Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• Images of prehistoric drawings
• Brown craft paper
• Oil pastels or paint (neutral colors)/Alternative: Make your own paint using mud
• Color sticks/Black markers
• Paper and pencils

 

Instructional Design

Opening/Activating Strategy

• Students will work in teams of four to compare different images of cave drawings from prehistoric times (see “Additional Resources”).
• Students will create a graphic organizer or chart to display their comparisons and briefly share them with the class.
• Teacher will pose questions to students such as:
  • What were the most popular symbols that you noticed in the cave paintings?
  • What ideas were communicated?
  • Were there certain things that were more noticeable than others?

 

Work Session

• Explain to students that they will be creating cave paintings using the Elements of Art, shape, line, color and texture to communicate a simple sequence of events.
• Discuss sequence in writing and explain to students that they will convert their final drawing into a sequential written narrative using transition words and following the writing process.
• Explain that in prehistoric times people used natural resources found on the Earth to paint symbols on cave walls that communicated different messages.
• Share photos of different prehistoric drawings/images and discuss Elements of Art. Students can work with a partner to discuss where they see the elements.
  • Shape (geometric, organic)
  • Line (bold, thin, jagged, curved)
  • Color (neutral)
  • Texture (bumpy, rocky, uneven)
• Discuss and show how people used different symbols to represent living and nonliving things because letters, numbers and the alphabet were not created at that time.
• Discuss and mix different neutral colors of browns, tans, and beiges that mimic prehistoric “paint” used from natural resources.
• Crumple up a piece of brown paper that represents the rocky texture of a cave wall where many prehistoric drawings were found.
• Demonstrate drawing/painting (oil pastels or paint) a simple sequence of events using crumpled brown paper and Elements of Art that simulate the way prehistoric people communicated messages.
• Assign students to work individually, in pairs, or a large group using one, long, textured piece of brown craft paper.
• Assign students a specific number of “events” they will need to draw/paint for their sequential composition.
• Students should create a rough draft of their sequence of events using the symbols they will use in their painting on plain white paper. Remind students that their symbols need to have meaning–they are not just random.
• After students have completed the sequential drawings/paintings, they will convert them into phrases or sentences to develop a written sequential composition.
• Using this as an outline, students will turn their writing into a full narrative.
• Be sure to remind students to use sequence transition words that show one idea moving to the next. Students will follow the writing process throughout the lesson to complete the assignment.
• Students should engage in the peer review, editing, and revising process.

 

Closing Reflection

• Allow students to share their drawings/paintings with their classmates without using spoken words.
• Students in the audience will try to guess what message is being communicated.
• Offer all students the opportunity to revise drawings based on their peers’ feedback to ensure that a proper sequence has been established for writing.

 

Assessments

Formative

The teacher will assess students’ understanding of prehistoric communication by analyzing student drawings for the incorporation of shapes (geometric and organic), color (neutral), line, and texture. The teacher will analyze students’ writing for sequencing using transition words and following the writing process.

 

Summative

CHECKLIST

• Students can compare/contrast a variety of prehistoric drawings for similarities and differences that help establish a background for understanding systems of communication used during prehistoric times.
• Students can use symbols and drawings that represent and/or mimic a variety of living

and non-living things during prehistoric times.

• Students can create neutral colors and textured paper to demonstrate their understanding of color and texture used for prehistoric cave drawings.
• Students can convert symbols/drawings to words to develop a sequential unfolding of events in a written composition.
• Students can write a narrative that follows a logical sequence of events and meets grade level standards criteria.

 

DIFFERENTIATION 

Acceleration:  Assign additional drawings for some students. Assign a set of students (several groups of three) to collaborate, communicate, and create one group sequence of events using long brown craft paper. Students create a unique alphabet composed of different symbols and then write short messages to their peers using that alphabet. Remediation: Decrease the number of drawings for some students. Assign specific elements of art or symbols for some students to focus on.

 ADDITIONAL RESOURCES

Recipe for creating “mud paint” Examples of prehistoric cave paintings: Smithsonian Magazine The Collector

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Kim Spivey. Updated by Katy Betts.

Revised and copyright:  June 2024 @ ArtsNO

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• Clear transparency sheets
• Wax Sticks (Wiki-Sticks)
• Washable Markers
• Elements of Art handout

 

Alternative material choices: 

• Watercolor paper and watercolor paints can be substituted for transparents sheets and markers

 

Instructional Design

Opening/Activating Strategy

• Project an image of a stained glass window, such as Wisteria, (or, if available, show students a physical example).
• Ask students to work collaboratively to engage in the See, Think, Wonder Artful Thinking Routine.
  • First, students will identify what they see in the stained glass. Emphasize that they should make objective observations about the image (i.e. colors, lines, shapes, if there are images they recognize, etc.).
  • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
  • Finally, ask students what they wonder about the image.
• Facilitate a class-wide discussion around students’ observations, inferences, and questions.
• Discuss the seven Elements of Art using the Elements of Art handout provided.
• Have students partner with one or two neighbors. Assign different sections of the room the following Elements of Art: Line, shape, space and color. Ask students to work with their partner(s) to identify where they see these elements. Use communication strategies such as “Turn and Talk” or “Think, Pair, Share”.
• Explain to students that they will use the Elements of Art of shape, line, color and space to create a unique stained-glass design.

 

Work Session

BACKGROUND:

• Share a brief video of making a stained-glass design, such as The Art of Stained Glass - BBC (start at 1:40).
• Show students images of different stained-glass window designs (see “Additional Resources”). Highlight a window design by French artist, Henri Matisse, and his use of organic shapes.
• Provide a brief history of the Tiffany Company from the 1800's. Show the photo of Clara Driscoll and the “Tiffany Girls’” famous Tiffany Lamps that they designed but received no credit or recognition for.

• Discuss with students the history of female artists from the 1800’s who were not given the same credit or recognition as their male counterparts for their artistic contributions.
• Discuss the inequalities between men and women of the 1800's and gather opinions about how students would feel if they were in Clara’s or the Tiffany Girls’ shoes.
• Tell students that they will be writing an opinion piece responding to the following question: Given the historical context, do you think that the Tiffany Girls and Clara Driscoll should have received credit for their work? Why or why not.
• Tell students that they will be creating a unique stained-glass design to explore the Elements of Art and to connect with these women as artists before beginning their writing.
• Explain to students that they will create an original stained-glass design inspired by Clara Driscoll or Henri Matisse.

 

STAINED GLASS DESIGNS:

• Pass out white paper the size of the transparencies.
• First, students will draw their design for their stained glass on the white paper. Show them the wax sticks so that they understand how they move and bend before creating their designs. If the designs are too complex, they will not be able to create their stained glass with the wax sticks.
• Model the process using wax sticks (Wiki) and different colored markers to create a stained glass.
• Distribute the materials and explain the purpose of the wax and transparencies (represents the shine of light coming through a window). Show students how to place their transparency over their design, which will be their guide for where to place their wax sticks. Tip: It is helpful to tape the design to the table and tape the transparency on top of the design.
• Allow students to take a few minutes to familiarize themselves with the texture of the wax sticks and to practice bending, folding, and firmly pressing them on the transparency to create unique shapes. When ready, the students may begin to create their designs.
• Tell students that they may have to press on the wax sticks to keep it secure to the paper and that the closer the color is to the wax stick, the cleaner the line. Ask students to select complementary (colors across from each other on the color wheel) and vibrant colors for a more dynamic outcome.
• Explain to students that after their design has been neatly colored, the wax sticks will be removed to reveal a white space (negative space).
• Remove the wax sticks to reveal lines and ask students to color the white space with black markers to represent the dark color of the lead in authentic stained-glass designs.

 

Optional: The wax sticks can be used on the back of their designs to hang the finished product near/on a window.

 

PERSUASIVE WRITING

• Now that students have learned about the Tiffany Girls and Clara Driscoll and have explored the process of designing their own stained glass, students should respond to the following prompt: Given the historical context, do you think that the Tiffany Girls should have received credit for their work? Why or why not.
• Students’ writing should meet grade level standards criteria.
• Provide time for students to engage in peer review, editing and revising.

 

Closing Reflection

• Allow students to share their stained-glass designs and justified reasons for the posed question from above.
• Close the lesson by reviewing the Elements of Art and the importance of recognizing unique creations that provide opportunities for creative expression.

 

Assessments

Formative

Teachers will assess student learning by observing students’ responses to the activator, identification of the Elements of Art, discussion of women’s rights and the Tiffany Girls and Clara Driscoll, creativity when designing and creating their stained glass, and conferencing with students during the writing process.

 

Summative

CHECKLIST

• Students can identify and apply the Elements of Art such as shape, line, color and space for artistic expression through their stained glass designs.
• Students can apply strategies of writing by incorporating justified reasons for their opinions.
• Students can write an opinion piece that answers the prompt and meets grade level writing standards.

 

DIFFERENTIATION 

Acceleration:  Vary the number of shapes/lines required for the stained-glass design. Add complexity by challenging students to use only organic shapes/lines for stained-glass design. Have students write two opinion pieces–one arguing for one side and the other arguing for the other side of the prompt. Or, assign students a side for their compositions. Remediation: Pair students to work on their designs and writing. Decrease the number of reasons students must provide for the opinion writing.

 ADDITIONAL RESOURCES

Elements of Art handout Color wheel Examples of stained glass: Google Arts and Culture Khan Academy Victoria and Albert Museum

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Kim Spivey. Updated by Katy Betts.

Revised and copyright:  June 2024 @ ArtsNOW

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• Small cardboard tiles with a hole cut out for stringing (several per student)
• Magazines
• Scissors
• Glue
• Oil pastels
• Modge podge sealant
• Paint brushes or sponges to apply modge podge
• Raffia/string/yarn
• Miscellaneous collaging materials like various types of paper and stickers

 

Instructional Design

Opening/Activating Strategy

• Project an example of a collage artwork, such as a collage by Karen Michel. Ask students to work collaboratively to engage in the See, Think, Wonder Artful Thinking Routine.
  • First, students will identify what they see in the image. Emphasize that they should make objective observations about the image (i.e. physical features, colors, textures, etc.).
  • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
  • Finally, ask students what they wonder about the image.
• Facilitate a class-wide discussion around students’ observations, inferences, and questions.
• Explain to students that this is an example of collage art. Ask students if any of them has made or knows about collage. Explain that a collage is an artistic work made by combining and pasting materials and images over a surface.

 

Work Session

• • Show students examples of collage art by Basquiat, Michel and Rauschenberg (see links in “Additional Resources”).
    • Ask students to compare and contrast the collages. Students should notice how different the artists’ styles are even though they are using the same artform of collage.
  • Tell students that they will be making a collage that tells a story.
  • Have students brainstorm a personal or fictional narrative experience. Students will need to establish the setting, characters, and main plot points.
  • Facilitate a discussion around examples of symbolism.
    • Draw or project symbols on the board such as a peace sign, a heart, a smiley face, a stop sign, etc. Ask students to tell you what each means. Then, explain that a symbol is an image that communicates meaning.
    • Explain to students that they will be using cardboard tiles and magazine images to represent these elements visually. Each tile will represent something different–one tile for each setting in the story, one tile per character, one tile per plot point, etc.
    • Have students brainstorm with a partner how they could represent each of their story elements using visuals.
  • Pass out cardboard tiles that will function as pendants on their necklaces. Have students write their names on their tiles.
  • Students will be given magazines and will cut out images and symbols that represent something from their narrative. As these images are cut out, comment on how the student has had an aesthetic reaction to the color, shape, or image and have the student reflect about this.
  • Students will glue these images onto their tiles.
  • Tell students that negative space in art is the area around the subject matter, or the “empty space”. Students will look at the negative space in their work and fill it with color, textured papers, or text.
  • Students will complete their collaged pieces by adding a touch of oil pastel to the edges, giving the pieces a border, and seal with a modge podge (or watered down glue mixture).
  • Students will then string their completed pieces onto yarn or raffia, creating a wearable piece of artwork. Remind students to think about sequencing as they choose the order in which they string their collage tiles.
    • For example, if a character is not introduced until after the beginning of the story but before the rising action, the character collage tile should probably be strung between the exposition and rising action tiles. Or, if the setting changes for the conclusion of the story, the corresponding setting tile should go after the climax tile but before the conclusion tile.

• Optional: Allow students to add additional decorative elements, such as pony beads, wooden beads, or buttons to give their necklaces more character.

• Once students have completed their necklaces, each student will write their narrative essay. Narrative writing should meet the grade level standards criteria.
  • Students should be sure to include descriptive details and sensory language, transitional words and phrases, logical sequencing, and a sense of closure.
  • Students should engage in a peer review process if time allows.

 

Closing Reflection

Allow students to share their personal narratives with each other, using their necklaces as part of their presentation.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of collage as an artform, discussion of symbolism and story elements, artmaking process, and conferencing with students during the writing process.

 

Summative

CHECKLIST

• Students can tell a narrative using symbolism through the artform of collage.
• Students can use logical sequencing when creating their collage necklace compositions.
• Students can tell a narrative through writing that includes the elements of a story and meets grade level criteria.

 

 

DIFFERENTIATION 

Acceleration:  Technology: Create a collage using web 2.0 tools compatible with Bring Your Own Device (BYOD) and online availability. Students will take pictures using digital cameras, or find images and symbols online that they find interesting. Guidance on online research may be needed. When the student has saved all of their images to a folder, they can be uploaded to a site to create the collage. Three suggested sites to use are: Fotor (Android, iOS, Mac and Windows platforms) http://www.fotor.com/features/collage.html; Photocollage (Android, iOS, Mac and Windows platforms) http://www.photocollage.net/; and PiZap (Android, iOS, and web platforms) http://www.pizap.com/. Have students create a collage necklace to retell a story that has been studied in class or to go in depth exploring a particular character through creating a collage necklace about that character. Remediation:  Reduce the number of elements required in the personal narrative necklace. One way to do this is to focus solely on creating tiles for only the plot points. Provide a graphic organizer to help students structure their writing.

 

 ADDITIONAL RESOURCES

Jean Michel Basquiat Karen Michel Robert Rauschenberg

 

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Debi West, Drew Brown, and Katy Betts. Technology by: Ramsey Ray.

 

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• White paper
• Pencils
• Fine tip black markers
• Markers in multiple colors
• Oil pastels
• Images of Ndebele artwork

 

 

Instructional Design

Opening/Activating Strategy

• Using an image of Ndebele artwork, ask students to work collaboratively to engage in the See, Think, Wonder protocol.
  • First, students will identify what they see in the image. Emphasize that they should make objective observations about the artwork (i.e. lines, colors, shapes, etc.).
  • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
  • Finally, ask students what they wonder about the image.
• Facilitate a class-wide discussion around students’ observations, inferences, and questions.

Explain to students that they are looking at an example of Ndebele artwork.

Work Session

• Discuss the importance of a handprint, thinking about how each hand print is unique, just as each person is unique.
• Ask students to choose three things about themselves that make them unique. Students should complete the sentence, “I am ________, ________ and ________”.
  • Allow students to pair share.
  • Ask several students to volunteer to share one thing about their partner that makes them unique.
• Tell students that they will be using the art of the Nbedele people to inspire a “self-portrait” that shows what makes them unique.
  • Have students follow along with this chant saying:

Ndebele, Ndebele,  

With their hands they made their art! Colors, lines and shapes,  

These are the elements from which to start!
Rhythm-ong ©

• Show students on a map where the Ndebele people are from–primarily South Africa and Zimbabwe.
• Facilitate a brief discussion about the art of the Ndebele Tribe, looking closely at their colored patterned artworks.
  • Direct students to describe the types of lines used to create patterns.
  • Then, ask students to describe the color combinations that the artists use.
  • Have students conduct additional research on the Ndebele people and the role of art and decoration in their culture (see “Additional Resources”).
• Give each student a piece of scratch paper. Students should fold the paper into thirds.
• At the top of each section, have students write the adjective describing themselves that they identified earlier.
• Have students experiment with different types of patterns and lines to express each adjective. For example, if a student wrote “outgoing”, they may try a pattern that uses a bold line. If a student wrote “kind”, they may make a pattern with loopy, flowing lines instead of sharp angles.
  • Project an image of the art of the Nbedele people to remind students of the types of pattern and lines they used in their art.
• Pass out paper. Demonstrate to students how to trace their hand with a pencil onto their paper. Students will go over their hand outline in black marker.
• Using black markers, students will choose line designs from their scratch paper to fill in their hand outline. They should include one pattern for each personal characteristic.
• Tell students to select three colors–one for each characteristic that makes them unique.
• Students will then begin the coloring process. Tell students to color in the spaces between the black lines with the colors they selected, paying close attention to each individual shape created. Encourage students to “paint” with their markers by coloring their “brush strokes” in the same direction.
• Students will then embellish their art with oil pastel blending techniques using a cool (green, blue, violet) or warm (red, orange, yellow) color palette. They will go around the hand with their darkest value color first (red or violet), medium value (orange or blue), then lightest value (yellow or green) to create a “glow”.
• Finally, students will write about their artwork in multi-paragraph form.
• Writing requirements:
  • In their writing, students should include the following:
    • Who the Nbedele people are and the role of art and decoration in their culture (students should use information from their independent research).
    • How students’ art is inspired by the art of the Nbedele people.
    • The three personal characteristics they identified.
    • Which patterns and colors correlate to which characteristic.
    • How each color and pattern shows each personal characteristic.
    • How they made their artwork (what were the steps).
  • Students’ writing should be well-organized and group ideas together logically. It should have an introduction and conclusion.
  • Students should use visual art vocabulary (line, shape, color, and pattern) in their writing.
  • Students should use transitional words and phrases to link ideas and develop structure.

 

Closing Reflection

• In small groups or with a partner, students will present their artwork to their classmates.
  • Students should share how the artwork of the Ndebele people influenced their pattern choices.
  • Students should share the colors and patterns they used and why they selected them.

Assessments

Formative

Teachers will assess student understanding through student discussions of the art of the Nbedele people; students’ use of line, shape, color and pattern; and students’ ability to select colors and patterns that have personal meaning.

 

Summative

CHECKLIST

• Students can use the elements of line, shape, and color as tools of communication to create a unique artwork.
• Students can use the characteristics of the artwork of the Ndebele people to inspire their artwork.

• Students can use visual art to tell others about themselves.
• Students can explain their artwork through writing meeting stated requirements.

 

DIFFERENTIATION 

Acceleration:  Have students add expressive words or vocabulary words into the artwork. These words can be hidden or obvious and give each piece a more individual feel. Teachers can also tie this lesson in with Australian Aborigines art or prehistoric handprint art. Remediation:  Reduce the length of the writing assignment and/or provide a graphic organizer to help students structure their writing. Provide a hand outline template for students to use rather than tracing their own hands.

 

 ADDITIONAL RESOURCES

Classroom Tips: Using markers as opposed to paint makes this lesson very doable in any classroom setting. The success lies in teaching your students how to appropriately “paint” with markers keeping their “strokes” going in the same direction. Images of Ndebele artwork Encyclopedia Britanica Kids - Ndebele Khan, Gulshan, et al. “Ndebele Art.” Getty Images, www.gettyimages.com/photos/ndebele-art. Accessed 26 June 2023.

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed and updated by: Debi West and Katy Betts

Revised and copyright:  August 2024 @ ArtsNOW

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• Visualizing Vocabulary graphic organizer
• 9” x 12” white mixed media paper
• Pencils with erasers
• Markers, crayons, colored pencils
• Collage materials
• Glue (if using collage)
• Sponges for glue (if using collage)
• Paint
• Paintbrushes (if using paint)
• Water cups (if using paint)

Instructional Design

Opening/Activating Strategy

• Show students an artwork by the artist Roy Lichtenstein.
• Ask students to make observations about the colors and shapes that they see in the image.
• Next, ask students what the word means. Do students see any connection between the background and the word? If so, what?
• Help students make the connection between the meaning of the word and visuals that Lichtenstein used.
• Tell students that in the lesson today, students will be visualizing vocabulary through artwork.

 

Work Session

• Introduce the lesson by reviewing synonyms, antonyms, and homographs.
• Pass out the Visualizing Vocabulary graphic organizer (each student will need two). Assign a word to each student. Have them determine a synonym or an antonym of that word. Students should find the definitions for both words and use both words in a sentence on their graphic organizer. Alternatively, assign students a homograph and have them do the same thing for both words.
• Facilitate a discussion around examples of symbolism.
  • Draw or project symbols on the board such as a peace sign, a heart, a smiley face, a stop sign, etc. Ask students to tell you what each means. Then, explain that a symbol is an image that communicates meaning.
• Ask students how they could represent the meaning of their words symbolically, or using images. Students will brainstorm creative ways to visually show the meaning of their words. Have them draw in the third column of their graphic organizers.
• Tell students that now they will make two artworks to show the meanings of their words.
• Pass out a pencil and two sheets of paper to each student.
• Refer back to the artwork by Lichtenstein. Ask students to observe how and where Lichtenstein drew the word “Pop”. Students may observe that he drew it large, the letters make shapes rather than just lines, and that he placed the word in the center of the artwork.
• Have students draw their words with a pencil on their papers (one word per paper). Encourage them to write big and fill the space on their paper.
• Next, students will fill in the negative space, or “empty space”, around their words with images that represent the meaning of the word. They can draw, collage, paint, or use a combination, depending on what the teacher chooses. Encourage students to completely fill in the negative space of their artwork.
• Refer back to the artwork by Lichtenstein. Ask students to make observations about how the artist used color to make the word stand out.
  • Students may notice that the word “Pop” is much brighter than the other colors in the artwork, that he used a different color from the background, and that the letters are outlined in black.
  • The way an artist arranges the elements like lines, shapes and colors in an artwork is called composition.
  • Tell students that by using a color for their word that is different from the background images, it will create contrast and make the word stand out. Tell students that this is called emphasis in art.
• Now, have students go over their words with markers creating emphasis.

 

Closing Reflection

• Hang the artwork in the hallway or around the classroom. Conduct a gallery walk so that students can observe how their classmates interpreted their words.
• Facilitate a discussion around how students used images to represent meaning.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion responses, completion of graphic organizers, brainstorming of ways to show a word visually, and artistic process as they create their artwork.

 

Summative

CHECKLIST

• Students can creatively use images in artwork to demonstrate their understanding of synonyms, antonyms, and/or homographs.
• Students can use color and shape to create emphasis in art.

DIFFERENTIATION 

Acceleration: Have students engage in the same artistic process. Rather than using synonyms, antonyms, and homographs, this time have students explore different types of figurative language through visual art such as onomatopoeia, simile, etc. Remediation: Allow students to work with a partner. Partners will be assigned the same vocabulary word and will complete their graphic organizers together. Then, students will determine the meaning of the word’s antonym or a synonym for their word. They will complete their second graphic organizer for that word. Students will then create their own individual artworks–one word per student. The students will display their artwork side by side. This can also be done with homographs.

 

 

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Debi West and Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW