DESIGN FOR CHANGE: USING ART TO REVEAL HUMAN IMPACT 9-12

USING ART TO REVEAL HUMAN IMPACT

DESIGN FOR CHANGE: USING ART TO REVEAL HUMAN IMPACT

Learning Description

In this lesson, students explore how visual art can raise awareness about the human impact on the environment by creating a digital infographic inspired by a distinct art style. After learning about key human impact issues and four iconic art styles — pop art, photo realism, graffiti art, and cubism — students research an environmental issue of their choice, plan a conservation message, and use Canva or Adobe Express to design a compelling infographic. Students apply principles of design (balance, contrast, emphasis, etc.) and color theory to communicate their message visually. Through research, creativity, and reflection, students discover how art can influence behavior, inspire change, and make science meaningful to their peers and community.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: VISUAL ARTS & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can research and explain a human impact issue and its environmental consequences.
  • I can design an infographic using art and design principles to communicate a message about conservation.
  • I can apply the characteristics of a chosen art style to make my infographic engaging and meaningful.
  • I can reflect on how art can help raise awareness and inspire change.

Essential Questions

  • How can we use art and design to influence people’s feelings about their environmental impact?

 

Georgia Standards

Curriculum Standards

Environmental Science:

SEV2. Obtain, evaluate, and communicate information to construct explanations of stability and change in Earth’s ecosystems.

d. Construct an argument to support a claim about the value of biodiversity in ecosystem resilience including keystone, invasive, native, endemic, indicator, and endangered species.

SEV4. Obtain, evaluate, and communicate information to analyze human impact on natural resources.

a. Construct and revise a claim based on evidence on the effects of human activities on natural resources.

Arts Standards

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

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

VAHSVA.PR.1 Plan, prepare, and present works of art for exhibition in school, virtual environment, and/or portfolio presentation.

VAHSVA.PR.1.a Exhibit works of art with a written supporting artist statement that communicates purpose and/or intent.

 

South Carolina Standards

Curriculum Standards

Biology:

B-LS2-1. Use mathematical and/or computational representations to support explanations of biotic and abiotic factors that affect carrying capacity of ecosystems at different scales.

B-LS2-6. Evaluate claims, evidence, and reasoning that the complex interactions in ecosystems maintain relatively consistent numbers and types of organisms in stable conditions but changing conditions may result in a new ecosystem.

B-LS2-7. Design, evaluate, and refine a solution for reducing the impacts of human activities on biodiversity and ecosystem health.

B-LS2-8. Evaluate evidence for the role of group behavior on individual and species’ chances to survive and reproduce.

Earth & Space Science:

E-ESS3-4. Evaluate or refine a technological solution that reduces impacts of human activities on natural systems.

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 4:  I can organize work for presentation and documentation to reflect specific content, ideas, skills, and or media.

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

 

Key Vocabulary

Content Vocabulary

  • Deforestation — Removing trees, which destroys habitats and contributes to climate change
  • Pollution — Introduction of harmful substances into air, water, or soil
  • Climate Change — Long-term change in global or regional climate patterns, often caused by human activities
  • Overfishing — Removing fish faster than they can reproduce, reducing biodiversity
  • Habitat destruction — Damaging or destroying the places where plants and animals live
  • Biodiversity loss — Decline in the variety of life in a habitat or on Earth
  • Urbanization — Expansion of cities, often reducing natural areas and increasing pollution
  • Overconsumption — Using more resources than Earth can sustainably provide
  • Eutrophication — Excess nutrients in water causing algal blooms that harm aquatic life
  • Carbon footprint — Total greenhouse gas emissions caused by an individual or group

Arts Vocabulary

  • Balance — A sense of stability created by equal visual weight
  • Contrast — Use of opposite elements (light/dark, rough/smooth) to create interest
  • Emphasis — Creating a focal point to draw the viewer’s eye
  • Movement — Arranging parts to lead the viewer’s eye through the work
  • Pattern — Repeating visual elements to create interest
  • Proportion — Size relationships between parts of an artwork
  • Rhythm — A sense of movement created by repeating shapes, lines, or colors
  • Unity — The sense that all parts of a design work together as a whole
  • Color Schemes:
    • Warm — Reds, yellows, oranges.
    • Cool — Blues, greens, purples.
    • Neutral — Browns, grays, whites, blacks.
    • Complementary — Colors opposite each other on the color wheel.
    • Analogous — Colors next to each other on the color wheel.
    • Primary — Red, blue, yellow
    • Secondary — Green, orange, purple.

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Show examples of pop art, photo realism, graffiti art, and cubism that relate to environmental issues.
    • Discuss the principles of design (see vocabulary) and ask students to identify where they see certain principles in the artwork. Ask students how the principles help the artist to communicate the message.
  • Students discuss how different art styles communicate the message.
  • Explain to students that they will be creating infographics on a chosen human impact issue; however, their infographics will include elements from one of the four art styles.
  • Briefly introduce the four art styles with definitions and example artists:
    • Pop Art — Bright, bold, comic-book style (Andy Warhol)
    • Photo Realism — Looks like a photograph (Chuck Close)
    • Graffiti Art — Street-art style, expressive, edgy (Banksy)
    • Cubism — Abstract, broken shapes, multiple viewpoints (Pablo Picasso)

Work Session

  • Give students time to explore the four art styles online so that they can choose one style to incorporate into their infographic.
    • Ask students to identify at least three defining characteristics of their chosen art style.
  • Review the human impact issues on the list with students and allow them to share ideas on how they can use their chosen art form to educate others about the issues.
  • Students pick a human impact issue from the provided list or propose an alternative issue to the teacher.
  • Students begin researching their chosen human impact issue.
    • Students should use the Research and Planning worksheet to guide their research on their chosen issue. Even though students are individually creating their infographics, the teacher may choose to allow students who chose the same topic to work together to share research and ideas.
  • Students should use their research to help them choose their overall conservation message for their infographic.
  • Using their research on the Research and Planning sheet, students design their infographic in Canva (or similar platform), applying the following artistic elements to enhance the information they are showcasing:
    • Principles of design (balance, emphasis, etc.);
    • Color schemes;
    • Elements of their chosen art style.

Students should also write a brief “artist’s statement” to accompany their infographic to communicate their purpose/intent for their choices in their infographic. Students should write at least one well-constructed paragraph to explain what their overall conservation message is, the art style and elements they chose to convey it, and why they think those artistic elements help to communicate the importance of the message. Students will present their statement next to their computer screen for the Gallery Walk.

 

Closing Reflection

  • Gallery Walk: Students display their infographics on their devices and artists’ statements (on paper next to the device). Peers leave sticky note feedback (or via a Microsoft/Google Form) to offer one compliment and one suggestion for growth.
  • Students complete the reflection portion of their handout.

 

Assessments

Formative

  • Research and planning handout
  • Participation in discussions
  • Feedback during gallery walk

Summative

  • Final infographic and artist’s statement (see rubric)

 

 

Differentiation

Accelerated: 

  • Students create a series of infographics targeting different audiences or animate their infographics.

 

Remedial:

  • Provide sentence starters, suggested layouts/templates in Canva, or additional examples.

 

Additional Resources

 

Credits

Ideas contributed by: Kearsten Jones, Shannon Green, Gretchen Hollingsworth

*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.

Revised and copyright:  January 2026 @ ArtsNOW

 

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DATA TAKES FLIGHT: STATISTICAL REASONING AND VISUAL ARTS 9-12

STATISTICAL REASONING AND VISUAL ARTS

DATA TAKES FLIGHT: STATISTICAL REASONING AND VISUAL ARTS

Learning Description

In this arts-integrated lesson, students combine visual art and statistical reasoning to explore the performance of paper airplane designs. Inspired by artists who create large-scale aircraft sculptures, students build and test various paper airplanes—both standard and original creations—while collecting flight distance data. They apply statistical methods such as measures of center and spread, confidence intervals, and hypothesis testing to evaluate which designs perform best. This lesson encourages creativity, critical thinking, and real-world application of statistical concepts through hands-on experimentation and artistic design.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: VISUAL ARTS & Math
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can design and implement a plan to collect consistent and reliable data.
  • I can calculate and interpret mean, five-number summary, standard deviation, and confidence intervals.
  • I can conduct a hypothesis test to determine if the difference between airplane designs is statistically significant.
  • I can use visual models (dot plots, box plots, etc.) to represent and analyze data.
  • I can apply elements and principals of visual art—such as scale, shape, and form—in the design of functional paper airplanes.
  • I can analyze and draw inspiration from artists who create large-scale or conceptual flight-themed works.
  • I can explain how artistic and design choices impact both the aesthetic and function of my airplane.
  • I can communicate the connection between my design process and the data I collected.

Essential Questions

  • How can data collection and analysis help us evaluate the effectiveness of different airplane designs?
  • In what ways can artistic choices, such as scale and form, influence the design and performance of a paper airplane?
  • How can we use statistical reasoning to draw meaningful conclusions from experimental results?
  • What role does creative design play in solving real-world problems using data?

 

Georgia Standards

Curriculum Standards

Statistical Reasoning:

SR.MP Display perseverance and patience in problem-solving. Demonstrate skills and strategies needed to succeed in mathematics, including critical thinking, reasoning, and effective collaboration and expression. Seek help and apply feedback. Set and monitor goals.

SR.MM.1 Apply mathematics to real-life situations; model real-life phenomena using mathematics.

SR.DSR.3 Collect data by designing and implementing a plan to address the formulated statistical investigative question.

SR.DSR.4 Analyze data by selecting and using appropriate graphical and numerical methods.

SR.DSR.5 Interpret the results of the analysis, making connections to the formulated statistical investigative question.

Arts Standards

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

VAHSVA.CR.1.b Consider multiple options, weighing consequences, and assessing results.

VAHSVA.CR.1.c Practice the artistic process by researching, brainstorming, and planning to create works of art.

VAHSVA.CR.4.d Create three-dimensional works of art that incorporate a variety of sculptural methods/materials and demonstrate an understanding of relief sculpture and sculpture in the round from a variety of materials (e.g. clay, paper, plaster, wood).

 

South Carolina Standards

Curriculum Standards

Statistical Modeling:

SM.DPSR.1.4 Construct and compare confidence intervals of different models to make conclusions about reliability given a margin of error.

MPS.C.1 Demonstrate a deep and flexible conceptual understanding of mathematical ideas, operations, and relationships while making real-world connections.

SM.DPSR.3.1 Apply an appropriate data-collection plan when collecting data for the investigative statistical question of interest.

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 4:  I can organize work for presentation and documentation to reflect specific content, ideas, skills, and or media.

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

 

Key Vocabulary

Content Vocabulary

  • Data - A collection of facts, measurements, or observations gathered for analysis
  • Mean - The mean, or arithmetic average, is calculated by summing all data points and dividing by the number of data points. It represents the center of data distributions.
  • Five-number summary - Consists of the minimum, first quartile (Q1), median (Q2), third quartile (Q3), and maximum. These values provide a concise summary of a data set’s distribution.
  • Standard deviation - Measures the average distance of each data point from the mean. A higher standard deviation indicates greater variability in the data.
  • Confidence intervals - A range of values, derived from sample data, that is likely to contain the value of an unknown population parameter. The interval has an associated confidence level that quantifies the level of confidence that the parameter lies within the interval.

Arts Vocabulary

  • Line - A continuous mark made on some surface by a moving point. It may be two dimensional, like a pencil mark on a paper or it may be three dimensional (wire) or implied (the edge of a shape or form) often it is an outline, contour or silhouette.
  • Shape - A flat, enclosed line that is always two-dimensional and can be either geometric or organic
  • Form - An object that is three-dimensional and encloses volume (cubes, spheres, and cylinders are examples of various forms)
  • Proportion - The size relationships between different parts of an artwork. It determines how each element relates to the others in terms of size, scale, and placement.

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Ask students, “What makes something ‘fly’ in both a literal and artistic sense?”. Have students answer on Padlet, poster, sticky note, Chalk Talk, etc.
  • Explore Nancy Rubins’ use of airplane parts to create massive sculptural works.
    • Ask students what shapes, lines, and forms they see in the sculpture.
    • Ask students how scale or proportion change the impact of the work.
    • If desired, explore other related artists:
      • Berndaut Smilde – Explores large-scale atmospheric installation
      • David Cerny – Conceptual artist that created oversized aircraft sculptures in public spaces.
      • Rauschenberg – “Glider” series combines flight imagery and large mixed-media works.
    • Ask students probing questions such as:
      • How did these artists use “flight” in their works?
      • How does scale change the impact?
      • What message might the artists be sending using aircraft imagery?

Work Session

  • Teach/review basic airplane types: traditional glider and dart.
    • Ask students to make observations about the shapes, lines, and forms that they see in each type of plane.
  • Students create two standard planes (one glider, one dart) out of copy paper.
  • Students create a third choice option that can be supersized using a poster board.
    • Encourage students to be creative with their designs and to think about shape and form as they design.
    • Refer them back to the artists’ work explored earlier and ask how their works could influence their plane designs.
  • Once students have created their planes, they should hypothesize which plane will perform the best (teacher can choose the criteria – flies farthest, etc.).
  • Conduct test flights for each plane (ten flights per plane) and record the distance flown in a table.
  • Students discuss their observations about which design flew best.
  • Students reflect on the following questions: What variables might be influencing the flight? How can I make adjustments for better flights?
  • Additional variation: Students can build a traditional dart or glider from copy paper and a giant version using a posterboard to test if the smaller or larger version performs better.
  • Students analyze their flight data. For each airplane design students:
    • Calculate mean, five-number summary, standard deviation.
    • Construct confidence intervals.
    • Compare plane means to determine if their hypothesis was accurate.
    • Students will use graph paper or digital tools such as Desmos or Excel for calculations and plotting of their data.

 

Closing Reflection

  • Discuss findings in pairs, small groups, or as a class.
  • Students complete the ticket out the door:
    • Which plane flew the farthest on average? Was their hypothesis correct?
    • Was the difference statistically significant? Why or why not?
    • What would they do differently in a future test?
    • How did the artworks that they looked at the beginning of class influence their final design?

 

Assessments

Formative

  • Student created data table
  • Student created airplanes
  • Student responses to opening questions

Summative

  • Confidence interval calculations and plotting of data
  • Student reflections and ticket out the door

 

 

Differentiation

Accelerated: 

  • Linear regression: Test how weight (paperclips, staples) affects distance.
  • Material comparison: Use different types of paper for performance testing.
  • Art integration: Build a full “gallery” of artistic conceptual planes and write artist statements explaining their choices.

 

Remedial:

 

 

Credits

Ideas contributed by: Kevin Kennedy, Shannon Green, Gretchen Hollingsworth

*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.

Revised and copyright:  January 2026 @ ArtsNOW

 

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DANCING WITH SHAPES: EXPLORING VOLUME THROUGH MOVEMENT 9-12

EXPLORING VOLUME THROUGH MOVEMENT

DANCING WITH SHAPES: EXPLORING VOLUME THROUGH MOVEMENT

Learning Description

Students explore the concept of volume of composite shapes by solving problems and expressing their answers through dance. Students first calculate the volumes of composite three-dimensional figures composed of two or more individual shapes. After solving, they use the volume as the counts for a dance sequence, integrating basic dance elements. Students may also choose to have their movements reflect the shapes themselves, embodying prisms, cylinders, cones, and spheres in creative ways. The lesson promotes mathematical reasoning, collaboration, and kinesthetic learning by connecting geometry and artistic expression.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: DANCE & Math
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can find the volume of composite three-dimensional shapes.
  • I can create a dance that uses the calculated volume as counts.
  • I can incorporate dance elements like space, energy, and time into my choreography.
  • I can explain how my dance reflects the geometric concepts we studied.

Essential Questions

  • How can we use dance and movement to illustrate the volume of composite shapes?

 

Georgia Standards

Curriculum Standards

Geometry:

G.GSR.9.1 Use volume formulas for prisms, cylinders, pyramids, cones, and spheres to solve problems including right and oblique solids.

Arts Standards

DHSMOD1.CR.1 Demonstrate an understanding of creative/choreographic principles, processes, and structures.

DHSMOD1.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance.

DHSMOD1.PR.2 Understand and model dance etiquette as a classroom participant, performer, and observer.

DHSMOD1.RE.1 Demonstrate critical and creative thinking in all aspects of dance.

DHSMOD.CN.3 Demonstrate an understanding of dance as it relates to other areas of knowledge.

 

South Carolina Standards

Curriculum Standards

Geometry with Statistics Standards:

GS.MGSR.1. Compute area and volume of figures by determining how the figure might be obtained from simpler figures by dissection and recombination.

GS.MGSR.1.1 Apply area and volume formulas of two- and three-dimensional figures to solve real-world situations.

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 5: I can describe, analyze, and evaluate a dance.

 

Key Vocabulary

Content Vocabulary

  • Composite shape — A shape made from two or more simple geometric shapes
  • Volume — The amount of space a three-dimensional figure occupies, measured in cubic units
  • Prism, cylinder, cone, sphere — Basic three-dimensional shapes

Arts Vocabulary

  • Choreographer — The person who designs or creates a dance piece
  • Energy — How movement happens: sharp, smooth, suspended, swinging, vibratory
  • Space — Levels (high, middle, low), pathways, and shapes dancers make
  • Time — Beat, rhythm, and tempo
  • Choreography — The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece

 

Materials

  • Projector/board for mini-lesson and examples
  • Teacher generated geometry problem set with composite shapes
  • Dance vocabulary terms for each student
  • Paper and pencils for calculations and choreography notes
  • Music (optional)

Space for students to rehearse and perform dances

 

Instructional Design

Opening/Activating Strategy

  • Introduce the essential question and objectives.
  • Conduct a quick mini-lesson reviewing the formulas for volume of individual shapes and strategies for calculating the volume of composite shapes.
  • Review basic dance elements (energy, space, time) and discuss how they can reflect geometric ideas.
    • Example: a suspended leap could represent the top of a cone; sharp, angular movements could represent prisms.
    • Have students brainstorm ideas for how the dance elements could reflect geometric ideas.
  • Call out dance elements from the Dance Vocabulary sheet, and students demonstrate.
  • Example: student travels around the room to demonstrate locomotor or shakes their whole body to demonstrate vibratory energy.

Work Session

  • Students solve assigned problems to find the volumes of given composite shapes.
  • Once students have the volume, they use it as the “counts” in their dance.
    • Example: A volume of 72 cubic units = a 72-count sequence
  • In groups, students choreograph a dance using the following steps
    • Students decide on movements to fill their counts.
    • Students incorporate dance elements of energy, space, and time in their choreography.
      • Time: The number of counts in their sequence, the speed at which their movements are performed, etc.
      • Energy: Vibratory, suspended, etc.
      • Space: Body shapes (connect to geometric forms), levels, etc.
    • As students plan, the teacher circulates and prompts as needed with the following questions:
      • What does your shape “look” like in motion?
      • How can you use levels (high, middle, low) to show your shape?
      • Can you make your movements sharp, smooth, or suspended to reflect your shape’s features?
      • How will you keep count to match your calculated volume?

 

Closing Reflection

  • Groups perform their dances for the class. Each group explains their choreography choices by answering the following questions:
    • How did you decide on movements?
    • How did your dance reflect the volume and/or the shapes?
    • Which dance element was most important in your choreography and why?
    • Exit ticket: What did you learn about volume and composite shapes through dance?

 

Assessments

Formative

  • Observation of students’ calculations and group discussions.
  • Participation in dance planning and performance.

Summative

  • Accuracy of calculations
  • Students’ connection of dance concepts to mathematical concepts

 

 

Differentiation

Accelerated: 

  • Students can create a more complex sequence incorporating multiple shapes and counts.

 

Remedial:

  • Provide step-by-step guides, example counts or allow simpler movements focusing on rhythm and counts.

 

Additional Resources

 

Credits

Ideas contributed by: Sally Gillanders, Melissa Joy, Gretchen Hollingsworth

*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.

Revised and copyright:  January 2026 @ ArtsNOW

 

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ART BOTS STEAM 9-12

ART BOTS

ART BOTS

Learning Description

In this hands-on STEAM lesson, students will explore the relationship between electricity, motion, and unbalanced forces by designing and building their own wobbling art bots. Using hobby motors, battery packs, pool noodles, and markers, students will follow the engineering design process (Ask, Imagine, Plan, Create, Improve) to construct a bot that moves and draws in unpredictable patterns.

Through experimentation, students will discover how unbalanced forces affect motion, how simple circuits power their bots, and how small design changes can alter movement. They will analyze their bots' performance, make modifications, and reflect on their design choices. By combining science, engineering, and art, this lesson fosters creativity, problem-solving, and critical thinking while reinforcing foundational physical science concepts.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: STEAM
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can build and test a simple circuit to power a motor.
  • I can explain how unbalanced forces influence motion.
  • I can describe how energy is transformed in my art bot.
  • I can use the engineering design process to test and improve my design.

Essential Questions

  • How do unbalanced forces affect the motion of an object?
  • How does a motor convert electrical energy into motion?
  • What design choices impact the movement and artistic output of an art bot?
  • How can the engineering design process help improve a design?

 

Georgia Standards

Curriculum Standards

Physics:

SPS8: Obtain, evaluate, and communicate information to explain the relationships among force, mass, and motion.

SPS10: Investigate and explain the properties of electricity and magnetism.

 

Physical Science:

SPS7: Develop models to illustrate the transformation and conservation of energy.

Arts Standards

VAHSAE.1: Incorporate elements and principles of design into artworks for intentional effects.

VAHSCR.1: Apply creative thinking skills to develop ideas for personal expression.

VAHSPR.1: Create original artworks using a range of materials, techniques, and processes.

VAHSPR.2: Demonstrate proficient and safe use of tools, materials, and technology.

VAHSAR.1: Analyze personal and others’ artworks to evaluate meaning, intent, and technique.

VAHSAR.3: Critique artwork using formal, contextual, and intuitive approaches.

 

South Carolina Standards

Curriculum Standards

Physics:

P-PS2-4. Use mathematical representations of Newton’s law of gravitation and Coulomb’s law to describe and predict the gravitational and electrostatic forces between objects.

P-PS2-5. Plan and conduct an investigation to provide evidence that an electric current can produce a magnetic field and that a changing magnetic field can produce an electric current.

P-PS3-2. Develop and use models to illustrate that energy can be explained by the combination of motion and position of objects at the macroscopic scale and the motion and position of particles at the microscopic scale.

P-PS3-3. Design, build, and refine a device that works within given constraints to convert one form of energy into another form of energy.

P-PS3-5. Develop and use a model to illustrate the forces between two objects and the changes in energy of the objects due to their interaction through electric or magnetic fields.

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

  • Electric circuit – A closed loop through which electricity can flow. It includes a power source (like a battery), wires, and something that uses the electricity (like a motor or light)
  • Current – The flow of electric charge through a circuit, like water moving through a pipe
  • Voltage – The pressure that pushes the current through the circuit, like water pressure
  • Unbalanced forces – When the forces acting on an object are not equal, causing the object to start moving, speed up, slow down, or change direction
  • Rotational motion – Movement around a central point or axis, like a spinning top or a wheel
  • Center of mass – The point at which an object's mass is evenly distributed in all directions
  • Friction – The resistance between two surfaces that slows things down
  • Energy transformation – The process of changing energy from one form to another—for example, chemical energy in a battery turns into electrical energy, which becomes mechanical energy in the spinning motor
  • Vibration motor – A small motor with an unbalanced weight attached to its shaft; as the shaft spins, it vibrates and shakes, which powers the Art Bot’s movement

Arts Vocabulary

  • Conceptual art – Art in which the idea behind the work is more important than the finished product
  • Intentionality – The purposeful use of elements and design to express meaning
  • Process art – Artwork that emphasizes the act of making over the final product
  • Rhythm – The principle of design in an artwork that indicates a type of movement, often characterized by repeated shapes, lines or colors
  • Gestural mark-making – Marks that reflect movement or emotion, often expressive
  • Experimental media – Unconventional materials or techniques used in creative exploration
  • Collaboration – Co-creating with others or with tools (like art bots) in the creative process
  • Movement – This principle of design is associated with rhythm and refers to the arrangement of parts in an artwork that creates a sense of motion to the viewer's eye through the work.
  • Balance – This is a sense of stability in the body of work. Balance can be created by repeating the same shapes and by creating a feeling of equal visual weight.
  • Form – An object that is three-dimensional and encloses volume (cubes, spheres, and cylinders are examples of various forms)
  • Kinetic art – Art that incorporates real motion
  • Engineering Design Process – A problem-solving approach that involves identifying a need, researching, brainstorming possible solutions, developing and testing prototypes, and improving the design until the optimal solution is achieved; the steps are Ask, Imagine, Plan, Create, Improve

 

Materials

  • Hobby motors
  • Battery packs (with AA batteries)
  • Pool noodles (cut into sections)
  • Thin markers
  • Electrical tape or masking tape
  • Hot glue
  • Off-center weights (washers, clay, coins)
  • Switches (optional for advanced circuits)
  • Scissors
  • Image of the Engineering Design Process

 

 

Instructional Design

Opening/Activating Strategy

  • Engage:
    • Show a short video of various art bots and kinetic sculptures.
    • Facilitate a class discussion around the following question: “What do you think makes them move the way they do?”.
    • Connect motion and circuits to previously learned physics principles.

Work Session

 

Explore – Building the Art Bots

  • Have students use their sketchbooks or STEAM journals to record their process.
  • Ask:
    • Where will you place the mass to make it wobble?
    • How do you ensure your bot stays powered and balanced?
  • Imagine:
    • Students will brainstorm ideas and sketch potential designs for their bots.
  • Plan:
    • Show students a list of materials that they have available to them to build their bots.
    • Students will create a sketch of their bot with materials labeled before beginning to build their bots.
  • Create:
    • Provide time for students to create their bots.
    • If needed, show students one method to create their bots. Allow time for students to revise their designs as needed.
      • Connect the battery pack to the motor, ensuring a working circuit.
      • Insert the motor into the pool noodle.
      • Attach markers as "legs" using tape.
      • Add weights off-center on the motor shaft to create an unbalanced force.
    • Improve and Extend:
      • Students will test and record how their bots move by placing the bot on plain white paper and turning it on to observe its movement.
      • Students should reflect on the following:
        • Do they rotate, scoot forward, draw erratically?
        • What happens when the mass is adjusted?
        • How does surface friction affect performance?
      • Introduce design constraints and goals:
        • Ask students, “Can you get your bot to move in a figure-eight?”.
        • Have students find a partner and ask students, “Can your bot cover more surface area in one minute than your partner’s?”.

Engineering and Technology Pathways (optional extension): Design process, simple circuits, prototyping, and testing

 

Closing Reflection

  • Students will work with their partners to co-create an artwork with both of their bots.
  • Each pair should give their piece a creative title and write a short “artist’s statement” that explains:
    • Their bot’s design
    • Its motion pattern
    • How they collaborated to create their artwork
    • What they learned about forces and energy
    • Gallery walk: Display art and artist statements; allow an opportunity for students to provide peer feedback.

 

Assessments

Formative

  • Assess students’ learning through observations of building and testing, student questions and responses during discussions, and design STEAM journal/sketchbook entries with sketches, reflections, and improvements.

Summative

  • Design Report (written or digital):
    • Sketches, circuit diagram, energy flow description
    • Data on motion (optional)
    • Explanation of what worked and what didn’t

 Artist Statement that includes a creative title and explanation of motion concepts and energy transformations

 

Differentiation

Accelerated: 

  • Students can choose how to present their final work:
    • A short video montage showing the bot’s drawing in action.
    • A sketchbook spread combining bot photos, drawn output, and written reflection.
    • A conceptual artist statement exploring the bot as collaborator or tool.
  • AP Physics or Engineering classes: Add formal motion data collection (speed, revolutions, force diagrams).
  • Technology Integration: Challenge students to control bots with microcontrollers (Arduino, micro:bit).

 

Remedial:

  • Provide pre-made circuits.
  • Provide extended time for building and reflecting.
  • Offer verbal instructions paired with written guides.
  • Allow for alternative methods of documentation (photos, audio).

 

 

Credits

Ideas contributed by: Shannon Green

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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ART BOTS ELA 9-12

ART BOTS

ART BOTS

Learning Description

In this upper-level STEAM investigation, students conceptualize and build kinetic “Art Bots” that function as both machines and artistic collaborators. The lesson challenges students to understand and model energy transformations—how electrical energy from a battery is converted into mechanical energy and transferred into rotational motion that powers drawing behavior.

After iterative testing and design improvement, students explore the philosophical and conceptual dimension of their project by responding to the reflective prompt: “In what ways is your Art Bot a co-artist in your work? Write a reflection that explains your role as designer, the bot’s contribution, and what the final artwork expresses”.This task deepens students’ critical thinking, creativity, and the fusion of art and science. Final presentations include both the Art Bot’s physical output and a reflective artist statement, shared in a class critique or gallery walk.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: STEAM
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can design a functioning electrical circuit that powers a small motor.
  • I can explain how force, motion, and energy interact in my Art Bot.
  • I can analyze how changes to mass, balance, and friction affect motion.
  • I can collaborate with a robot to create original art and evaluate the process.

Essential Questions

  • How do energy transformations power machines?
  • What role do unbalanced forces play in robotic motion?
  • How can small design adjustments significantly impact a machine’s behavior?
  • In what ways can humans and robots collaborate creatively?

 

Georgia Standards

Curriculum Standards

SCIENCE

Physics:

SPS8: Obtain, evaluate, and communicate information to explain the relationships among force, mass, and motion.

SPS10: Investigate and explain the properties of electricity and magnetism.

 

Physical Science:

SPS7: Develop models to illustrate the transformation and conservation of energy.

 

ELA

Grade 9:

9.T.T.1.e Effectively apply a variety of narrative techniques to develop complex character(s) who change, use setting to create mood, develop an idea or theme across the text, achieve specific purposes, engage audiences, and enhance writing.

Grade 10:

10.T.T.1.e Effectively apply a variety of narrative techniques to develop complex character(s) who change, use setting to create mood, develop an idea or theme across the text using metaphors, achieve specific purposes, engage audiences, and enhance writing.

Grade 11:

11.T.T.1.e Effectively apply a variety of narrative techniques to develop complex character(s) who change, use setting to create mood, develop an idea or theme across the text using metaphors and symbolism, achieve specific purposes, engage audiences, and enhance writing.

Grade 12:

12.T.T.1.e Effectively apply a variety of narrative techniques to develop complex character(s) who change, use setting to create mood, develop an idea or theme across the text using metaphors and symbolism, achieve specific purposes, engage audiences, and enhance writing.

Arts Standards

VAHSAE.1: Incorporate elements and principles of design into artworks for intentional effects.

VAHSCR.1: Apply creative thinking skills to develop ideas for personal expression.

VAHSPR.1: Create original artworks using a range of materials, techniques, and processes.

VAHSPR.2: Demonstrate proficient and safe use of tools, materials, and technology.

VAHSAR.1: Analyze personal and others’ artworks to evaluate meaning, intent, and technique.

VAHSAR.3: Critique artwork using formal, contextual, and intuitive approaches.

 

South Carolina Standards

Curriculum Standards

SCIENCE

Physics:

P-PS2-4. Use mathematical representations of Newton’s law of gravitation and Coulomb’s law to describe and predict the gravitational and electrostatic forces between objects.

P-PS2-5. Plan and conduct an investigation to provide evidence that an electric current can produce a magnetic field and that a changing magnetic field can produce an electric current.

P-PS3-2. Develop and use models to illustrate that energy can be explained by the combination of motion and position of objects at the macroscopic scale and the motion and position of particles at the microscopic scale.

P-PS3-3. Design, build, and refine a device that works within given constraints to convert one form of energy into another form of energy.

P-PS3-5. Develop and use a model to illustrate the forces between two objects and the changes in energy of the objects due to their interaction through electric or magnetic fields.

 

ELA

English I

ELA.E1.C.2.1 Write informative texts to examine and convey complex information clearly and accurately through the analysis of multiple sources of information. When writing:a. introduce a topic and organize complex ideas and concepts to make important connections and distinctions; b. develop a topic with relevant and sufficient facts, definitions, details, quotes, examples, and/or other information appropriate for the audience; c. use varied transitions to link major sections of the text and clarify the relationships between ideas and concepts; d. use precise language and vocabulary appropriate to the complexity of the topic; e. use a tone and style appropriate to the task and audience; and f. provide a concluding statement or section that supports the information presented.

English II

ELA.E2.C.2.1 Write informative texts to examine and convey complex information clearly and accurately through the analysis of multiple sources of information. When writing:a. introduce a topic and organize complex ideas and concepts to make important connections and distinctions; b. develop a topic by selecting relevant and sufficient facts, definitions, details, quotes, examples, data, and/or other information appropriate for the audience; c. use varied transitions to link major sections of the text and clarify the relationships between ideas and concepts; d. use precise language and vocabulary appropriate to the complexity of the topic; e. establish and maintain a style and objective tone appropriate to the task and purpose; and f. provide a concluding statement or section that supports the information presented.

English III

ELA.E3.C.2.1 Write informative/expository texts to convey complex ideas and concepts while analyzing complex texts. When writing:a. introduce a topic and organize complex concepts and information; b. develop the topic by selecting relevant facts, definitions, details, quotations, statistics, data, and/or other information and examples appropriate to the audience’s knowledge of the topic; c. use varied transitions and syntax to link the major sections of the text and clarify the relationships between complex ideas and concepts; d. use precise language and vocabulary appropriate to the complexity of the topic; e. establish and maintain a formal style and objective tone appropriate for the task, purpose, and audience; and f. provide a concluding statement or section that supports the information presented.

English IV

ELA.E4.C.2.1 Write informative/expository texts to analyze and explain complex ideas and information. Write informative/expository texts to convey complex ideas and concepts while analyzing complex texts. When writing:a. introduce a topic and organize complex concepts and information so that each new element builds on what precedes it; b. develop the topic thoroughly by selecting relevant facts, definitions, details, quotations, statistics, data, and/or other information and examples appropriate to the audience’s knowledge of the topic; c. use varied transitions and syntax to link the major sections of the text and clarify the relationships between complex ideas and concepts; d. use precise language and vocabulary appropriate to the complexity of the topic; e. establish and maintain a formal style and objective tone appropriate for the task, purpose, and audience; and f. provide a concluding statement or section that supports the information presented.

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

  • Electric circuit – A closed loop through which electricity can flow. It includes a power source (like a battery), wires, and something that uses the electricity (like a motor or light)
  • Current – The flow of electric charge through a circuit, like water moving through a pipe
  • Voltage – The pressure that pushes the current through the circuit, like water pressure
  • Unbalanced forces – When the forces acting on an object are not equal, causing the object to start moving, speed up, slow down, or change direction
  • Rotational motion – Movement around a central point or axis, like a spinning top or a wheel
  • Center of mass – The point at which an object's mass is evenly distributed in all directions
  • Friction – The resistance between two surfaces that slows things down
  • Energy transformation – The process of changing energy from one form to another—for example, chemical energy in a battery turns into electrical energy, which becomes mechanical energy in the spinning motor
  • Vibration motor – A small motor with an unbalanced weight attached to its shaft; as the shaft spins, it vibrates and shakes, which powers the Art Bot’s movement

Arts Vocabulary

  • Conceptual art – Art in which the idea behind the work is more important than the finished product
  • Intentionality – The purposeful use of elements and design to express meaning
  • Process art – Artwork that emphasizes the act of making over the final product
  • Rhythm – The principle of design in an artwork that indicates a type of movement, often characterized by repeated shapes, lines or colors
  • Gestural mark-making – Marks that reflect movement or emotion, often expressive
  • Experimental media – Unconventional materials or techniques used in creative exploration
  • Collaboration – Co-creating with others or with tools (like Art Bots) in the creative process

 

Materials

  • Hobby motors
  • Battery packs (with AA batteries)
  • Pool noodles (cut into sections)
  • Thin markers
  • Electrical tape or masking tape
  • Hot glue
  • Off-center weights (washers, clay, coins)
  • Switches (optional for advanced circuits)
  • Scissors
  • Image of the Engineering Design Process

 

 

Instructional Design

Opening/Activating Strategy

  • Engage:
    • Show a short video of various Art Bots and kinetic sculptures.
    • Facilitate a class discussion around the following question: “What do you think makes them move the way they do?”.
    • Connect motion and circuits to previously learned physics principles.

Work Session

 

Explore – Building the Art Bots

  • Have students use their sketchbooks or STEAM journals to record their process.
  • Ask:
    • Where will you place the mass to make it wobble?
    • How do you ensure your bot stays powered and balanced?
  • Imagine:
    • Students will brainstorm ideas and sketch potential designs for their bots.
  • Plan:
    • Show students a list of materials that they have available to them to build their bots.
    • Students will create a sketch of their bot with materials labeled before beginning to build their bots.
  • Create:
    • Provide time for students to create their bots.
    • If needed, show students one method to create their bots. Allow time for students to revise their designs as needed.
      • Connect the battery pack to the motor, ensuring a working circuit.
      • Insert the motor into the pool noodle.
      • Attach markers as "legs" using tape.
      • Add weights off-center on the motor shaft to create an unbalanced force.
    • Improve and Extend:
      • Students will test and record how their bots move by placing the bot on plain white paper and turning it on to observe its movement.
      • Students should reflect on the following:
        • Do they rotate, scoot forward, draw erratically?
        • What happens when the mass is adjusted?
        • How does surface friction affect performance?
      • Introduce design constraints and goals:
        • Ask students, “Can you get your bot to move in a figure-eight?”.
        • Have students find a partner and ask students, “Can your bot cover more surface area in one minute than your partner’s?”.
      • Have students respond to the following writing prompt: In what ways is your Art Bot a co-artist in your work? Write a reflection that explains you role as designer, the bot's contribution, and what the final artwork expresses.
        • Reflection criteria:
          • Use vivid, sensory language to describe the bot's movement and its impact on the artwork
          • Include a clear sequence of events (design, testing, outcome).
          • Demonstrate personal voice and insight into the collaborative process
          • Use content vocabulary (e.g., unbalanced forces, rotational motion, center of mass).
          • Incorporate at least one quote or caption from your design partner to reflect collaboration or discovery.
          • Revise writing using peer and self feedback
      • AP Physics or Engineering classes: Add formal motion data collection (speed, revolutions, force diagrams).
      • Technology Integration: Challenge students to control bots with microcontrollers (Arduino, micro:bit).

 

Closing Reflection

  • Students will work with their partners to co-create an artwork with both of their bots.
  • Each pair should give their piece a creative title and write a short “artist’s statement” that explains:
    • Their bot’s design
    • Its motion pattern
    • How they collaborated to create their artwork
    • What they learned about forces and energy Gallery walk: Display art and artist statements; allow an opportunity for students to provide peer feedback.

 

Assessments

Formative

  • Assess students’ learning through observations of building and testing, student questions and responses during discussions, and design STEAM journal/sketchbook entries with sketches, reflections, and improvements.

Summative

  • Design Report (written or digital):
    • Sketches, circuit diagram, energy flow description
    • Data on motion (optional)
    • Explanation of what worked and what didn’t
  • Gallery Artist Statement that includes a creative title and explanation of motion concepts and energy transformations
  • Writing prompt responses

 

Differentiation

Accelerated: 

  • Students can choose how to present their final work:
    • A short video montage showing the bot’s drawing in action.
    • A sketchbook spread combining bot photos, drawn output, and written reflection.
    • A conceptual artist statement exploring the bot as collaborator or tool.
  • Students respond to one of these advanced prompts:
    • “Is the Art Bot merely a tool—or something more? Explore how machines can challenge traditional ideas of authorship in art.”
    • “If your Art Bot could 'speak,' what would it say about the marks it left behind? Write from the bot’s point of view.”
    • “Compare your creative process with that of a traditional artist. What new ideas about creativity have you discovered?”
  • Advanced Criteria:
    • Integrate a metaphor or analogy comparing the Art Bot to another creative collaborator (e.g., a dance partner, a jazz improviser).
    • Include evidence of revision—submit a first draft with feedback notes and a final version.
    • Use philosophical or conceptual language (aligns with Anchor Standard 10).
  • Extension Option: Research an artist (e.g., Jean Tinguely, Harold Cohen, or Sougwen Chung) who worked with machines and compare their practice to your own.

 

Remedial:

  • Provide pre-made circuits.
  • Provide extended time for building and reflecting.
  • Offer verbal instructions paired with written guides.
  • Allow for alternative methods of documentation (photos, audio).
  • Written reflection:
    • Provide structured prompts such as:
      • “My Art Bot moved by ________ because ______.”
      • “One thing I changed was ________, and it helped because ______.”
      • “The artwork shows ______ because the bot ______.”
    • Oral reflection option: Allow students to speak their reflection, then transcribe or record it.
    • Divide the writing prompt: Break into daily parts (Day 1: Describe the bot. Day 2: Explain how it moves. Day 3: What does your artwork show?)
    • Visual Supports: Use labeled diagrams and photo sequences of their bot's process to guide the writing.
    • Modeling: Show mentor texts or completed reflections and model how to revise for detail or structure.

 

 

Credits

Ideas contributed by: Shannon Green

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons