportation reimbursement is available. Art After School participants are also invited to visit the Museum and experience this activity. Children get an opportunity to visit the ArtLab stations, gallery exhibitions and finish their visit with this kinesthetic lesson in which individual and group processes are evident. This activity can provide a dynamic experience in a variety of In-House and Outreach settings. Vocabulary: Line, Shape, Primary Color, Secondary Color, Texture, Value, Movement, Printmaking. Materials: White butcher paper for table cover (waxy surface is better, but regular butcher paper works). Red, yellow, blue, brown and white finger-paints. Spoons for delivering finger paints. White drawing paper (18 x 24 ). Black construction paper (18 x 24 ). Paint shirts. Shaving cream for hand cleanup. Paper towels or rags. Lesson Overview: Children have an opportunity to participate in this active lesson in which individual and group processes are evident. Many classrooms would prefer not to create such a mess on site, but we are equipped to conduct this activity efficiently. Children experience texture, color mixing, gestural movements, expressive manipulation of materials, creating a variety of values, and making mono-prints. kb & jh Lesson Plan: FINGER PAINTING MONO-PRINTS, Page 1/2

59 Directions: 1. Instructor will cover the table with white butcher paper. 2. Instructor will give each child two primary colors of finger paint, placing the two colors apart in front of the child. 3. Instructor will alternate the colors that are given to each child so that a variety of colors are presented at the table. For instance, one child gets yellow and red, the next gets yellow and blue, the next gets red and blue, etc. 4. Children will name the colors as the Instructor hands them out. 5. Instructor will model putting one hand in each color and dragging the colors together. While the children are mixing their colors, they will review and name their new colors. 6. Children mix their colors and finger-paint freely. 7. Children make Bear Claws to draw zigzag and straight lines. 8. Children make Dancing Fingers to draw curving and scrolling lines. 9. Children use One Finger to draw and name shapes: circle, triangle, square, etc. 10. Children choose what kinds of lines and shapes that they want to use to create their artwork. 11. Instructor will ask whether adding brown will make their paintings darker or lighter? 12. Instructor will give each child a small amount of brown to add to their paints. Children will experiment mixing the brown into their secondary colors. 13. Children will create a Final Work using the lines and shapes that they determine. 14. Instructor will lay white paper over each child s painting and Pull a Print. 15.Children and Instructor will discuss their prints, and talk about texture, line and pattern. 16. Instructor will present white finger paint. 17. Children will predict if adding white will make their paintings darker or lighter. 18. Instructor will add white to the children s painting areas. 19. Children will experiment by mixing white into their paints to create a lighter value. 20. Children will create another Final Work using the lines and shapes that they determine. 21.Instructor will lay black construction paper on top of the painting and Pull a Print. Reflections: Children and Instructor will discuss their prints, and identify texture, line and pattern. Children and Instructor will compare their prints on white paper with their prints on black paper and discuss how they are the same and how they are different. kb & jh Lesson Plan: FINGER PAINTING MONO-PRINTS, Page 2/2

60 SPACE AND SHAPE: COLLAGE-TYPE PRINTMAKING Participant Age Range: Preschool or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Introduction: Children will learn about the printmaking process, Collage-type. They will create printing plate and pull prints. Collage-type uses a relief printing method in which the parts of the plate carrying the ink or paint are raised, and the negative (white) spaces are those that are left beneath the surface. Vocabulary: Relief, Space, Dimension, Shape, Contour, Brayer, Printing Plate, Repetition and Variety. Materials: Mat board cut into 5 x 7 rectangles, mat board scraps cut into a variety of shapes, wooden shapes and carpenter s biscuits no thicker than ¼, white glue, scissors, aluminum foil cut in 7 x 9 pieces, 80# drawing paper 18 x 24, markers and or tempera paint, brayers and trays, newspaper, table covers. kb Lesson Plan: SPACE and SHAPE: COLLAGE-TYPE PRINTMAKING, Page 1/3

61 Lesson Overview: Children will learn about the art of printmaking and the concepts of multiple originals. Children will make their own printing plate using a variety of dimensional pieces and learn about relief printing. They will experiment with shape and space as they create their printing plate, and as they create their prints. Directions: 1. Instructor will cover table with newspaper or craft-paper. 2. Instructor will discuss the processes of printmaking and the differences between prints and fine art printmaking as an expressive medium and art-making technique. 3. Instructor will review terms and principle concepts such as space, shape, dimension, contour, and repetition. 4. Children will look at posters that feature a variety of printing techniques, such as Dick Blick s poster, Printmaking. (Available from the Museum s Resource Library.) 5. Children will recognize the differences between other printing processes and the Collage-type process in which they will be participating. 6. Children will choose their 5 x 7 mat board rectangles to use as the base for their printing plates. 7. Children will choose a variety of shapes to arrange onto their mat board base. 8. Children will arrange their chosen shapes and glue them into place. 9. Children will cover the printing plate with aluminum foil and press the foil into the creases and recessed areas. 10. Children will smooth the foil that covers the raised areas of the printing plate. 11. Children will bend the foil around to the back of the plate. 12. Instructor will show children the differences between inking their plate using markers and inking their plates using tempera paint applied by a brayer. 13. Instructor will demonstrate how children will pour paint into the shallow trays. 14. Instructor will demonstrate how to load the brayer with paint. 15. Instructor will demonstrate how to discharge the excess paint using paper towels, brushes or the edge of the tray. 16. Instructor will discuss that in the printing process, the plate stays on the table, and the paper is applied over the top of the plate. (Stamping is a process in kb Lesson Plan: SPACE and SHAPE: COLLAGE-TYPE PRINTMAKING, Page 2/3

62 which the paper stays on the table, and the stamp is applied to the paper.) 17. Children will apply their marker or paint colors to the printing plate. 18. Children will lay their paper over the printing plate and smooth the paper using the palms of their hands. 19. Children will carefully peel the paper away from the printing plate. 20. Children may experiment with a variety of colors by carefully cleaning the plate between each color selected by using a paper towel. 21. Children will repeat the printing process using a variety of colors. Extension Lesson: Children may choose to mount their prints alongside their printing plates to show how they completed the process. Extension Lesson: Children may use their printing plates as texture rubbing plates during a texture lesson. Reflections: How is fine art printing different from commercial printing? How does an artist use the printing process to make changes and edit their final images? How might the child edit or change his/her image? Review: Relief, Space, Dimension, Shape, Contour, Repetition and Variety. Available from the Museum s Resource Library. Dick Blick Poster, Printmaking. We have several issues of Arts and Activities periodicals that feature relief printmaking! kb Lesson Plan: SPACE and SHAPE: COLLAGE-TYPE PRINTMAKING, Page 3/3

63 Squashed Collor Paintings: From Primary to Secondary in a Squash (With Instructional Prompts) Participant Age Range: Preschool and Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. Kansas Early Learning Standards: Fine Arts: Demonstrates creativity through the arts. Pre3: Plans and works independently to create own representations. Pre4: Recognizes and describes various art forms (e.g. photographs, sculpture, painting). See pages 4-11 for Pre-K National Core Standards for the Visual Arts National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Media: Tempera Paint Focus: Color, shape, line, space & value. Introduction: Children create this artwork in the classroom or after school setting. They explore the properties of color, discover how to make secondary colors by mixing two primary colors, talk about shapes produced by squashing the two painted sides of the paper together, use the sgraffito technique to produce a variety of line, and predict how the values in their painting will change when white & black paint is added to their artwork. Children experience painting as an art-making process & sgrafitto as an art-making technique. Children also learn basic spatial awareness by identifying the top, middle and bottom of their paper. Vocabulary: Color, primary color (red, yellow, & blue), secondary color (orange, green, & violet), line, sgraffito, shape, value, light, dark, predict, top middle, bottom, and across from. jh Lesson Plan: Squashed CCool lloor r Paintings, Page 1

64 Squashed Collor Paintings: From Primary to Secondary in a Squash (With Instructional Prompts) Materials: White 12 X 18 drawing paper (#80 paper works best; #60 paper will work.) Red, yellow, blue, white, and black tempera paint. Children s large chubby brushes or any brush that produces a ½ or wider mark. Shaving cream for cleaning children s hands and tables. Pieces of scrap cardboard with a 6 to 12 or longer flat edge for scooping used shaving cream into trashcans. Lesson Overview: Children will explore the painting process, investigate the basics of color-mixing, create line through the use of the sgraffito technique, and predict value changes in their paintings. Directions: 1. Instructor: With the end in mind, covering the table(s) with paper is not necessary if, at the end of the project, shaving cream is used to clean the tables and children s hands. When children are finished with the project, shaving cream can be squirted onto the table and/or into children s hands. Children can rub the cream over the table, particularly where paint has squashed out onto the table. They can finger-paint in the shaving cream as they await their turn at the sink to rinse off their hands. Shaving cream can be scooped off of tables, into trash cans, using lengths of scrap cardboard as scrapers. Children can rub shaving cream over their hands, between fingers, and up arms to loosen any stray paint. 2. Instructor: Use recycled flat microwave trays or styrofoam plates as paint containers. Separate containers of yellow, red, and blue paint will be needed. 3. Instructor: Brushes should be laid in the trays of paint. Children should be instructed to keep the yellow brushes with the yellow paint, the red with the red, and the blue with the blue. For added control over the paint and mess, instructors should have only one color of paint on the table at a time. For even more control, hand children brushes pre-loaded with color. Sometimes, if we control the environment, we don t have to control the kids. 4. Instructor: Pass out paper; instruct children to fold the paper in half. Paper can be folded in half widthwise or lengthwise. Young children will need to be shown how to fold the paper in half. Show them how to pick-up one side of the paper, pull it over to the opposite side, line the two edges up evenly, hold the two edges together with one hand while pushing in the opposite direction from the held edges to create the center fold. 5. Instructor: Children now have a piece of paper folded so it opens and closes like a book. Instruct them to open the paper like a book. To help young children learn spatial awareness and to expedite project instructions, help them learn where the top, middle and bottom of the paper are located. Have them find the top, middle, and bottom of the paper with their hands. (With their paper open, lying jh Lesson Plan: Squashed CCool lloor r Paintings, Page 2

65 Squashed Collor Paintings: From Primary to Secondary in a Squash (With Instructional Prompts) in front of them on the table, tell them the bottom is closest to them; the top is farthest away.) Point out the difference between the folded middle of the page and the middle which lies between the top and bottom of the page. You can turn this learning process into a game, once children understand the concepts top, middle, and bottom by rapidly calling out top, middle or bottom (not always in order!) and having them place their hand on the area called out. (The instructor will be breaking the painting into top, middle, and bottom as she/he teaches.) 6. Instructor: It will be easier for the children to follow instructions if the teacher demonstrates as she/he instructs. Start at the top of the paper & work toward the bottom. 7. Instructor: The children will be using the primary colors yellow and red to make the secondary color orange, the primary colors red and blue to make the secondary color violet (purple), and the primary colors yellow and blue to make the secondary color green. One set of paired primaries will be painted at the top of the open paper, another in the middle, and the third set at the bottom. 8. With their paper open like a book, children place a hand on one side of the middle fold at the top of their paper. This is where one of the paired primary colors will be painted. 9. Children will paint the color in the designated area. 10. Have the children place a hand in the unpainted area at the top of the page directly across the middle fold from the painted area. This is where the 2nd primary color of the paired set will be painted. Work with the paired primaries listed in Step 7. ( Across from is another spatial concept children may need to learn.) 11. Children will paint the 2 nd primary color from a paired set of primaries in the designated area (across from the painted area at the top of the paper). 12. Children will fold their paper closed & rub their hands over the area at the top of the closed page to squash (mix) the two primary colors together. 13. With the paper still folded closed, children will use the non-bristle end of their brush to draw on their paper near the top, where the paint is located. This is the sgraffito technique. The lines will only show up inside the book, where the paint is located. 14. Instructor: Ask the children to open their books. Ask the children what new color they see. Ask them what two primary colors they squashed together to make the new secondary color. 15. Instructor: Talk with the children about the shapes the squashed colors made & about the lines they scratched or sgraffitoed into their paintings. (The term sgraffito comes from the Italian word sgraffire which means to scratch.) The sgraffito technique involves scratching through a layer of still-wet paint. jh Lesson Plan: Squashed CCool lloor r Paintings, Page 3

66 Squashed Collor Paintings: From Primary to Secondary in a Squash (With Instructional Prompts) 16. Repeat steps 8 through 15 in the middle of the paper and then, again, at the bottom of the paper. 17. Instructor: Place a few drops of white paint on each child s painting (with the paper open). Placing the paint in a recycled squeeze bottle, such as a glue bottle, allows for ease of application. 18. Children will fold their papers closed, rub the closed paper to distribute and mix the paint, and before opening their painting predict whether their painting will be lighter or darker in value. 19. Repeat steps 17 & 18 using black paint. Be sure to leave paintings open to dry. Extended activity can include doing squash painting on black paper. Guided discussion questions and reflections: Do another squash painting with less control over the placement of the primaries. How do the more controlled paintings differ from the less controlled paintings? Discuss the many secondary hues and values which appear in the paintings. Reference & Resource Materials Available from the Mulvane Resource Library: Mouse Paint by Ellen Stoll Walsh Bunny Paint by Alan Baker Review: Color, primary color (red, yellow, & blue), secondary color (orange, green, & violet), line, sgraffito, shape, value, light, dark, top, middle, bottom, across from. jh Lesson Plan: Squashed CCool lloor r Paintings, Page 4

67 Patterns: See, Hear, Touch, & Do (With Instructional Prompts) Participant Age Range: Preschool and Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. Kansas Early Learning Standards: Fine Arts 1: Demonstrates creativity through the arts. Pre3: Plans and works independently to create own representations. Pre4: Recognizes and describes various art forms (e.g. photographs, sculpture, painting). See pages 4-11 for Pre-K National Core Standards for the Visual Arts National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Focus: Engaging the senses in the identifying and making of repeating patterns. Introduction: Children play pattern games & create an artwork in the classroom or after school setting. Children explore the properties of repeating pattern through observing their environment, using games, and through the creation of a work of art. Vocabulary: Repeating pattern, A/B/A/B pattern, shape, square, rhombus, rhombi, color, shape, line, pattern of color, pattern of shapes Materials: 9 X 12 colored construction paper; one sheet per child (in a variety of colors that contrast with construction paper squares) Construction paper cut into three-inch squares; at the very least, enough squares are needed for each child to have six squares in two different colors, 12 squares in all. School glue in sticks or bottles, preferably, one stick/bottle per child. An extra set of three inch squares, in two colors, two of each color per child. jh Lesson Plan: Patterns: See, Hear, Touch & Do, Page 1

68 Patterns: See, Hear, Touch, & Do (With Instructional Prompts) Lesson Overview: Children will explore repeating patterns through observation of repeating patterns in their environment, through playing a game in which they, as a class, create a repeating A/B/A/B pattern on the floor, through clapping their hands to create patterns they can hear, and through creating a work of art with a repeating pattern of color and/or shapes (squares & rhombuses, or rhombi). Directions: 1. Instructor: Before seating children in a circle on the floor, gather the extra set of three-inch squares, in two colors, two of each color per child; a sheet or two of 9 X 12 colored construction paper, and a stick/bottle of glue. You will play a pattern game with the extra set of squares and do a demo of the art project with them, the 9 X 12 paper, and the glue. 2. Instructor: Seat children in a circle on the classroom floor 3. Instructor: Point out some of the repeating patterns of color, shape, and line in the classroom. Patterns observed might include a pattern of wall bricks, a pattern of and on ceiling tiles, patterns of lines in light fixtures and window blinds, patterns on bulletin board boarders. 4. Children take turns finding patterns in the classroom. 5. Instructor: Point out patterns on children s clothing, shoes, shoe soles. 6. Children take turns finding patterns on their classmates clothing. 7. Instructor: Young children will often point out the color they are wearing or a picture on their clothing, as opposed to a pattern. Help them learn the difference between a picture and a pattern and between a solid color and a pattern by comparing/contrasting solid color with repeating pattern ditto pictures and patterns. 8. Instructor: Ask children if they have played checkers or chess. 9. Children describe the colors and shapes on a checkerboard. 10. Instructor: Ask children if two squares of the same color are ever next to each other on a checkerboard. 11. Instructor: Begin laying out a checkerboard (A/B/A/B ) pattern on the floor with the extra set of squares. 12. The children will complete the pattern. Have each child pick a square and put it anywhere they wish within the pattern, as long as they keep to the A/B/A/B pattern. The pattern is completed once each child has had their turn and can correctly place their square without a prompt. 13. Instructor: Leave the pattern on the floor as a visual aid; you will come back to it after making an auditory pattern. jh Lesson Plan: Patterns: See, Hear, Touch & Do, Page 2

69 Patterns: See, Hear, Touch, & Do (With Instructional Prompts) 14. Instructor: Help children clap the A/B/A/B pattern with their hands. Clap hands together for the A clap hands on the floor for the B. 15. Instructor: Using the A/B/A/B pattern the class made on the floor, turn all the squares of one color in to rhombi, by turning them up on their corners. Point out how different the repeating pattern now looks. Ask the children how the pattern is different. Point out that the pattern of colors is the same but the pattern of shapes has changed. 16. Have the children say square, rhombus, square, rhombus, square, rhombus, square.... until they can again hear the pattern as well as see it. 17. Instructor: Demonstrate an A/B/A/B pattern of shapes using six squares and six rhombi of the same color; place them in rows on a piece of 9 X 12 construction paper. 18. Instructor: Knock the preceding pattern off the 9 X 12 paper. Now demonstrate an A/B/A/B shape pattern using six squares and six rhombi, with squares one color and rhombi another color; place them in rows on a piece of 9 X 12 construction paper. 19. Instructor: Leave the preceding pattern on the 9 X 12 paper. Turn the rhombi into squares; point out that it is still an A/B/A/B pattern. Ask how the pattern has changed. Point out that the pattern is now a repeating A/B/A/B pattern of color. Have the children say the alternating colors aloud until they can, again, hear, as well, as see, the pattern. 20. Instructor: Demonstrate putting a drop of glue on each square until all 12 have a dot of glue on them. Now turn the squares over, going row by row, until no more dots of glue show and all are affixed to the 9 X 12 paper. Point that you know you have glued all the shape down because no more dots of glue show. You have just demonstrated the art project. Tell children they will be making an A/B/A/B pattern on 9 X 12 paper of their own. 21. Children will make an A/B/A/B pattern using color or shape or both. 22. Instructor: Distribute 9 X 12 paper, colored squares, and glue. Extended activity can include having the children glue a second layer of shapes to their existing A/B/A/B artwork, keeping to an A/B/A/B pattern. Guided discussion questions and reflections: Help children to hear and see other patterns, such as A/B/B/A/B/B, using your extra set of colored squares and clapping hands ; ask children how the new patterns differ from the A/B/A/B pattern. Resource Materials Available from the Mulvane Art Museum Resource Library: Use colored blocks, Duplo Blocks and other brightly colored building toys to build more patterns. Review: Repeating pattern, A/B/A/B pattern, shape, square, rhombus, rhombi, color, shape, line, pattern of colors, pattern of shapes. jh Lesson Plan: Patterns: See, Hear, Touch & Do, Page 3

70 RAIN STICKS: A Curriculum Content Art Project! Participant Age Range: Preschool (modified) or Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. Visual arts: Children will create a rain stick that they will embellish with tissue paper overlay and collage elements. Children will select symbols to add to their rain sticks that represent important issues or individual aesthetics. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Ties or purpose: Different forms of rain sticks are found around the world, mostly in areas where there is desert or little rain. People use them to imitate the sound of rain and/or call to the gods for rain. Rain sticks can be used as a theme based art project to cross the curriculum: Social studies: Children can investigate the similarities and differences between South American cultures and Australian Aboriginal cultures using the rain stick as a common theme or idea. For centuries, some South American cultures have used rain sticks in ceremonial rituals to bring rain to dry areas. Some Australian Aboriginal cultures use bamboo to create rain sticks for similar purposes. Science: Children can investigate similarities and differences between South American plants and climate and Australian plants and climate using the rain stick as a common theme or idea. In South America, rain sticks are often made from the skeletons of dead cactus plants. The cacti grow in the northern scrub deserts of Chile, and have a short plant life of about seventy years. In Australia, rain sticks are made from bamboo. Bamboo has a hollow core. It grows very fast. Math: While creating the art, children can use measuring and predicting outcomes based on mass, weight and volume. Language arts: Children can investigate legends and traditions about rain sticks and the symbols painted and carved on rain sticks. Music: Children can compare the properties of sound as they play their rain sticks. kb Lesson Plan: Rain Sticks Page 1/3

71 ~Materials~ Wax paper squares (about 3 x 3 ) 2 per child Beans* ¼ c per child Aluminum foil (about 8 ½ x 11 ) 2 per child Measuring cups two ¼ cup size and two 1/8 cup size Paper towel tubes 1 per child Bowls for sand/beans* 3 Water glue (3 pts glue to 1 pt water) ¼ ½ c per child Tissue paper Cups to hold water glue 1 per child Embellishments such as feathers, sequins, construction paper Foam brushes or butter brushes 1 per child Magazines (for collage elements) especially animal images Rubber bands 2 per child Scissors (optional) Sand ¼ c per child Table covering *Preschool Materials: Substitute beans with larger items such as wadded foil balls. Decrease size of aluminum foil baffles. Description of art lesson: This is a 2 phase lesson: 1. directed activity 2. expressive activity. Show children a rain stick sample and play it for them. Invite discussion about rain sticks and who might make such an art object and why. Inform children that we are making our own rain sticks. Each person s rain stick should reflect something unique about that person, such as what is your favorite animal or symbol. Children will select their own embellishments and color palette as part of the creative process. Art Specific Language: Children will experiment with tissue paper overlay to achieve color mixing, depth, and an understanding of transparent and opaque natures of color. Children will also work with embellishments to create contrasting textures. Children will work with collage elements to emphasize shape, pattern, movement and unity. Preplanning Gather supplies as listed on material list. Gather paper towel tubes or have children bring a tube from home. Prepare water glue (3 parts glue to 1 part water). Prepare station for tearing/cutting wax paper and foil. Set up center table with embellishments. Set up center table with sand/bean* stations. Ordered steps Divide the class in 3 groups Hand each child a tube and let him/her toot it and look though it! Then instruct quiet tubes. Hand each child 2 wax paper squares, 2 rubber bands and 2 rectangles of aluminum foil. Each child should wrap the bottom of the tube with 1 wax paper square. Fold it up around the tube, carefully. Direct some glue around the edges. Secure it with rubber band. Each child should crunch his/her aluminum foil, loosely, into a cylindrical shape. Not too tight! Then, twist these into spring shapes. The sand/beans* will run through this to make a sound. Slide the aluminum foil into the tube. Provide children with measuring cups and instructions for fill: Group 1 Group 2 Group 3 1 scoop sand 1/2 scoop sand 1 scoop beans* 1/2 scoop beans* Children should move to their station and get their allotted amount of sand and/or beans*. Children should measure that directly into the tube. Children return to seats. *Preschool Materials: Substitute beans with larger items such as wadded foil balls. Decrease size of aluminum foil baffles. Children will put the second square on the top of rain stick. Fold it around the stick. Secure it with a rubber band. kb Lesson Plan: Rain Sticks Page 2/3

72 Then children can secure ends by squeezing a bead of glue by gently pulling back the edges of the square. Predict how the sounds of the other groups rain sticks will be the same or different. Group one demo Group two demo Group three demo. Compare different sounds! How are they the same/different? Why are they the same/different? Discussion No two rain sticks are the same. Rain sticks were (and are) used to communicate with spirits. Human beings welcome rains. Rain is important Why? Rain sticks often include symbols of something that is important to rain lightning, clouds, raindrops and also animals and plants (they depend on water, too). Children will embellish rain sticks with tissue paper overlay or collage. Using water glue, paint the surface of the tube. Tear or cut individual pieces of tissue paper. Apply the tissue paper to the tube. Paint over tissue paper with more water glue. Embellish your design with cut out images of animals or you can create your own symbols. Paint over the top of these symbols. Discuss Art terms and concepts as described in Art Specific Language section. Allow works to dry on end standing the rainstick atop a square of wax paper. Children may wish to add sequins, glitter, or color sand to add additional dimension and texture. Children may wish to add yarn and feathers when rainsticks are dry. Clean up Extended or Alternative Activity: You can make shakers and rattles using the same big idea with boxes! kb Lesson Plan: Rain Sticks Page 3/3

73 Bits and Pieces: Mat Board and Paper Sculpture! Participant Age Range: Elementary General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Purpose: Children will gain an understanding of the elements and principles by application in the creation of their artworks. They will think out of the box for solutions to design problems and will show and eagerness to attempt new ideas. This lesson will also introduce vocabulary and understanding of words when used as art terms such as sculpture, sculptor, abstraction, environmental, mobile, three dimensions, base, and pedestal. Materials and Supply List: Pencil, scissors, glue, mat base for sculpture, mat board strips in varying widths and lengths, mat board cut in a variety of shapes of sizes, construction paper strips and small sheets of varying colors, and pieces of construction paper from previous classes that left useful shapes and sizes. mlk Bits and Pieces: Mat Board and Paper Sculpture Lesson Plan

74 Description Of Art Lesson: Children begin by determining the difference between a painting or drawing and a sculpture. As examples, the Artist-educator presents four large boards exhibiting sculptures ranging from realistic to abstract constructions, environmental sculptures and a mobile. The group will discuss how artistic use of materials contributes to the decision of how a sculpture will be made. Question: What are limits and possibilities of using cardboard and paper for sculpture? How can these materials be used to make a sculpture? Children determine that mat board and construction paper offer different possibilities because of their unique properties. Children contribute to the beginning of a sculpture in front of the class. Children are challenged to come up with ways in which the mat board can be made to stand up on a base. Artist-educator illustrates the good and the bad of gluing. Children will experiment with a variety of folding, bending, spiraling, wadding, and cutting construction paper to create interesting elements for their sculptures. Children create individual sculptures. Elements and principles are introduced as they pertain to the development of each child s sculpture. Art Specific Language: Art words listed above will be used in presentation and in discussion as sculptures are being made to connect the word to the action. Preplanning: Date and time verified with classroom teacher. All materials and illustrations at hand. Guided Discussion Questions and Reflections: Should a sculpture be interesting to see on just one side? Why or why not? What is balance in a sculpture? What part of your sculpture illustrates rhythm? Strips of paper in a sculpture are like lines in a drawing. Describe how they might vary. Why is color something to consider when choosing parts for your sculpture? These sculptures are composed of paper and mat board of various shapes. Shapes are either geometric or organic. (terms explained). Do you have one kind or a variety of shapes/lines? Does your sculpture have one dominant part (emphasis) or is it composed of a number of pieces without one larger or better placed than the rest. How should your sculpture sit on its base? mlk Bits and Pieces: Mat Board and Paper Sculpture Lesson Plan

75 Review: Vocabulary and processes are covered in the beginning and throughout the class discussion. Questions are addressed as they arise about aspects of the design. Lesson Extensions: Children each choose a sculptor from an art book, show pictures of the sculptures and tell about the period is which they were created. mlk Bits and Pieces: Mat Board and Paper Sculpture Lesson Plan

76 PLANAR SCULPTURE: FROM 2D TO 3D Participant age: 4 th grade to adult although the lesson could be modified for younger children General Goals: Participants will use artistic skills and techniques; participants will engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Kansas State Department of Education Reading Standards: Standard 1: The student reads and comprehends text across the curriculum Kansas State Department of Education Social Studies Standards: History: The student uses a working knowledge and understanding of significant individuals, groups, ideas, events, eras, and developments in the history of Kansas, the United States, and the world, utilizing essential analytical and research skills. [see attached handout on Tangrams] Kansas State Department of Education Math Standards: Standard 3: Geometry The student uses geometric concepts and procedures in a variety of situations. Benchmark 1: Geometric Figures and Their Properties The student recognizes geometric shapes and investigates their properties including the use of concrete objects in a variety of situations [this is a 4 th grade benchmark]. (for assessed math standards by grade follow the link [see attached handouts on geometry] Ties, connections or purpose; art specific language (in bold print): The focus of this lesson is engaging children in interdisciplinary learning and thinking; applying knowledge and principles from math and the visual arts to sculpture. Students will draw a series of continuous shapes then cut the shapes apart & connect them to construct a three dimensional planar sculpture. Shapes will be enhanced with pattern. Students should use the art elements color, line, shape, value, and texture in conjunction with the design principles rhythm, repetition, and pattern, to create a sense of variety & unity in their finished work. Texture: The surface quality of an object we sense through touch. How things feel or how things look as if they would feel. Color: The three main characteristics of color, light reflected off of objects are hue (red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is). jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 1/8

77 PLANAR SCULPTURE: FROM 2D TO 3D Shape and form define objects in space. Shape has two dimensions, length & width; form has three dimensions, length, width & height. A line is a continuous mark, made on a surface, by a moving point. Geometric line and shape: incorporating straight lines, angles, and mathematical curves. Organic Line: A mark with length and direction that might be found in nature, rather than a geometric or straight line. Organic Shape: Any living or natural shape that is not geometric. Repetition, rhythm, variety & unity: Repetition of visual elements such as shapes or colors create a rhythm and pattern in an artwork creating a sense of harmony and unity that pulls artwork together and a sense of variety that give it a sense of interest. Pattern: a purposeful, natural or chance marking, configuration, or design. Description of Lesson: Participants explore geometric form and shape and use planar forms to create a sculpture. Using rulers and pencils, students will mark off a sheet of cardstock into a series of flat geometric shapes. Students will cut the flat shapes apart; now the shapes have become planar forms. The difference between shapes and forms will be discussed. Enhance shapes with color, line, and pattern using markers, colored pencils or crayons; cut a slit into the side of each form; fit the forms together, slit to slit, to build a three dimensional planar sculpture. Materials: White cardstock, 8 ½ X 11, 1 sheet per child Scissors, 1 pair per child Rulers, 1 per child Pencils, 1 per child Markers, colored pencils and crayons White copy paper, a few sheets for instructor to draw demonstrations on Lesson Overview/Description: Using rulers and pencils, children will mark off a sheet of cardstock into a series of flat geometric shapes. Children will cut the flat shapes apart; now the shapes have become planar forms. The difference between shapes and forms will be discussed. Children will enhance their forms with color, line, and pattern using markers and crayons; cut a slit into the side of each form; fit the forms together, slit to slit, to build a planar sculpture. Directions: sequence of activity 1. On a sheet of cardstock, using a ruler, pencil, and straight lines, children will mark off a series of shapes. One shape should abut, or border, another. 2. Instructor should demonstrate step #1. 3. Instructor: Define shape. Shape, a two dimensional area defined by line or one of the other elements of art, such as color, value, jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 2/8

78 PLANAR SCULPTURE: FROM 2D TO 3D texture, or pattern. Define two dimensional having height and width. Point out how the shapes on their cardstock are defined by line and have height and width. 4. Instructor: On a piece of copy paper, using markers, demonstrate to participants how shapes can be defined by color and/or by pattern. 5. Students will cut apart the shapes on their cardstock, cutting along the pencil lines. 6. Instructor: After the participants have cut all of their shapes apart, ask them what is now different about the shapes. The shapes are no longer part of a flat two dimensional surface, with height and width only. Their shapes are now three dimensional. They have height, width, and depth. The shapes have become forms, three dimensional representations of shapes. 7. Using markers, colored pencil and/or crayons, participants will enhance their shapes with color and pattern. Both flat sides of the forms can be enhanced. 8. Instructor: Demonstrate step # 7 9. Instructor: Demonstrate cutting slits along each side of each form. 10. After cutting slits in all of their enhanced forms, students will put the forms together slot to slot to create a planar sculpture. 11. Instructor: Define plane. A plane is a flat surface. 12. Instructor: Explain to the students, like form, sculpture is three dimensional. Ask them to define three dimensional (having, height, width and depth). Have them point out the differences and similarities between a painting/drawing and a sculpture. (We find color, line, pattern and texture in both paintings and sculpture. A painting is essentially two dimensional, a sculpture is three dimensional.) Extended activity: Use light to cast shadows with the planar sculptures. Have the students describe how the shadows become part of their sculpture. Treat your cut out planar shapes as a tangram puzzle and see what kind of flat designs & images you can make from them. Have students create tangrams. At step #1, students will use the traditional tangram template instead of creating their own shapes [SEE ATTACHED HANDOUT ON TANGRAMS]. jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 3/8

79 PLANAR SCULPTURE: FROM 2D TO 3D Guided discussion questions and reflections: Sculpture is considered either additive or subtractive. With subtractive sculpture, you start with a chunk of material then remove portions of it to reveal a form or forms. Carving stone or wood would be an example of this method. Additive sculpture involves adding materials together to create a work of art. Sculpting clay or welding metal would be an example of the additive technique. Ask the students if the planar sculptures they made are additive or subtractive? FOR CHILDREN 3 RD GRADE AND UNDER: Some shapes and forms are organic, found in nature or free form. Others are geometric, incorporating straight lines, angles, and mathematical curves. Ask the students to name some geometric shapes (such as, rhombus, square, ellipse, and triangle). Using their describing words, have the children tell you whether they think their planar sculpture is geometric or organic. (THIS LESSON CAN EASILY BE DONE USING ORGANIC SHAPES OR A COMBINATION OF ORGANIC AND GEOMETRIC SHAPES.) Use the attached handouts on geometry and tangrams to help meet the Kansas Reading, Social Studies, and Math Standards. Reference & Resource Materials: Washburn University Math Department wikipedia.org Review: Sculpture, two dimensional, three dimensional, shape, form, plane, organic shape and form, geometric shape and form, additive sculpture, subtractive sculpture jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 4/8

80 PLANAR SCULPTURE: FROM 2D TO 3D A parallelogram is a convex quadrilateral with two pairs of parallel sides. The opposite or facing sides of a parallelogram are of equal length and the opposite angles of a parallelogram are of equal measure. Quadrilateral Six different types of quadrilaterals In Euclidean plane geometry, a quadrilateral is a polygon with four sides (or 'edges') and four vertices or corners. Read more at: In geometry, a parallelepiped is a three dimensional figure formed by six parallelograms. (The term rhomboid is also sometimes used with this meaning.) Rhombus or rhomb: all four sides are of equal length. Equivalent conditions are that opposite sides are parallel and opposite angles are equal, or that the diagonals perpendicularly bisect each other. An informal description is "a pushed over square" (including a square). Rhomboid: a parallelogram in which adjacent sides are of unequal lengths and angles are oblique (not right angles). Informally: "a pushed over rectangle with no right angles." Rectangle: all four angles are right angles. An equivalent condition is that the diagonals bisect each other and are equal in length. Informally: "a box or oblong" (including a square). Square (regular quadrilateral): all four sides are of equal length (equilateral), and all four angles are right angles. An equivalent condition is that opposite sides are parallel (a square is a parallelogram), that the diagonals perpendicularly bisect each other, and are of equal length. A quadrilateral is a square if and only if it is both a rhombus and a rectangle (four equal sides and four equal angles). Oblong: a term sometimes used to denote a rectangle which has unequal adjacent sides (i.e. a rectangle that is not a square). Read more at: jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 5/8

81 PLANAR SCULPTURE: FROM 2D TO 3D The "Family Tree" Chart Quadrilateral definitions are inclusive. Example: a square is also a rectangle. So we include a square in the definition of a rectangle. (We don't say "A rectangle has all 90 angles, except if it is a square") This may seem odd because in daily life we think of a square as not being a rectangle... but in mathematics it is. Using the chart below you can answer such questions as: Is a Square a type of Rectangle? (Yes) The "Family Tree" Chart Quadrilateral definitions are inclusive. Example: a square is also a rectangle. So we include a square in the definition of a rectangle. (We don't say "A rectangle has all 90 angles, except if it is a square") This may seem odd because in daily life we think of a square as not being a rectangle... but in mathematics it is. Using the chart below you can answer such questions as: Is a Square a type of Rectangle? (Yes) Is a Rectangle a type of Kite? (No) Read more at: jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 6/8

82 PLANAR SCULPTURE: FROM 2D TO 3D TANGRAM : Ancient Chinese moving piece puzzle, consisting of 7 pieces made using 3 basic geometric shapes. There are two large, one medium and two small triangles, one square and one parallelogram. HISTORY & USES History The invention of the tangram puzzle is unrecorded in history. The earliest known Chinese book is dated 1813 but the puzzle was very old by then. One reason for this could be that in China, its country of origin, at the time it was considered a game for women and children. This would have made it unworthy of serious study and unlikely to be written about. Different times, different ways of thinking. Glad that s changing. The roots of the word Tangram are also shrouded in time, with a number of possible explanations. The one I like best involves the Tanka people. These river people of China were great traders who were involved in the opium trade. The western sailors they traded opium with likely played with the puzzle when they visited their Tanka girlfriends. The story I believe is that it comes from the obsolete English word tramgram meaning puzzle or trinket. You can learn a bit more at the Online Etymology Dictionary. A fun place, by the way, if you like words. Tangrams enjoyed a surge of interest during the 19th century in Europe and America. This, no doubt, was due to the opening up of trade with China and the aforementioned sailors bringing home new found amusements. The Chinese Puzzle spawned a flood of books and picture card sets. Some quite elaborate Chinese examples exist with pieces carved from and/or inlaid with ivory, jade and other fine materials. Others were cheap, locally made copies in wood or fired clay. Some books blindly reproduced previous mistakes in the patterns. Some things never change. jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 7/8

83 PLANAR SCULPTURE: FROM 2D TO 3D Uses Tangrams continue to entertain and frustrate now days. The puzzle attracts people on a number of levels. It s simplicity makes it accessible to a broad spectrum of people. The figures spark visually inclined people though their form, liveliness and striking simplicity. The designs are adaptable to quilting, applique and many other artistic or craft projects. Storytellers can weave a tale with many characters and objects using only the seven tans. The puzzle interests the math inclined with the geometry and ratios of the pieces. You find them used in classrooms around the world to teach basic math ideas in an interesting way. The Dr. Schaffer & Mr. Stern Dance Ensemble (MathDance) has taken it a step further with a dance using over sized tangram pieces! They ve even been used as the model for a designer table by Massimo Morozzi and a wonderful set of shelves by Daniele Lago It is one of the great puzzles, appealing to young and old, the serious and the carefree. Follow our instructions to make your own set and enjoy all it has to offer. Tangram Rules Simple really, which is one of its many attractions. The classic rules are as follows: You must use all seven tans, they must lay flat, they must touch and none may overlap. Feel free to break away from the rules, though. See this puzzle shapes page for some wonderful unruly figures. Attempt the patterns you find here, race with other people to complete a figure or play with the pieces to come up with your own creations. Enjoy! MAKE A TANGRAM SET You can use any material you want to make your tangram set, the only requirement being that you can cut or form it in to the shapes. I ve seen sets made of paper, cardboard, wood, ceramics, glass, mother of pearl and metal. Some beautiful examples from China were made of ivory with inlaid and carved ornamentation on the pieces and box. Whatever material you choose to use, you will need a four inch (aprox. twelve cm.) square of it, usually about one eighth of an inch (two mm.) thick for a puzzle the size I like to make. You can scale these measurements up or down for bigger,smaller or thicker sets. Being able to divide the square into a four by four grid of squares is the important thing here. To make a puzzle the 4 inch size I like to play with draw a grid of one inch (three cm.) squares directly on the material or on a paper pattern. You then mark off the blue lines as shown below. jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 8/8

84 PLANAR SCULPTURE: FROM 2D TO 3D Cut your material carefully along these blue lines. This will produce the seven tan pieces; five triangles, one square and one rhomboid. Take note that slicing rather than sawing will produce the best result. The wider the cuts, the more the pieces lose along one or more sides, making the piece not quite true. A knife, scissors or *thin* saw blade would work just fine for our purpose. Read more at: jh Lesson Plan: Planar Sculpture: From 2D to 3D Page 9/8

85 STYROFOAM RELIEF PRINT Participant age: Kindergarten to adult; styrofoam prints can range the gamut from simple to complex. THIS LESSON CAN BE COMPLETED IN ONE 30 TO 40 MINUTE SESSION. General Goals: Participants will use artistic skills and techniques, engage in creative exploration and develop aesthetic awareness. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Kansas State Department of Education Reading Standards: Standard 1: The student reads and comprehends text across the curriculum Kansas State Department of Education Social Studies Standards: History: The student uses a working knowledge and understanding of significant individuals, groups, ideas, events, eras, and developments in the history of Kansas, the United States, and the world, utilizing essential analytical and research skills. What is Printmaking? Printmaking is a process of making multiple originals. A master plate is created by an artist. The image on the plate can be reproduced over and over. Ink is applied to areas of the printmaking plate. Then paper or some other material is pressed into the plate. The final image, or print, is then pulled from the plate. The prints pulled from one plate usually make up an edition. They are numbered and signed by the artist. These types of prints are referred to as fine art or artist s prints. Commercially reproduced prints are not fine art prints. There are several families of printmaking techniques. An artist chooses a particular printmaking process because of the unique qualities it will lend to a work of art. What is a Relief Print? In relief printing, one of the main families of printmaking techniques, the parts of the printing plate that carry the ink are left raised. The other areas are removed. You will be making a relief print. Be aware your print will be a mirror image of your print plate of the image on your printing plate. Words and letters will be reversed. jh Lesson Plan: Styrofoam Relief Print Page 1/6

86 Description of Lesson: Participants will make a relief print using a Styrofoam print plate. What You Will Need: Styrofoam Dinner Plates Pencils Markers 4 x 6 White Paper Sponge Dampened with Water Ordered Steps: You will use a styrofoam dinner plate for your print plate. Working with simple lines and shapes, draw into your plate using a pencil or stylus. As you draw into the plate the areas which will not carry the ink will be pressed down and away. These areas will remain white when you pull your print. Use markers to ink your printing plate. Any areas you do not ink will remain white in your final print. When you are done inking your plate, leave the inked side of your plate up. Moisten your paper evenly with a damp sponge. Place a piece of paper over it. Press the paper into the plate by firmly rubbing it in one direction at a time. Hold the plate and paper still with the fingertips of your hand. If you allow your paper to move on the plate, your print will smear. Pull the paper away from your plate once you have pressed it against the entire inked surface of your printing plate. Reflections: How could you vary the prints you pull from your master printing plate? Describe how you might combine prints from two different printing plates. Follow-up : Use your printing plate to pull a black and white print. Use colored pencils to hand color your print. Find out how printmaking has been used by various cultures throughout the world. Guided Discussion & Art Specific Language : Use the preceding information from What is Printmaking? & What is a Relief Print? and the following five pages from the Mulvane Art Museum Outreach Program Teacher Resource Packet on NARRATIVE ART to aid you with Guided Discussion, Art Specific Language and with fulfilling the Kansas State Department of Education Reading and Social Studies Standards. jh Lesson Plan: Styrofoam Relief Print Page 2/6

87 . Access the Mulvane Art Museum Outreach Program Teacher Resource Packet on NARRATIVE ART at: resources.html (Yoder and Barker, 2001) Looking at Art: An Introduction This Curriculum Guide is designed to offer you ways to begin a dialog with your students about art. Using a variety of questioning strategies, we offer you some basic bulleted questions that will help you engage your students in conversation and lead them to further thought and discussion. There are many good reasons to study art. We can enjoy an aesthetic experience by being aware of art s various properties. For example, we may notice the sensory properties color, line, shape, space, value, and texture. Known also as the elements of art, these make up the basic vocabulary of the artist. While looking at art we may also note the formal properties, also called the principles of design. These refer to how the artist has used the elements of art and include the concepts of unity, repetition, contrast, balance, movement (or direction), and emphasis (or center of interest). Technical properties address the artist s choice of medium and technique. For example, are we looking at a watercolor or a bronze sculpture? Did the artist use chisel or chalk? Lastly, expressive properties attend to the mood or meaning of the art based on the visual elements. What sort of feeling does the Narrative Art Works of art from the Mulvane Art Museum Permanent Collection Narrative art has held various meanings throughout history, but today we describe works as narrative when they tell a story or imply an association. Some artists construct their works like cartoons with two or more panels suggesting a time line. Other artists place elements within a single panel. Often the meaning is unclear and the viewer must resolve the story or make connections between different elements. Narrative art is found in Egyptian tomb paintings accompanied by hieroglyphics that document events. Greek vase paintings from the third century B.C.E. also display narratives that describe both mythological and actual events. In early Christian art, narrative works, such as the stained glass windows of cathedrals, visually told Bible stories. Later, artists used narrative art to portray historical events. In the early twentieth century, some artists turned to Social Realism, using narrative art to describe contemporary culture. With the advent of abstraction, artists began to look at art as a means of personal expression rather than storytelling. With Abstract Expressionism in the 1940s and 1950s, artists struggled to express the idea of self in relation to the universe by using large gestural strokes on canvas. Movements and styles since that time Pop Art, Op Art, Conceptual Art, and Earthworks also avoided narration. However, in the 1970s, many artists returned to figurative work; that is, to art that explored the idea of a human presence within a particular space. The works included in this unit provide examples of different approaches to narrative art, including art in series, narrative works within a single frame, works with no clear story line, and works that document an event or era. jh Lesson Plan: Styrofoam Relief Print Page 3/6

88 Ando Hiroshige Hiroshige was a Japanese painter and printmaker and last great master of the ukiyo e school of printmaking. He is best known for his colorful woodcut prints of Japanese landscapes. At age 15, he became a student of Utagawa Toyohira. Although images of beautiful women and actors were the specialty of the Utagawa School, Hiroshige focused on landscapes, creating images admired for their lyricism. He secured his position as top landscape artist by way of his success in the Hoeido edition of Fifty three Views of the Tokaido, images of a highway that runs along the Pacific coast. Fifty three Views consists of 53 prints made during the artist s first trip along the highway in In 1832, the shogun (a military ruler) was still in power in Japan. He lived in Edo (present day Tokyo) while the emperor lived in Kyoto, about 350 miles away. The Tokaido highway linked these two important cities. Each year, the shogun sent a number of horses to the emperor as a gift. Hiroshige was invited to go along in 1832 to make sketches of the scenery on the way. His traveling caravan stopped for the night at some of the 53 stations along the highway. These stations were little towns that catered to the needs of travelers. Hiroshige produced the series Fifty Three Views of the Tokaido after his return to Edo. The series includes a view of the Nihonbashi Bridge in Edo at the beginning of the series, and a view of Kyoto at the end of the journey. Fifty three Views of the Tokaido: View #2 ca Ando Hiroshige Woodcut Cultural and Historical Information Hiroshige achieved recognition almost overnight for his publication of the Fifty three Views of the Tokaido, a series to which this print belongs. The artist traveled the Tokaido Highway, or Eastern Sea Route, with a group delivering horses to the emperor as a gift from the shogun. Hiroshige sketched the stations (or stopping points) along the way. Later, he used the sketches to make a series of 53 woodcuts, including this one from the Mulvane collection. Sensory Properties Name the colors that you see. Are they mostly bright or dull colors? What kinds of lines do you see? Name the places you find vertical lines. Name the places you find horizontal lines. jh Lesson Plan: Styrofoam Relief Print Page 4/6

89 Formal Properties Other than the people in the foreground, what has the artist repeated? When an artist repeats a shape over and over, it can create a pattern. Where do you see pattern? Technical Properties Hiroshige first carved the image in reverse on a piece of wood before printing it on paper. How did printing enable many people to see this image? Expressive Properties Does the scene seem hectic or calm? Why? What time of day does it appear to be? Thomas Huck b Huck is a native of the small town of Potosi, located in rural Missouri. Huck calls his art rural satire because it is based on personal observations of small town life. Huck s woodcuts tell the stories of the people and events of his region. Huck s preferred media is printmaking, specifically the woodcut. He is influenced by an array of artists, including Albrecht Durer, the German Expressionists, and the late Frank Zappa. In the mid nineties, Huck produced a folio (series) of prints called Two Weeks in August: 14 Rural Absurdities. Each image depicts a day s occurrence, while all images together describe a period of two weeks. Currently, Huck lives and works in St. Louis, Missouri. Playland: The Great Sharkburger Shortage of Thomas Huck Woodcut Cultural and Historical Information In this woodcut, Huck tells the story of the opening day of a new fast food restaurant in his small town. The citizens were so excited that they lined up outside the drive through for several miles. Eventually, the restaurant ran out of food and it was forced to close. Sensory Properties This composition contains a lot of lines, doesn t it? Name some of the shapes and patterns created by the lines. Formal Properties jh Lesson Plan: Styrofoam Relief Print Page 5/6

90 Besides lines, shapes, and patterns, what other things are repeated? What is the focal point, or emphasis of the work? In other words, where do your eyes go first? In what direction do your eyes travel around the woodcut? Why? Technical Properties Although this is a woodcut, it appears quite different from Hiroshige s woodcut, doesn t it? In what ways did Huck use the medium differently than the Japanese artist? Does Huck s cutting technique appear refined and painterly, or rough and sketchy? Do you think the artist worked painstakingly or do you think he worked quickly? Why? Expressive Properties Describe the action in the scene. Is it calm or busy? Does the woodcut convey a feeling of danger or amusement? Playland: The Great Sharkburger Shortage of Thomas Huck Mulvane Art Museum Permanent Collection jh Lesson Plan: Styrofoam Relief Print Page 6/6

91 jh Lesson Plan: Styrofoam Relief Print Page 7/6

92 EIGHT POINTED STAR PAPER QUILT BLOCK Art Project for 3rd - 4th Grades Using a Template (*With suggestions for applications in upper grades). General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Overview: For this art project, students will create an Eight Pointed Star based on a one-patch rhombus design quilt block. Students will identify geometric shapes. Students will recognize and use repeated shapes to create artworks. Students will identify and use patterns to create artworks Students will recognize and use symmetry to create artworks. Students will experiment with transformational/rotational symmetry. Students will make aesthetic choices and reflect upon the characteristics and merits of art. Supplies: Pencil, Ruler (or straight edge), Eraser, Templates (included in packet for you to copy), Construction paper in a variety of colors for cutting shapes (see template at bottom of sheet), 7 ¾ x 7 ¾ construction paper for background (or use and 8 x 8 or 9 x 9 inch square to have a decorative border), Scissors. Look! Step 1. Discuss the characteristics of the following shapes: Square: A square has 4 corners and equal sides. The corners are right angles. A square is a parallelogram. Squares in this project will be represented by negative space. Rhombus: A rhombus is a polygon. It has four sides, so it s a quadrilateral. The opposite sides are parallel, so it's a parallelogram. All sides have the same length, so it is equilateral. Triangle: A triangle is a plane figure having three angles and three sides. The triangle kb Lesson Plan: The Eight Pointed Star Page 1/4

93 Step 2. Step 3. Create! Step 1. Step 2. used for this lesson has acute angles, 2 of the angles are equal, and 2 of the 3 sides are the same measurement--it is an isosceles triangle. Triangles in this project will be represented by negative space. Negative space is the empty area around a solid shape. Discuss the characteristics of Symmetry and Balance: Symmetry: Symmetry is the agreement of two halves of an image. The left half looks like the right half, the top half looks like the bottom half. That is mirror symmetry. Balance: Balance is like symmetry, except both sides don t have to be exactly the same. For instance, if you divide a picture in half, and half of the picture has 3 circles and the other half has 3 squares--but all the objects are about the same size, and they seem similar-- that s Balance. The Eight Pointed Star is symmetrical. The top shapes mirror the bottom ones, and the left shapes mirror the right. (Note: the fabric pattern repeats are not symmetrical in designs.) The Eight Pointed Star fabric patterns on the featured quilt are Rotational. Their symmetry rotates. Note the fabric pattern designs. Copy the rhombus template at the bottom of this sheet for children to cut out for themselves and use as guides. Instruct the students trace the rhombus shape onto construction paper. This activity might be successful by first cutting strips of construction paper 1 5/8 wide. Children can lay their templates on to the construction paper strip to draw the cutting lines. Or * for older groups: Instruct students to draw their own rhombus shapes using protractors. Angles A and D (acute) should be 45 degrees. Angles C and B (obtuse) should be 135 degrees. Sides should measure 2 ¼; parallel lines (to the inside of the template) are 1 5/8 apart; A-D measures 4 ; B-C measures 1 ¾ A B Step 3. Step 4. Step 5. Step 5. Step 6. Step 7. C D The students will make 8 rhombus shapes to create the star. Students will assemble the eight rhombi around a center point to create the star. (The angle measure is 45 degrees. 45 x 8 = 360 degrees.) Triangle and the square shapes will be revealed as negative space. For greater challenge, students can measure and create squares and triangles to use as positive space. Students determine the center of the background squares they chose. Center can be found by folding the paper in quarters or by measuring corner-to-corner and drawing diagonal lines. The center is found at the intersection. Encourage the children to move the shapes around on their paper, and to try different color combinations as they lay out their stars. For fun - ask the students to try a Symmetrical pattern different from the Eight Pointed Star. Depending on the result you want accomplished--instruct the children to decide on their pattern--asymmetrical, symmetrical, or the Eight Pointed Star--and glue their pieces to the background paper. kb Lesson Plan: The Eight Pointed Star Page 2/4

94 Step 8. Assemble all the students quilt blocks into a classroom quilt. You can use this opportunity to talk about quilting bees, cooperation and the beauty of diversity. Cut to the inside of the black line. *For Middle School mathematic lessons in creating and Eight Pointed Star (with multicultural connections) visit Maureen Neumann s Math and Geometry Activities: Star Quilts at kb Lesson Plan: The Eight Pointed Star Page 3/4

95 Anonymous Eight Pointed Star, c Mulvane Art Museum Permanent Collection kb Lesson Plan: The Eight Pointed Star Page 4/4

96 Finding Our Way with Arcs and Intersections The Mariner s Compass Art Project for 5th Middle School Grades General Goals: Children will use artistic skills and techniques, develop aesthetic awareness and engage in creative exploration. National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Overview: For this art project, students will use congruent geometric shapes to create a simplified Mariner s Compass Quilt Pattern. Students will explore angles. Students will locate intersections. Students will apply measurements and formulas to create artworks. Students will create artworks through a choice of symbols and ideas. Students will experiment with expressive artistic processes using compass and protractor. Students will make aesthetic choices and reflect upon the characteristics and merits of art. Supplies: Pencil, Colored Pencils, Eraser, Compass, Ruler, square drawing paper (at least 6 x 6 ). For extended activity: Construction Paper, Scissors, Glue, Watercolors. Discussion: Who are mariners? Why are compasses important to mariners? Why are mariners compasses frequently artistically beautiful and/or embellished with designs? Ordered Steps: Step 1. Using the ruler, locate the 3 inch mark from the top and the sides of the paper. Step 2. Draw a horizontal line and a vertical line to divide the paper in quarters. Step 3. Draw diagonal lines from corner to corner on the paper. This will divide the paper into 8 kb Lesson Plan: Finding Our Way With Arcs and Intersections, Page 1/3

97 Step 4. Step 5. Step 6. Step 7. Step 8. triangular sections. Locate the center of the paper and place the compass point in the center. Extend the compass arm (pencil point) to 5 ¾ inch. This will allow ¼ inch from the edge of the paper. Draw a circle using the compass. Reset the compass to 1 ½ inch. Place the compass point in the center of the paper and draw a 1 ½ inch circle. This inner circle will determine the length of the rays. Step 9. Use a ruler to draw slanted lines that connect the outside of the large circle at the vertical and horizontal points with the smaller circles at the diagonal points of intersection. Step 10. Use the ruler to draw slanted lines that connect the outside of the large circle at the diagonal points with the smaller circle at the vertical and horizontal points of intersection. See below: Step 11. Step 12. Continue to sub-divide the circle using intersections as points of reference. The more points created, the more complicated the lesson. Color the compass with markers or colored pencils. Students may choose to use contrasting colors, or create their designs using a variety of value of the same color. Additional Ideas: Using the same procedure, create the Mariner s Compass on colored construction paper. Instruct the student to cut the points out and reassemble them on another piece of paper. Ask students to share their colored points, or construct a classroom quilt as a cooperative activity. This Lesson Plan is based on quilt pattern drafting from Mariner s Compass Quilts by Judy Mathieson. kb Lesson Plan: Finding Our Way With Arcs and Intersections, Page 2/3

98 Vade Grey Mariner s Compass Quilt, 1878 (also called Virginia Beauty) Mulvane Art Museum Permanent Collection kb Lesson Plan: Finding Our Way With Arcs and Intersections, Page 3/3

99 Exploring Line through Mixed Media Programs: Participant age: Pre-K Primary Grades THIS LESSON CAN BE DONE IN ONE 30 TO 40 MINUTE SESSION IF YOU HAVE PRACTICED IT! General Goals: Participants will use artistic skills and techniques; participants will engage in creative exploration. EARLY LEARNING STANDARDS THE KANSAS EARLY LEARNING STANDARDS DEVELOPMENTAL/CONTENT AREA: PHYSICAL HEALTH AND DEVELOPMENT PHD Standard 2: Develops Fine Motor PHD Benchmark 2.1: Moves small muscles with purpose and coordination EXAMPLE FROM LESSON: Children will practice fine motor skills through drawing with a variety of media, tearing paper, and painting DEVELOPMENTAL/CONTENT AREA: SOCIAL-EMOTIONAL DEVELOPMENT SE Standard 2: Develops positive social relationships SE Benchmark 2.1: Shows attachment and emotional connections toward others jh Lesson Plan: Exploring Line Through Mixed Media Page 1/5 SE Benchmark 2.2: Seeks and maintains friendships SE Standard 3: Develops self-control and personal responsibility SE Standard 4: Participates in large and small group activities EXAMPLE FROM LESSON: Children will share art materials in small groups & help pick-up their work area DEVELOPMENTAL/CONTENT AREA: COMMUNICATION AND LITERACY CL Standard 1: Uses language in many different ways CL Benchmark 1.2: Uses language to communicate ideas and feelings EXAMPLE FROM LESSON: Children will talk about their artwork as it while making art and each tell one thing about their finished artwork ATL Standard 1: Demonstrates positive approaches to learning DEVELOPMENTAL/CONTENT AREA: APPROACHES TO LEARNING ATL Benchmark 1.1: Demonstrates enthusiasm and persistence ATL Benchmark 1.2: Demonstrates positive work habits Pre4 I 1: Uses classroom materials purposefully and respectfully EXAMPLE FROM LESSON: Children will explore a variety of media and complete a mixed media work of art DEVELOPMENTAL/CONTENT AREA: SCIENCE SCI Standard 1: Demonstrating an understanding of the SCI Benchmark 1.1: Demonstrates inquiry skills including process of scientific inquiry and logical thinking problem-solving and decision making EXAMPLE FROM LESSON: Children will predict what will happen if they use a lot of glue vs. a small amount EXAMPLE FROM LESSON: Children will predict what will happen when they mix colors by they painting one primary color over another DEVELOPMENTAL/CONTENT AREA: MATHEMATICAL KNOWLEDGE MK Standard 1: Demonstrates understanding of MK Benchmark 1.1 Demonstrates understanding of number concepts and numerical operations numbers EXAMPLE FROM LESSON: Children will count drawn and glued shapes, lines and forms within and on their artwork MK Standard 2: Demonstrates an understanding of MK Benchmark 2.1: Uses the attributes of objects for patterns and relationships (Algebra)) comparison and patterning EXAMPLE FROM LESSON: Children & instructor will talk about patterns present in their artwork during art making MK Standard 3: Demonstrates an understanding of geometric and spatial sense MK Benchmark 3.1 Pre4 I 1: Demonstrates an Recognizes and describes understanding of directionality, spatial relationships order and position (e.g. up/down, before/after, first and last) EXAMPLE FROM LESSON: Children & instructor will talk about directionality, order and positioning of various pictorial elements in children s artwork during art making MK Benchmark 3.2 Recognizes geometric shapes and their attributes Pre4 I 1: Uses shapes (e.g. blocks) separately or in combination to produce pictures and objects EXAMPLE FROM LESSON: Children will use shapes, separately and in combination in their artwork FA Standard 1: Demonstrates creativity through the arts DEVELOPMENTAL/CONTENT AREA: FINE ARTS FA Benchmark 1.3: Demonstrates self-expression and appreciation for visual arts

100 KANSAS COMMON CORE STANDARDS (Adopted by the Kansas State Board of Education on October 12, 2010; now in Soft Landing transition Phase 1); from the Standards for English Language Arts & Literacy in History/social studies, Science, and Technical Subjects (see the Resources section of this lesson plan to read more about Kansas Common Core Standards) READING STANDARDS FOR LITERATURE K 3 The following standards offer a focus for instruction each year and help ensure that students gain adequate exposure to a range of texts and tasks. Rigor is also infused through the requirement that students read increasingly complex texts through the grades. Students advancing through the grades are expected to meet each year s grade-specific standards and retain or further develop skills and understandings mastered in preceding grades. Kindergartners: Grade 1 students: Grade 2 students: Grade 3 students: KEY IDEAS AND DETAILS 1. With prompting and support, ask and answer questions about key details in a text. 1. Ask and answer questions about key details in a text. 1. Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text. 1. Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers. Kansas and National Core Standards for the Visual Arts CREATING (VA:CR) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. PRESENTING (VA:PR) Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. RESPONDING (VA:RE) Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. CONNECTING (VA:CN) Anchor Standard 10: Synthesize and relate knowledge and personal experiences. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Description of Lesson; ties, connections or purpose; art specific language (in bold print): This is a process oriented art lesson that allows preschool through primary-school aged children to explore a variety of media, materials, and techniques while discovering the element Line. Students will explore the art element line and use the elements shape, and color in conjunction with the design principles repetition, rhythm and pattern, to create a work of art with variety & unity. Line: A line is a continuous mark, made on a surface, by a moving point. A line is long relative to its width. It can define a space, create an outline or pattern, imply movement or texture and allude to mass or volume. Color: The three main characteristics of color, light reflected off of objects are hue (red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is). Shape and form define objects in space. Shape has two dimensions; form has three dimensions. It is an enclosed space, the boundaries of which are defined by other elements of art (i.e.: lines, colors, values, textures, etc.). Texture: The surface quality of an object we sense through touch. How things feel or how things look as if they would feel. Repetition, rhythm & pattern: Repetition of visual elements such as shapes or colors create a rhythm and pattern in an artwork - creating a sense of harmony and unity that pulls artwork together and a sense of variety that give it a sense of interest. Pattern: a natural or chance marking, configuration, or design; a recurring or repeating elements of in a work of art Media: the material(s) used to make a work of art Mixed Media: a work of art made from a variety of media jh Lesson Plan: Exploring Line Through Mixed Media Page 2/5

101 Materials and Supplies: table covers 12 x 18 construction paper in a variety of colors for base-paper 6 x 9 construction paper in a variety of colors for tearing into lines markers crayons bottled white glue recycled wrapped sip-sticks or craft sticks, which you can draw on with marker then glue onto base-paper to create interesting lines (optional) sewing notions zigzag rick-rack makes nice lines (optional) tempera paint in primary colors to paint lines with paint brushes; 1 per child per color cut-up yarn & party paper i.e., colorful packing paper, leftover Easter grass and/or recycled wrapping ribbon all mixed together for even more lines 16 oz. yogurt or cottage cheese cartons paper towels to lay loaded brushes on Harold and the Purple Crayon by Crockett Johnson staplers & staples if you intend to turn the project into a sculpture or hat (see the Lesson Extensions section) Preplanning, and questioning & talking strategies: [THIS LESSON IS EASY & FUN TO TEACH BUT, ONLY IF YOU PRACTICE FIRST!] 1. Do trial runs of this lesson to familiarize yourself with it and to create motivational exemplars. 2. Using the 6 x 9 construction paper, you need to figure out which way its grain runs the paper what direction to tear it in, in order for it to tear into lines should you hold it vertically or horizontally? 3. Paint needs to be poured into recycled yogurt or cottage cheese containers and brushes should be ready to go, in the paint. You don t need a great deal of paint in the containers if you do it correctly you should be able to stack three containers with the brushes & paint in them and not get the bottoms of the containers into the paint. 4. Read through the provided table on Kansas Early Learning Standards 5. Familiarize yourself with the EXAMPLES FROM LESSON sections of the aforementioned table these can be the basis of your questioning & talking strategies 6. Read over Harold and the Purple Crayon by Crockett Johnson; see what portions of the story you might quickly paraphrase and/or read to students Ask a question about key details of the portion of the text you choose to paraphrase/read (see section on Kansas Common Core Standards for Reading) Using Questioning Strategies from the Mulvane Artist-Educator Curriculum Guide: Avoid yes/no questions. Ask one question at a time and wait for response, allowing appropriate wait-time to give the child time to think about his/her answer. This also shows that you value the child s response. If you get no response, rephrase the question. Vary the types of questions you are asking. This keeps the discussion interesting and encourages everyone s participation. Multiple answers can be correct; often there is no right/wrong answer. jh Lesson Plan: Exploring Line Through Mixed Media Page 3/5

102 Ordered Steps: Demonstrate (quickly!) the various aspects of project to whole group: 1. Demo drawing lines of various types first draw lines in the air with children then demo drawing lines on paper; 2. Demo correct methods of tearing paper tell students paper has a grain and tears more easily in one direction or another demonstrate tearing lines using the 6 x 9 construction paper; After determining which way the grain of the paper runs, hold paper by its top edge so you can tear along its grain 1. Both hand should be placed along the top edge of the paper 2. Place hands, closely, side-by-side 3. With both hands, make pinchers of your index finger, middle finger and thumb 4. Grasping the paper with your pinchers, in one motion, quickly thrust one hand forward and one hand back like you are executing a karate punch 5. Make a nice loud karate yell as you do this which should sound something like KEEYAH!!!! 6. Repeat steps 1 5 until paper is torn up into desired amount of strips or lines. 7. Little kids love doing this; their classroom teacher s seem to love it, too. If you are worried about being too boisterous, you can always ask kids to please use their indoor voices. 3. Demo using just the right amount of glue show children how to attach torn paper lines that curls off the base-paper s surface by gluing the lines on just one end (if paper does not curl when tearing you can show kids how to curl it, as well) & demo gluing on strips of paper that extend beyond the boundaries of the paper, again gluing it on just one end; 4. Demo gluing on yarn and other 3d objects showing children how to make a line of glue to place yarn in and how to squeeze out a substantial enough blob of glue (the kids will be good at this watch out!) to hold a little pile of shredded party paper. 5. Demo painting lines Room set-up: Children will sit in small groups to accommodate sharing of supplies. Scoot four desks together if tables are not available. Cover tables. Enlist the help of paras and teachers. Paint should already be poured into recycled yogurt or cottage cheese containers and brushes should be ready to go, in the paint. You don t need a great deal of paint in the containers if you do it correctly you should be able to stack three containers with the brushes & paint in them and not get the bottoms of the containers into the paint. TO CUT DOWN ON MESS & EXPEDITE THE LESSON, EACH CHILD SHOULD BE HANDED A LOADED PAINT BRUSH. Guided practice: can take place as participants create their art, by re-demonstrating various aspects of the project with individuals and/or small groups as you are talking with students about their work. jh Lesson Plan: Exploring Line Through Mixed Media Page 4/5

103 Lesson Extensions: As a whole class group or in small groups, each child will tell one thing about their artwork You can help students turn their essentially two-dimensional work into a three-dimensional sculpture or hat. Pull the two corners of one short side of the base paper, the vertices, or points that describe the corners of the paper s rectangular shape (singular vertex), over one another overlapping them. Staple them together in the overlapped position. Resources for Questioning and Talking Strategies: Mulvane Art Museum s Artist-Educator Curriculum and Program Guide The Kansas Early Learning Document; Section IV: The Kansas Early Learning Standards Harold and the Purple Crayon by Crockett Johnson (usually available in the Mulvane Art Museum Education Department Library or in the Washburn University Curriculum Library; also available through the Topeka & Shawnee County Public Library Resources: Read more about Kansas Common Core Standards: More resources: jh Lesson Plan: Exploring Line Through Mixed Media Page 5/5