PROBLEM SOLVING WITH MOVEMENT 6-8

PROBLEM SOLVING WITH MOVEMENT

PROBLEM SOLVING WITH MOVEMENT

Learning Description

In this lesson, students will grasp and apply the order of operations to solve equations by developing choreography that illustrates each step of an equation.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: DANCE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can represent the order of operations through movement.
  • I can create choreography that represents each step of an equation using the order of operations. 
  • I can accurately use the order of operations to solve an equation.

Essential Questions

  • How can movement aid in the comprehension of order of operations and solving equations?

 

Georgia Standards

Curriculum Standards

Grade 6:

6.PAR.6: Identify, write, evaluate, and interpret numerical and algebraic expressions as mathematical models to explain authentic situations.

6.PAR.6.4 Evaluate expressions when given values for the variables, including expressions that arise in everyday situations.

Arts Standards

Grade 6:

MSD.CR.1 Demonstrate an understanding of the choreographic process.

 

MSD.CR.2 Demonstrate an understanding of dance as a form of communication.

 

MSD.PR.1 Identify and demonstrate movement elements, technique, and terminology in dance. 

 

MSD.CN.3 Demonstrate an understanding of dance as it relates to other area of knowledge.

 

South Carolina Standards

Curriculum Standards

Grade 6:

6.EEI.1 Write and evaluate numerical expressions involving whole-number exponents and positive rational number bases using the Order of Operations.

 

6.EEI.2 Extend the concepts of numerical expressions to algebraic expressions involving positive rational numbers. 

  1. Evaluate real-world and algebraic expressions for specific values using the Order of Operations. Grouping symbols should be limited to parentheses, braces, and brackets. Exponents should be limited to whole-numbers.

 

Grade 7:

7.EEI.3 Extend previous understanding of Order of Operations to solve multi-step real-world and mathematical problems involving rational numbers. Include fraction bars as a grouping symbol.

Arts Standards

Anchor Standard 1: I can use movement exploration to discover and create artistic ideas and works.

 

Anchor Standard 2: I can choreograph a dance.

 

Anchor Standard 3: I can perform movements using the dance elements.

Anchor Standard 7: I can relate dance to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Order of operations -  A set of rules that dictates the sequence in which operations should be performed to ensure consistent and correct results; it is essential when an expression involves multiple operations like addition, subtraction, multiplication, division, exponents, and parentheses

Arts Vocabulary

  • Movement phrase - A series of movements linked together to make a distinctive pattern
  • Non-locomotor - This refers to a movement that does not travel through space
  • Locomotor - This refers to a movement that travels through space
  • Steady beat - An unchanging, continuous pulse
  • Space - An element of movement involving direction, level, size, focus, and pathway
  • Level - One of the aspects of the movement element space; in dance, there are three basic levels: high, middle, and low
  • Choreography - The art of composing dances and planning and arranging the movements, steps, and patterns of dancers
  • Choreographer - A person who creates dances
  • Shape - This refers to an interesting and interrelated arrangement of body parts of one dance; the visual makeup or molding of the body parts of a single dancer; the overall visible appearance of a group of dancers

 

Materials

  • Sound source and music with a steady beat
  • Equations on cards that require students to use the order of operations

 

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Set up chairs and tables in a circular format to maximize students’ engagement and ability to see their peers during the activity and performance. Also establish parameters for acceptable movement choices and discuss audience behavior/etiquette with students.


  • Begin the lesson by engaging students in movement that introduces students to the Elements of Dance: Body, action, space, time and energy.
    • Have students arrange themselves in the classroom with enough personal space to move freely without touching a neighbor.
    • Turn on instrumental music with a steady beat.
    • First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.).
    • Next, bring students’ awareness to the rhythm of the music by having them march in place to the beat with high knees, swinging their arms side to side. 
    • Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms.
    • Finally, bring students’ attention to levels (high, middle, low) and directions (forward, backward, sideways) with movements such as stretching up high and moving on tiptoes, moving low to the ground and crawling forwards and backwards, and bouncing in place at a medium level.
    • Have students return to their seats.

 

Work Session

  • Review order of operations with students. 
  • Break the class into groups. 
  • Assign each group one of the following: Parenthesis, exponents, multiplication, division, addition, or subtraction.
    • Each group should create a movement that demonstrates their operation.
    • Remind students to think about the movements from the warm-ups and how their levels and body shapes can communicate their concept.
    • Each group will teach their movement to the class.
    • Then, the whole class will perform the choreography together in the correct order of operations. 
  • Assign each group an equation that requires students to use the order of operations in order to be solved.  
  • Ask students to begin by solving their equation mathematically.
    • Next, ask students to create choreography in the order that is needed to solve an equation with the order of operations.
    • For example, if the equation is 19 + 40 ÷ 5 - (8 + 5 ) = X, students would create a movement to represent (8 + 5); 40 ÷ 5; 19 + 8; and finally 27 - 13.
      • Encourage students to incorporate the movements from the order of operations choreography in their equation choreography.

 

Closing Reflection

  • The students will perform their movement phrases for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
  • Turn up the volume of the music and help students find the steady beat again by tapping their toe on the floor.
  • After each performance, students will share and post their equation with ordered sections in how they solved the problem and related it to the sections of choreography they created.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to express the order of operations through movement, and ability to use the order of operations to solve an equation.

 

Summative

CHECKLIST

  • Students can represent the order of operations through movement.
  • Students can create choreography that represents each step of their equation using the order of operations. 
  • Students can accurately use order of operations to solve their equation.

 

 

DIFFERENTIATION 

Acceleration: Challenge students to create their own equation and create choreography to represent it using the order of operations.

 

Remediation: Assign each group a section of the equation to choreograph. Then, have students put their equation together to solve it using the order of operations.

*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: Melissa Dittmar-Joy. Updated by Katy Betts.

Revised and copyright: June 2024 @ ArtsNOW

 

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CREATING ATMOSPHERIC ART: EXPLORING HIGH AND LOW PRESSURE SYSTEMS

CREATING ATMOSPHERIC ART:
EXPLORING HIGH AND LOW PRESSURE SYSTEMS

CREATING ATMOSPHERIC ART: EXPLORING HIGH AND LOW PRESSURE SYSTEMS

Learning Description

In this lesson, students will demonstrate the characteristics of high and low-pressure systems in weather patterns by creating artwork using color, repetition, placement, and movement.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: VISUAL ARTS & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use color, repetition, placement, and movement in art to demonstrate the characteristics of high and low-pressure systems in weather patterns.
  • I can explain how air particle density and air pressure impact weather patterns.

Essential Questions

  • How can I use color, repetition, placement, and movement in art to demonstrate the characteristics of high and low-pressure systems in weather patterns?
  • How does air particle density and air pressure impact weather patterns?

 

Georgia Standards

Curriculum Standards

Grade 6

S6E4. Obtain, evaluate, and communicate information about how the sun, land, and water affect climate and weather.

Arts Standards

Grade 6

VA6.CR.1 Visualize and generate ideas for creating works of art.

 

VA6.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

 

VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

 

VA6.CR.4 Incorporate formal and informal components to create works of art.

 

South Carolina Standards

Curriculum Standards

Grade 6

6-ESS2-5. Analyze and interpret data to provide evidence for how the motions and complex interactions of air masses result in changes in weather conditions.

Arts Standards

Anchor Standard 1: I can use the elements and principles of art to create artwork.

 

Anchor Standard 2: I can use different materials, techniques, and processes to make art.

Anchor Standard 7: I can relate visual arts ideas to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Low pressure system - An area where the air pressure is lower than the surrounding areas; usually associated with cloudy weather
  • High pressure system - An area where the air pressure is higher than the surrounding areas; usually associated with sunny weather
  • Air particle density - The number of particles in a specific volume of air; high density means more particles, low density means fewer

Arts Vocabulary

  • Warm colors - Yellow, orange, red
  • Cool colors - Purple/violet, blue, green
  • Movement - One of the principles of design; it is the way artists create the illusion of motion; it is the way artists use the elements of art to move the viewer’s eye through the artwork
  • Placement - Where artists choose to place the elements of art in an artwork
  • Repetition - One of the principles of design; the repeated use of an element in an artwork

 

Materials

  • White paper
  • Markers/colored pencils OR tempera paint and paintbrushes

 

Instructional Design

Opening/Activating Strategy

    • In small groups, students should make observations about the artwork. Students should identify as many characteristics of the artwork as they can. Examples could include that it has dots, repetition, shades of red, etc.
  • Facilitate a discussion about what students observed.
  • Next, have students make associations about the artwork in their small groups–what does it make them think of?
    • Facilitate a group discussion about the associations that students made.
  • Tell students the name of the artword and the artist. Ask students why they think Kusama named the artwork Sunlight.
    • Display a color wheel. Ask students what the warm colors are and what connection that might have to the title Sunlight.
  • Show students other examples of Kusama’s artwork. Ask students to discuss what is similar and different about the artwork. Students should notice that Kusama uses dots throughout most of her artwork.
  • Ask students where they see repetition in her artwork.
  • Tell students that another principle of design is movement. Movement can mean real physical movement, but it can also represent how the artist wants the viewer’s eyes to travel through the artwork.

Show students Sunlight by Yayoi Kusama again. Ask them where they see movement in this artwork (radiating sunlight).

 

Work Session

  • Explain to students that they will be creating two artworks–one that demonstrates a high pressure system and one that demonstrates a low pressure system.
  • Review (or teach) students about both systems, warm and cold air density, and why high pressure systems result in sunny weather and why low pressure systems result in cloudy/rainy weather.
  • Students’ artwork should use dots, like Kusama, to represent air particles.
    • Students’ artwork should visualize warm and cool air particles using warm and cool colors.
    • They should use placement of their dots to show that warm air is less dense than cool air.
    • They should also use placement to represent where warm and cool air particles are positioned depending on the type of weather (sunny or cloudy).
  • To make their artwork more visually engaging and interesting, project Starry Night and Sunlight on the board again. Since air particles move, ask students to think about how they could show movement in their artwork.
  • If students are using markers or colored pencils, they will draw dots to represent air particles. If they are using tempera paint and paint brushes, students will “spatter paint” their air particles.
    • Demonstrate low-mess splatter paint techniques: After dipping the paintbrush in paint, tap the handle of the paintbrush on the opposite hand with the bristles over the paper OR flick the bristles of the paintbrush with thumb.

 

Closing Reflection

  • Students should complete their work by writing a summary explaining how they showed both types of systems using placement and movement to show density and the type of system and how they used color to show air temperature.
  • Conduct a gallery walk. Students should be able to determine which artwork shows a low pressure system and which shows a high pressure system.

 

Assessments

Formative

Teachers will assess student understanding by observing whether students are able to identify how artists show movement, identify repetition in art, and explain high and low pressure systems.

 

Summative

CHECKLIST

  • Students can use color to represent air particle temperature.
  • Students can use placement and movement to represent where warm and cool air particles are positioned depending on the type of weather and to visually demonstrate air particle density.
  • Students can explain how they showed both types of systems using placement, movement and color.
  • Students can explain both high and low pressure systems.

 

DIFFERENTIATION 

Acceleration: Students can create a similar artwork that shows how changes in air pressure create hurricanes, tornadoes, and thunderstorms.

Remediation: 

  • Students should select either a high or low pressure system for their artwork.
  • Allow students to work with a partner.
  • Allow students to orally explain how they used color, placement and movement in their artwork to visualize each system.

 ADDITIONAL RESOURCES

*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: Katy Betts

Revised and copyright: May 2024 @ ArtsNOW

 

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“YOU ADDITIVE INVERSED ME!” 6-8

“YOU ADDITIVE INVERSED ME!”

“YOU ADDITIVE INVERSED ME!”

Learning Description

Bring a simple but sometimes baffling math concept to life through pantomime and improvisation!  In this lesson, students will explore the concepts of absolute value and additive inverses by developing, enacting, and then writing out scenes featuring everyday actions that convey the dynamic at the heart of the math.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: THEATRE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify the additive inverse of a number.

  • I can act in an improvised scene based on a math concept.

  • I can write out the scene I improvised.

Essential Questions

  • What is an additive inverse?

  • How can we use drama to bring math concepts to life?

 

Georgia Standards

Curriculum Standards

Grade 6:

6.NR.3: Solve a variety of problems involving whole numbers and their opposites; model rational numbers on a number line to describe problems presented in relevant, mathematical situations.

6.NR.3.1 Identify and compare integers and explain the meaning of zero based on multiple authentic situations.

6.NR.3.5 Explain the absolute value of a rational number as its distance from zero on the number line; interpret absolute value as distance for a positive or negative quantity in a relevant situation.

Arts Standards

Grade 6:

TA6.CR.1 Organize, design, and refine theatrical work.

 

TA6.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

Grade 6:

6.NS.5 Understand that the positive and negative representations of a number are opposites in direction and value. Use integers to represent quantities in real-world situations and explain the meaning of zero in each situation.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

 

Key Vocabulary

Content Vocabulary

  • Positive number – A number to the right of zero on a number line

 

  • Negative number – A number to the left of zero on a number line

 

  • Absolute value – The distance from a number to zero on a number line

  • Additive inverse – The opposite of a number; the number that, when added to a given number, results in the sum of zero

Arts Vocabulary

  • Improvisation – Acting without a script

 

  • Pantomime – Pretending to hold, touch, or do something one is not holding, touching or using

 

  • Dialogue – Conversation between characters

  • Scene – The dialogue and action between characters in one place for one continuous period of time

 

Materials

Paper and pencils, or devices, for writing

 

Instructional Design

Opening/Activating Strategy

    • Model for students a basic mirror activity: Have a student volunteer come to the front; have the student become a mirror; slowly do simple movements (waving, shrugging, tilting head, smiling, frowning, tapping knees, etc.) facing the “mirror” for the student volunteer to copy.
      • Move slowly so that the volunteer can follow. 
      • Trade roles; have the student initiate the movement, and follow the student’s movement.  
  • Note: in mirroring, one partner’s right arm is mirrored by the other’s left arm.

 

Work Session

    • Discuss absolute value and additive Inverse.
      • Explain that a number and its additive inverse add up to 0, and that a number and its additive inverse have the same absolute value.  
      • Confirm comprehension by posing numbers and asking students to reply with each number’s additive inverse.
    • Introduce improvisation – ‘acting without a script’ or ‘making it up as you go’.
      • Explain that in improvisation, actors go along with other actors’ ideas, listen and respond as in a real conversation, and add details and build conflict between the characters to keep the scene interesting.
        • Define a scene as continuous action in a single place.
    • Model an improvised scene with a student, or have two students model an improvised scene, of two characters who know each other (parent/child, siblings, friends), with a specific conflict (child wants permission to go somewhere, parent says “No”; or parent wants child to clean their room, but child is resisting; or child wants sibling to stay out of their room; or child wants friend to play basketball; etc.).
      • Reflect on how the scene was improvised, and how the actors improvised effectively to create an interesting scene.
    • Brainstorm verbs that convey opposite/reversible, measurable actions (not simple binaries of on/off, in/out, etc.) such as push/pull, buy/sell, earn/spend, stretch/contract, wrap/unwrap, produce/consume, build/dismantle, inflate/deflate, etc.  
    • Discuss additive inverse and how it can be represented in opposite actions conveyed in the verb pairs.
      • If needed, provide examples of additive inverse relationships in real world situations from the Georgia standard: “temperature above/below zero, elevation above/below sea level, debits/credits, positive/negative electric charge”.
    • Explain that students will work with a partner to improvise scenes that convey additive inverse relationships in everyday situations.
      • Students should use dialogue and pantomime in their scenes.
        • Define pantomime, and explain that students will pantomime any actions in their scenes. 
    • Model an improvised scene with a student, or guide two students in modeling an improvised scene, in which an action and its opposite are the center of the conflict. Develop the conflict to the point where one character says. “You additive inversed me!”
      • Examples could include:
        • A child earns X minutes of screen time for doing chores, but the parent discovers a rule or object that was broken and takes away the time.
        • A friend is winning a one-on-one basketball game by 13 points, but the opponent has a 13-point run to tie the game.
        • A grandmother baked 17 cookies, but the child ate 17 cookies. 
  • Any actions in the scene should be pantomimed.
  • Have student pairs improvise their scenes simultaneously.
  • Have students write their improvised scenario as a scene, detailing what the characters said.
  • Each student should write their own. They should try to remember what they can from the improvised scene but also feel free to revise and reinvent what was said as they write it down.  
  • Have students draw a diagram or chart or number line that shows the additive inverse in a mathematical representation.

 

Closing Reflection

  • Ask students to define and give real-world examples of additive inverses.  
  • Discuss improvisation and pantomime and how they were used in the scenes.

 

Assessments

Formative

Teachers will assess students by observing students’ discussions around additive inverse relationships between two quantities, and observing their focus and collaboration in improvising their scene, specifically in terms of both engaging in dialogue with their partners and expressing actions through pantomime.

 

Summative

CHECKLIST

  • Students can identify the additive inverse of a number.
  • Students can act in an improvised scene that demonstrates understanding of additive inverse number relationships using dialogue and pantomime.
  • Students can express understanding of additive inverse through a written scene.

 

DIFFERENTIATION 

Acceleration:

  • Have students be more specific within their scenes, including specific measurements and equations to express the concept of additive inverses in their scenes.

Remediation:

  • Model several scenes before having students do them with partners.
  • Have student partners improvise the same scenario that was used in the modeling.
  • Develop an idea together and have all partners improvise that scenario simultaneously.

 

 ADDITIONAL RESOURCES

 

*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:  Barry Stewart Mann

Revised and copyright:  May 2024 @ ArtsNOW

 

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STILL LIVES WITH GEOMETRIC FORMS 6-8

STILL LIVES WITH GEOMETRIC FORMS

STILL LIVES WITH GEOMETRIC FORMS

Learning Description

In this lesson, students will apply their knowledge of how to solve for volume and surface area of geometric 3D shapes/forms such as pyramids, cubes and cones to create a still life artwork.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: VISUAL ARTS & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can find the volume of right rectangular prisms, cones, spheres, and pyramids.
  • I can find the surface area of right rectangular prisms, cones, spheres, and pyramids.
  • I can create a still life drawing using various 3D shapes/forms.

Essential Questions

  • How can I find the volume of right rectangular prisms, cones, spheres, and pyramids?
  • How can I find the surface area of right rectangular prisms, cones, spheres, and pyramids?
  • How can I create a still life drawing using various 3D shapes/forms?

 

Georgia Standards

Curriculum Standards

Grade 6

6.GSR.5: Solve relevant problems involving area, surface area, and volume.

6.GSR.5.1 Explore area as a measurable attribute of triangles, quadrilaterals, and other polygons conceptually by composing or decomposing into rectangles, triangles, and other shapes. Find the area of these geometric figures to solve problems.

6.GSR.5.2 Given the net of three-dimensional figures with rectangular and triangular faces, determine the surface area of these figures.

6.GSR.5.3 Calculate the volume of right rectangular prisms with fractional edge lengths by applying the formula, V = (area of base)(height).

 

Grade 7

7.GSR.5: Solve practical problems involving angle measurement, circles, area of circles, surface area of prisms and cylinders, and volume of cylinders and prisms composed of cubes and right prisms.

7.GSR.5.8 Explore volume as a measurable attribute of cylinders and right prisms. Find the volume of these geometric figures using concrete problems.

 

Grade 8

8.GSR.8.4 Apply the formulas for the volume of cones, cylinders, and spheres and use them to solve relevant problems.

Arts Standards

Grade 6

VA6.CR.1 Visualize and generate ideas for creating works of art. 

VA6.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA6.CR.4 Incorporate formal and informal components to create works of art.

 

Grade 7

VA7.CR.1 Visualize and generate ideas for creating works of art. 

VA7.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA7.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence. 

VA7.CR.4 Incorporate formal and informal components to create works of art.

 

Grade 8

VA8.CR.1 Visualize and generate ideas for creating works of art. 

VA8.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA8.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA8.CR.4 Incorporate formal and informal components to create works of art.

 

South Carolina Standards

Curriculum Standards

Grade 6:

6.GM.1 Find the area of right triangles, other triangles, special quadrilaterals, and polygons by composing into rectangles or decomposing into triangles and other shapes; apply these techniques in the context of solving real-world and mathematical problems. 

6.GM.2 Use visual models (e.g., model by packing) to discover that the formulas for the volume of a right rectangular prism are the same for whole or fractional edge lengths. Apply these formulas to solve real-world and mathematical problems.

 

Grade 7

7.GM.6 Apply the concepts of two- and three-dimensional figures to real-world and mathematical situations. a. Understand that the concept of area is applied to two-dimensional figures such as triangles, quadrilaterals, and polygons. b. Understand that the concepts of volume and surface area are applied to three-dimensional figures such as cubes, right rectangular prisms, and right triangular prisms. c. Decompose cubes, right rectangular prisms, and right triangular prisms into rectangles and triangles to derive the formulas for volume and surface area. d. Use the formulas for area, volume, and surface area appropriately.

 

Grade 8

8.GM.9 Solve real-world and mathematical problems involving volumes of cones, cylinders, and spheres and the surface area of cylinders.

Arts Standards

Artistic Processes: Creating- I can make artwork using a variety of materials, techniques, and processes.

Anchor Standard 1: I can use the elements and principles of art to create artwork.

Anchor Standard 2: I can use different materials, techniques, and processes to make art.

 

Artistic Processes: Responding- I can evaluate and communicate about the meaning in my artwork and the artwork of others.

Anchor Standard 5: I can interpret (read) and evaluate the meaning of an artwork.

 

Artistic Processes: Connecting- I can relate artistic ideas and work with personal meaning and external context.

Anchor Standard 7: I can relate visual arts ideas to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Three-dimensional shapes/forms - Objects that have height, width, and length
  • Two-dimensional shape - An object with height and width
  • Volume - The space within a three-dimensional shape/form
  • Surface area - The area of the surface of a two- or three-dimensional object

Arts Vocabulary

  • Form - A three-dimensional object; can be geometric or organic
  • Value - The lightness or darkness of something; used to create the illusion of form on a two-dimensional surface
  • Composition - How an artist puts the elements of art together in an artwork
  • Subject - What an artwork is about

 

Materials

  • Mixed media paper
  • Pencils
  • Measurements for each student to calculate surface area and volume for three 3D shapes/forms
  • Optional: Colored pencils or charcoal
  • Acceleration: Rulers, scissors, tape

 

 

Instructional Design

Opening/Activating Strategy

  • Display Natura Morta by Giorgio Morandi. In groups, ask students to identify at least ten things that they recognize in the painting (colors, objects, shapes, etc.).
    • Facilitate a class discussion around students’ responses.
  • After students have shared what they recognize, ask them what three-dimensional shapes/forms they recognize. Tell students that some objects are composites of two or more 3D shapes/forms. 
    • Students should identify objects like cylinders, half-spheres, right rectangular prisms, etc.
  • Introduce students to the artist Giorgio Morandi. 
    • Explain that Morandi was a still life artist who used many basic forms as the basis of his artwork. 
    • Explain to students that a still life is an artwork in which the subject is an arrangement of non-moving/non-living objects. 
    • Show students additional examples of Morandi’s still lives. 
  • Ask students how Morandi creates the illusion of three dimensions on a two-dimensional surface. 
    • Students should notice that some areas of the objects are darker than others to create the illusion that light is hitting a three-dimensional object. In art, this is called Value.

 

 

Work Session

  • Tell students that they will be creating a still life drawing using geometric 3D shapes/forms. Students will be able to create their own composition consisting of three geometric 3D shapes/forms. 
    • Composition in art is how the artist chooses to put the elements of art (such as Form and Value) together in his or her artwork. 

*Teacher note: Grade level will determine which geometric 3D shapes/forms students will use in their composition.

  • Students should randomly select three sets of measurements from a bag
    • Explain to students that these three 3D shapes/forms will be the subject for their still life drawings. 
    • Students can arrange them however they like in their composition. 
    • Show them examples of Morandi’s still lives again so that they can see how he used the space on his canvas and arranged his forms (some are in front of others, some side by side, etc.).
  • Show students the Shape to Form handout. Allow students to practice creating the 3D shapes/forms they will need for their composition.
  • Students should then solve for the volume and surface area of their three 3D shapes/forms. 
    • Next, students should draw their three forms on their artwork. Remind students to use the space on their paper and draw BIG!
    • Remind students to consider the actual dimensions of the forms and how that will impact the proportions in their art.
      • For example, if they have a pyramid that is 2 in. high and a cube that is 3 in. high, the cube should be represented as taller than the pyramid in the artwork.
  • Finally, remind students to add value like Morandi to create the illusion of three dimensions on a flat surface. 

Show students the handout Forms with Value as a guide. Students can use regular pencil, colored pencil, or charcoal for their artwork.

 

Closing Reflection

  • On a separate paper, students should write their formulas with dimensions for surface area and volume of their three forms and their solutions to the problems. Students should attach this to their artwork so that it is visible. 
  • Students should then engage in a gallery walk of each other’s work. Students should reflect on the following questions: 
    • How did the artist create his/her composition using the three 3D shapes/forms?
    • How did the artist use the space on his or her paper?
    • How did the artist use value to create the illusion of form?
    • How is the artist’s work similar and different to your own? To Morandi’s?

 

Assessments

Formative

 Teachers will assess students’ understanding by observing whether students can identify the types of 3D shapes used in Morandi’s artwork, calculate surface area and/or volume, draw 3D shapes/forms using the guide, and understand what a still life drawing/painting is.

Summative

CHECKLIST

  • Students can calculate surface area and volume of their three geometric 3D shapes/forms.
  • Students can create a still life drawing using various 3D shapes/forms.

 

Differentiation

Acceleration: 

  • Assign students the task of creating the three 3D shapes/forms to scale using pencil, paper, rulers, and tape. Once students have created their 3D shapes/forms, have them place them on white paper and move them into various arrangements. Students can then try drawing new compositions using their new arrangement of 3D shapes/forms as a subject.

 

Remediation: 

  • Assign students one type of 3D shape/form to work with using three different sets of measurements so that students are practicing using the same calculations and formula three times. 
  • Allow students to work in pairs to solve equations. Each student will then make their own still life.

 

 ADDITIONAL RESOURCES

*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: Katy Betts

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CREATING INSPIRED WORKS THROUGH ANGLES & PROPORTION 6-8

CREATING INSPIRED WORKS THROUGH ANGLES & PROPORTION

CREATING INSPIRED WORKS THROUGH ANGLES & PROPORTION

Learning Description

In this lesson, students will analyze how the artist, Charles Demuth, uses angles and proportion in his artwork, I Saw the Figure 5 in Gold. By delving into the use of angles, proportion, emphasis, and ratios in Demuth's artwork, students will then apply these elements to create their own unique pieces of art, drawing inspiration from the style of the Precisionist art movement.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: VISUAL ARTS & MATH
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can explain how Charles Demuth uses angles and proportion in his artwork.

  • I can create artwork inspired by Demuth using angles and proportion.

  • I can use proportion and color to create emphasis in my artwork.

  • Students can explain how I used ratio, proportion, angles, color, value, and emphasis to create my artwork.

Essential Questions

  • How does Charles Demuth use angles and proportion in his artwork?

  • How can I create an artwork inspired by Demuth using angles and proportion?

  • How can I use proportion and color to create emphasis in my artwork?

  • How is the poem “The Great Figure”, related to Demuth’s artwork, I Saw the Figure 5 in Gold?

 

Georgia Standards

Curriculum Standards

Grade 6

6.NR.4: Solve a variety of contextual problems involving ratios, unit rates, equivalent ratios, percentages, and conversions within measurement systems using proportional reasoning.

 

Grade 7

7.PAR.4: Recognize proportional relationships in relevant, mathematical problems; represent, solve, and explain these relationships with tables, graphs, and equations.

7.GSR.5.2 Measure angles in whole number degrees using a protractor

7.GSR.5.3 Use facts about supplementary, complementary, vertical, and adjacent angles in a multi-step problem to write and solve equations for an unknown angle in a figure.

 

Grade 8

8.PAR.4: Show and explain the connections between proportional and nonproportional relationships, lines, and linear equations; create and interpret graphical mathematical models and use the graphical, mathematical model to explain real phenomena represented in the graph.

Arts Standards

Grade 6

VA6.CR.1 Visualize and generate ideas for creating works of art. 

VA6.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA6.CR.4 Incorporate formal and informal components to create works of art.

 

Grade 7

VA7.CR.1 Visualize and generate ideas for creating works of art. 

VA7.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA7.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence. 

VA7.CR.4 Incorporate formal and informal components to create works of art.

 

Grade 8

VA8.CR.1 Visualize and generate ideas for creating works of art. 

VA8.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA8.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA8.CR.4 Incorporate formal and informal components to create works of art.

 

South Carolina Standards

Curriculum Standards

Grade 6

6.RP.1 Interpret the concept of a ratio as the relationship between two quantities, including part to part and part to whole. 6.RP.2 Investigate relationships between ratios and rates. 

6.RP.3 Apply the concepts of ratios and rates to solve real-world and mathematical problems. 

 

Grade 7

7.RP.2 Identify and model proportional relationships given multiple representations, including tables, graphs, equations, diagrams, verbal descriptions, and real-world situations. 

7.RP.3 Solve real-world and mathematical problems involving ratios and percentages using proportional reasoning

7.GM.5 Write equations to solve problems involving the relationships between angles formed by two intersecting lines, including supplementary, complementary, vertical, and adjacent

 

Grade 8

8.EEI.5 Apply concepts of proportional relationships to real-world and mathematical situations. 

8.GM.5 Extend and apply previous knowledge of angles to properties of triangles, similar figures, and parallel lines cut by a transversal.

Arts Standards

Anchor Standard 1: I can use the elements and principles of art to create artwork.

 

Anchor Standard 2: I can use different materials, techniques, and processes to make art.

 

Anchor Standard 5: I can interpret (read) and evaluate the meaning of an artwork.

 

Anchor Standard 7: I can relate visual arts ideas to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Angle - A geometric figure formed by two rays (sides) with a common endpoint (vertex)

  • Acute angle - An angle that measures less than 90 degrees

  • Obtuse angle - An angle that measures more than 90 degrees

  • Complementary angle - Two angles whose measures add up to 90 degrees

  • Supplementary angle - Two angles whose measures add up to 180 degrees

  • Proportional - The relationship between two variables that have the same ratio

  • Ratio - A way of comparing two quantities or numbers by dividing one by the other; the relationship between two quantities, indicating how many times one quantity is present in relation to the other

Arts Vocabulary

  • Precisionism - An art movement of the 1920’s that focused on creating very precise and controlled art; the artists in this movement focused on reducing objects to lines, shapes, and geometric structures

  • Composition - How the artist uses the Elements of Art to create an artwork

  • Proportion - How one thing relates to another in terms of size

  • Emphasis - Where the artist draws the viewer’s eye using visuals

  • Contrast - Putting two things side by side that emphasize their differences, such as two colors across from each other on the color wheel like yellow and purple

  • Value - One of the seven elements of art; the lightness or darkness of a color

  • Shape - One of the seven elements of art; a two-dimensional object

 

Materials

  • 9x12 mixed media paper or cardstock (each student will need two sheets)
  • Pencils
  • Protractors
  • Rulers
  • Glue sticks
  • Scissors
  • Colored pencils
  • Markers

 

 

Instructional Design

Opening/Activating Strategy

  • Project the poem by Wiliam Carlos Williams, “The Great Figure”: 

Among the rain

and lights

I saw the figure 5

in gold

on a red

firetruck

moving

tense

unheeded

to gong clangs

siren howls

and wheels rumbling

through the dark city

 

  • Have students read the poem and respond with a quick drawing (5 minutes).
  • In small groups, have students share what the poem made them think of and what they drew.
  • Allow students to share out with the class.

 

Work Session

  • Project I Saw the Figure 5 in Gold by Charles Demuth. Tell students that Demuth painted this artwork as a tribute to his friend, the poet of “The Great Figure”, William Carlos Williams. He used the poem, “The Great Figure”, as inspiration for this artwork.
  • Ask students where they see connections between the poem and the artwork.
  • Tell students that the artist, Charles Demuth, was part of an art movement called Precisionism. 
    • Precisionism was an art movement of the 1920’s that focused on creating very precise and controlled art; the artists in this movement focused on reducing objects to lines, shapes, and geometric structures.
  • In their small groups, ask students to make observations about the painting that respond to the following questions: 
    • What stands out in the artwork? How does Demuth make it stand out? 
      • Answers could include responses like how he used color and size.
      • Tell students that when an artist draws the viewer’s attention to something, this is called emphasis.
    • Ask students where they see examples of angles in the artwork. 
    • Ask students where they see Demuth using proportion in his artwork.
      • Students should identify the “5”.
  • Explain to students that they will be using proportion and angles to create an artwork inspired by I Saw the Figure 5 in Gold by Charles Demuth.
    • They will need to use proportion, angles, and emphasis in their artwork.
  • Students should start by drawing a square or rectangle on mixed media paper or cardstock three times using a consistent ratio. For example, three rectangles could be 1x1.5, 2x3, and 4x6 inches. Students will then fill the rectangle with a letter or number such as the letter “L”. Show students how to use the edges of the square or rectangle to draw their letter or number. The letter or a number should be a shape, which is a 2D closed line. See example.
  • Students should then use markers to fully color in the three letters or numbers. Students will set this aside and work on the other portion of the artwork. 
  • Go back to I Saw the Figure 5 in Gold. Ask students what they see in the background. They may say things like shades of black, white, and gray; diagonal lines; etc. 
  • Pass out a new sheet of mixed media paper. 
  • Give students a number of specific angles or requirements for angles (three angles that are less than 45 degrees, two angles between 70-80 degrees, five obtuse angles, an algebraic or linear equation to solve for specific angles, etc.). 
  • Next, using pencil or colored pencil, students will shade in each of the shapes that are created by the intersecting lines. 
    • Tell students that they will be gluing their three letters or numbers on top of this paper, so they need to pick colors that will contrast with the ones they used to color in their letters or numbers. Refer back to I Saw the Figure 5 in Gold and how Demuth does this with red and gold on a white, gray, and black background.
    • Show students how Demuth uses different shades of gray, white, and black in the shapes in the background of the art. This is called using different values. Students should also use different values in the background shapes of their art. 
  • When students are done, they should use a glue stick to glue their letters or numbers on their paper.

 

Closing Reflection

  • Students should give their artwork a relevant title.
  • On the back of their artwork, they should explain how they used ratio, proportion, angles, color, and emphasis to create their work. They should be able to explain how they created emphasis using proportion and color.
  • Students should then present their work to each other in groups of three to four students.

 

Assessments

Formative

Teachers will assess students’ understanding by observing students’ discussion of the poem, “The Great Figure” and the artwork, I Saw the Figure 5 in Gold; students’ ability to identify and explain ratios, proportion, and types of angles; and students’ ability to correctly use a protractor to measure angles.

 

Summative

CHECKLIST

  • Students can create an artwork that demonstrates their understanding of ratio, proportion, and angles.
  • Students can explain how they used ratio, proportion, angles, color, value, and emphasis to create their work.

 

Differentiation

Acceleration: 

  • ELA connection - Have students write a poem inspired by their artwork. Students should refer back to Williams’ “The Great Figure”, and Demuth’s artwork, I Saw the Figure 5 in Gold.
  • Have students do additional research on the Precisionist art movement. Students should select a different artwork by another artist from this movement, such as Joseph Stella. Students should explain how the artist used angles, lines, color, value, and shapes in their artwork. Then, students should create their own artwork inspired by this artist. Suggested artworks by Stella include Brooklyn Bridge, Futurist Composition, Old Brooklyn Bridge, and By-Products Plants.

Remediation: 

  • Allow students to work in collaborative groups on a single artwork. 
  • Reduce the number/requirements for angles.
  • Allow students to use their rectangle as the object that shows proportion rather than turning the rectangle into a letter or number.

 

 ADDITIONAL RESOURCES

 

*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: Katy Betts

Revised and copyright:  May 2024 @ ArtsNOW

 

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