FRACTIONS AND BODY PERCUSSION 2-3

FRACTIONS AND BODY PERCUSSION

FRACTIONS AND BODY PERCUSSION

Learning Description

In this lesson, students will explore how they can use body percussion to learn about, represent and compare fractions through music.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: MATH & MUSIC
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can represent fractions with denominators of 4, 8, 12, and 16 in multiple ways within a framework using visual models.
  • I can compare two fractions with different numerators by flexibly using a variety of tools and strategies. 
  • I can listen to, analyze, and describe music.
  • I can compose a body percussion rhythm that represents fractions.
  • I can connect music to math.

Essential Questions

  • How can I represent fractions using body percussion?
  • How does music connect to math?

 

Georgia Standards

Curriculum Standards

Grade 3

3.NR.4.1 Describe a unit fraction and explain how multiple copies of a unit fraction form a non-unit fraction. Use parts of a whole, parts of a set, points on a number line, distances on a number line and area models.

3.NR.4.2 Compare two unit fractions by flexibly using a variety of tools and strategies.

3.NR.4.3 Represent fractions, including fractions greater than one, in multiple ways.

Arts Standards

Grade 3

ESGM3.RE.1 Listen to, analyze, and describe music.

 

ESGM3.CR.2 Compose and arrange music within specified guidelines.

 

ESGM3.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

 

ESGM3.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Grade 3

3.NSF.1 Develop an understanding of fractions (i.e., denominators 2, 3, 4, 6, 8, 10) as numbers. 

3.NSF.2 Explain fraction equivalence (i.e., denominators 2, 3, 4, 6, 8, 10) by demonstrating an understanding that: a. two fractions are equal if they are the same size, based on the same whole, or at the same point on a number line; b. fraction equivalence can be represented using set, area, and linear models; c. whole numbers can be written as fractions (e.g., 4 = 4/1 and 1 = 4/4 ); d. fractions with the same numerator or same denominator can be compared by reasoning about their size based on the same whole.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

Key Vocabulary

Content Vocabulary

  • Fractions - Equal parts of a whole          
  • Numerator - The top number in a fraction that represents how many parts of a whole are being considered
  • Denominator - The bottom number in a fraction. It represents the total number of equal parts into which the whole is divided
  • Greater than (>) - A number that is larger than another number
  • Less than (<) - A number that is smaller than another number
  • Equal to (=) - A number that has the same value as another number

Arts Vocabulary

  • Steady beat - Steady pulse
  • Body percussion - Stomping, patting, clapping, snapping, etc.)
  • Pitch - High/low sounds
  • Rhythm - Long/short sounds
  • Dynamics - Loud/soft sound
  • Tempo - Fast/slow sounds

 

Materials

  • Paper
  • Pencils
  • Teacher access to computer and Internet

 

 

Instructional Design

Opening/Activating Strategy

  • Choose a fractions song (see materials) for students to engage in a “Hear, Think, Wonder” listening routine. This listening routine is a modification of Project Zero’s “See, Think, Wonder” Thinking Routine.
  • Prepare students for the listening activity by telling students that they are going to listen to a song and answer three prompts about the song. Wait until the end of the listening activity before revealing the title and composer of the song.
      • The first prompt is “I hear”. 
        • Students should focus on the different musical sounds such as tempo (fast/slow), dynamics (loud/soft), instruments, pitch (high/low), and lyrics (words to song). They may use words or draw a quick picture to answer. 
        • Play the song audio only one time while students are listening in order to answer the prompt, “I hear”. 
        • Students turn and talk to a neighbor and share their answers.
        • Students share out to the class. Validate the answers that students give.
        • Repeat the process for “I think” and “I wonder”.
          • For “I think”, the teacher can ask clarifying questions such as, “What did you hear in the music that made you think that?”.
  • After the listening activity, encourage students to sing along with the recording. Provide a lyric sheet or turn on closed captions so that students can sing along with the video. (The font of the closed caption can be enlarged by clicking on settings, then English, finally options.)
    • Start by singing the chorus. Tell students that the chorus is the main idea of the song with repeating lyrics.
    • Lead students in finding the steady beat to the song during the verses by directing students to pat their legs or tap two fingers in a palm. 
    • Demonstrate the four basic movements of body percussion (stomp, pat, clap, snap–or tap two fingers in palm if snapping is a challenge). Lead students in each of these movements doing them to the steady beat of the song.Transition into the lesson about fractions.

Work Session

    • Introduce or review fractions. Use modeling, visual representations, and hands-on manipulatives to help students understand the concept of fractions.
    • Transition to the concept of representing and comparing fractions through performing rhythmic movements called body percussion.
      • Remind students of the four basic movements of body percussion used in the activator (stomp, pat, clap, snap–or tap two fingers in palm if snapping is a challenge).
      • Help students determine the fractions of the body movements in Body Percussion Grid 1 (ex: claps = 5/16 if using the entire board)
      • Students will then compare the fractions using greater than, less than, and equal to.
  • Divide students into small groups of three to four students and present the following group task:
    • Tell students that as a group, they will create their own body percussion rhythm using the Create Your Own Beat Body Percussion Board.
      • Predetermine how much of the board students should use (ex: the entire board, only 12 squares, only 8 squares, etc.).
      • Provide time for students to:
        • Compose their body percussion using the blank board.
        • Practice performing the body percussion rhythm to a steady beat.
        • Determine and write fractions based on the occurrence of body parts. 
        • Compare the fractions using greater than, less than, and equal to.
    • Students should repeat the process as time allows.

Closing Reflection

  • After a predetermined amount of work time, students will share their body percussion rhythms with the class. 
    • Remind performers to do their best. Remind audience members to give their attention to the performing group and applaud the group’s effort after the performance.
  • Students who are listening should choose one body part to focus on and determine the fraction of that body part in the overall rhythm.
  • Together, the teacher and students will review how students used body percussion to represent and compare fractions.
  • Students will sing the beginning fractions song as a closing to the lesson.

 

 

Assessments

Formative

Teacher will assess student learning through:

  • Observation of written responses during the listening activity.
  • Observation of “turn and talk” and “sharing out” during the listening activity.
  • Observation of students singing with a steady beat.
  • Observation of students demonstrating the steady beat during the singing activity.
  • Observation and questioning during group task.

 

Summative

CHECKLIST

  • Students can perform the body percussion to a steady beat.
  • Students can correctly identify fractions based on the body parts used to create the body percussion rhythms.
  • Students can compare fractions using body percussion rhythms.
  • Students can create a body percussion rhythm that represents fractions.

 

DIFFERENTIATION 

Acceleration: 

  • Use the entire body percussion board. 
  • Include two body percussion sounds per one square on the body percussion board.

Remediation: 

  • Reduce the number of total squares to complete on the body percussion board.

 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: Rue Lee-Holmes. Updated by: Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW

 

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KANDINSKY’S CIRCLES & PLACE VALUE 2-3

KANDINSKY’S CIRCLES & PLACE VALUE

KANDINSKY’S CIRCLES & PLACE VALUE

Learning Description

In this lesson, students will examine place value through the lens of Wassily Kandinsky’s painting, Several Circles. Inspired by this painting, students will create visual representations of a number using different sized circles to represent place value. Students will show their knowledge of standard, expanded, and word form, as well as observe one another's work to identify and compare numbers.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: VISUAL ARTS & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can read and write numbers in standard, word, and expanded forms.

  • I can compare the value of digits within a number.

  • I can identify value, color, and proportion in art.

  • I can create unique and creative artwork.

Essential Questions

  • How can proportion be used in art to represent place values of the digits in a number?

 

Georgia Standards

Curriculum Standards

Grade 2

2.NR.1: Using the place value structure, explore the count sequences to represent, read, write, and compare numerical values to 1000 and describe basic place-value relationships and structures

 

Grade 3

3.NR.1: Use place value reasoning to represent, read, write, and compare numerical values up to 10,000 and round whole numbers up to 1,000.

Arts Standards

Grade 2

VA2.CR.2 Create works of art based on selected themes.

 

VA2.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

 

VA2.CN.2 Integrate information from other disciplines to engage in the understanding and production of works of art. 

 

Grade 3

VA3.CR.2 Create works of art based on selected themes.

 

VA3.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

 

VA3.CN.2 Integrate information from other disciplines to engage in the understanding and production of works of art.

 

 

South Carolina Standards

Curriculum Standards

Grade 2

2.NSBT.3 Read, write and represent numbers through 999 using concrete models, standard form, and equations in expanded form.

 

Grade 3

3.NSBT.4 Read and write numbers through 999,999 in standard form and equations in expanded form.

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.

 

Key Vocabulary

Content Vocabulary

  • Place value - The value of a digit based on its position within a number
  • Digit - A numerical symbol used to represent numbers, typically ranging from 0 to 9
  • Expanded form - A way of representing a number by breaking it down into its component parts based on place value
  • Word form - Expressing a number using written words rather than digits
  • Standard form - The conventional way of writing a number using digits and place value, without any exponents or special notation

Arts Vocabulary

  • Value - The lightness or darkness of a color
  • Cool colors - Blue, green, violet
  • Warm colors - Red, orange, yellow
  • Space - How an artist organizes the elements in a composition
  • Proportion - How one thing relates to another in terms of size

 

Materials

  • Watercolor paper for each student
  • Watercolor set, cup of water, and brush for each student
  • Paint sticks (one set per two students)
  • Index cards (one per student)
  • Pencils

 

Instructional Design

Opening/Activating Strategy

  • Begin by reviewing place value with students, including standard form, word form, and expanded form.
  • Assign each student a number to study. Students should write their number in standard form, word form, and expanded form on their notecards.
  • Next, show students Wassily Kandinsky’s Several Circles painting. 
    • Ask students to work collaboratively to engage in the See, Think, Wonder protocol.
      • First, students will identify what they see in the image. Emphasize that they should make objective observations about the painting (i.e. physical features, colors, textures, etc.). 
      • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the painting. 
      • Finally, ask students what they wonder about the image. 
      • Facilitate a class-wide discussion around students’ observations, inferences, and questions.
    • Discuss the history of the painting and point out the varying sizes, colors, and values of the circles.

 

Work Session

  • Tell students that they will be creating artwork that is inspired by Kandinsky’s Several Circles to visually represent the places values of each of their numbers.
  • Have the students begin by painting a watercolor background for their piece. Encourage the class to use light values, such as pastels, in order for the circles that they will paint to pop. Allow to dry. 
  • After drying, have the students use paint sticks to create circles that mimic the number they were assigned on their index cards. 
    • Discuss how to use size and proportion to represent place value. The largest place value should be the largest circles on the page (for example, 2,456 would have two extra large circles of equal size on the paper).
    • Repeat this process with the rest of the place value digits (using 2,456 there should be two extra large circles of equal size, 4 large circles of equal size, 5 medium circles of equal size, and 6 small circles of equal size).
    • Tell students that they can make compositional choices such as overlapping or allowing circles to go off the page.
    • Tell students that using contrasting colors will make their circles pop. For example, if the background is blue, which is a cool color, students might want to use warm colors (red, orange, and yellow) for their circles. 
    • Allow artwork to dry.

 

Closing Reflection

  • Allow students to share their artwork with one another. Review how the largest circles represent the digit in the largest place value. 
  • Next, have the students try to guess each other's numbers based on how they used proportion in their art. This can be done in a small group setting or as a whole class. 
  • Finally, have students compare their numbers and arrange their artwork from smallest to largest number.

 

Assessments

Formative

Teachers will assess student learning by observing students’ ability to represent place value in standard, expanded, and word form; students’ responses to discussion of Kandinsky’s Several Circles; and students’ ability to represent place value through proportion and size in their circles.

 

Summative

CHECKLIST

  • Students can identify the place values of the digits in their numbers and correctly.
  • Students can accurately portray place value through size and proportion in art.
  • Students can identify and use value, color, and proportion in art.

*See Teacher/student rubric.

 

DIFFERENTIATION 

Acceleration: 

  • Advanced students can be assigned larger numbers based on their levels.
  • Students can write an art review of one of their peers’ artwork and describe what number it is showing explaining their reasoning.

Remediation: 

  • Students can be assigned smaller numbers to represent in their artwork.
  • Students can work in pairs to analyze their numbers. Students can then either work together to create one artwork or create their own individual artworks.

 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: Sara Hastings

Revised and copyright:  May 2024 @ ArtsNOW

 

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EXPLORING NUMBERS THROUGH BODY PERCUSSION K-1

EXPLORING NUMBERS THROUGH BODY PERCUSSION

EXPLORING NUMBERS THROUGH BODY PERCUSSION

Learning Description

In this lesson, students will “count on” or skip-count from various numbers by creating body percussion progressions that follow a steady beat.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: MUSIC & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can follow a steady beat using body percussion.

  • I can “count on” or skip-count from a given number. 

  • I can create body percussion progressions that follow a steady beat.

Essential Questions

  • How can we use body percussion to help us practice “counting on” or skip-counting?

 

Georgia Standards

Curriculum Standards

Kindergarten

K.NR.2.1 CoK.NR.2.1 Count forward to 100 by tens and ones and backward from 20 by ones.unt forward to 100 by tens and ones and backward from 20 by ones.

 

K.NR.2.2 Count forward beginning from any number within 100 and count backward from any number within 20.

 

Grade 1

1.NR.1.1 Count within 120, forward and backward, starting at any number. In this range, read and write numerals and represent a number of objects with a written numeral.

Arts Standards

Kindergarten

ESGMK.CR.2 Compose and arrange music within specified guidelines.d guidelines.

 

ESGMK.PR.2 Perform a varied repertoire of music on instruments, alone and with others. 

  1. Echo simple rhythmic patterns with appropriate technique using body percussion and classroom instruments. 
  2. Perform steady beat and simple rhythmic patterns with appropriate technique using body percussion and classroom instruments.

 

Grade 1

ESGM1.CR.2 Compose and arrange music within specified guidelines.d guidelines.

 

ESGM1.PR.2 Perform a varied repertoire of music on instruments, alone and with others. 

  1. Echo simple rhythmic patterns with appropriate technique using body percussion and classroom instruments. 
  2. Perform steady beat and simple rhythmic patterns with appropriate technique using body percussion and classroom instruments.

 

 

South Carolina Standards

Curriculum Standards

KindergartenK.NS.1 Count forward by ones and tens to 100. 

K.NS.2 Count forward by ones beginning from any number less than 100.

Grade 11.NSBT.1 Extend the number sequence to: a. count forward by ones to 120 starting at any number; b. count by fives and tens to 100, starting at any number

Arts Standards

Anchor Standard 1: I can compose and arrange music.

Anchor Standard 4: I can use my body to make sounds.

 

Key Vocabulary

Content Vocabulary

  • “Count on” - The process of adding a specific quantity to a given number
  • Skip counting - A technique in mathematics where you count by a certain number other than 1

Arts Vocabulary

  • Unison - This is a single melody; all instruments or voices sing/play the same notes.

  • Body percussion - Using different parts of the body to make music.

  • Beat - Basic unit of time in music, regular and repeating pulse under the music

  • Steady beat - A consistent and regular pulse or rhythm that is maintained throughout a piece of music

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Watch the “The Beat is the Heart of Music” with students.
    • Have students follow your movements in unison as you demonstrate different methods of body percussion such as tapping your foot on the floor, clapping, tapping fingers in palm, patting legs with hands, etc, to the steady beat. 
    • Begin simply with one body percussion movement, gradually making it more complex with varying snaps, slaps and claps. Students should follow along in unison.

 

Work Session

  • Introduce “counting on” or skip-counting to students. 
  • Start with simple body percussion and low numbers, such as “one”, followed by four counts and four claps together. 
  • Continue on with higher numbers or skip-counting according to ability/readiness level.
  • Tell students that they will be creating a four beat body percussion progression adding skip-counting or “counting on” to their movements. First, the class will practice some body percussion movements together.
    • Begin by playing music with a strong steady beat. 
    • Have students pat their legs to the steady beat. 
    • Then, invite a few students to the front of the room, one at a time, to choose a new percussive movement to lead the class in.
  • Divide students into small groups. In their groups, have students create a four beat body percussion progression following the steady beat of the music. Assign each group a different criteria for “counting on” or skip-counting.
  • Have students return to the whole group. 
  • Allow students to share their percussive progressions. Be sure to arrange student performances so that the number progression is in order.
  • Have the whole class join the group in  “counting on” or skip-counting to the progression.

 

Closing Reflection

  • Have students physically arrange themselves in the correct order depending on the value of the number that they are starting from.
  • Then, have students perform one last time in order.
  • As a whole group, reflect on the process by asking students what a steady beat is and what they learned about “counting on” or skip-counting through percussive movements.

 

Assessments

Formative

Teacher will assess student learning by observing which students are “counting on” or skip-counting correctly from the given number, which students are using body percussion to make a steady beat, and which students are able to follow the teacher’s body percussion movements.

 

Summative

CHECKLIST

  • Students can “count on” or skip-count correctly from a given number.
  • Students can create body percussion progressions that follow a steady beat.

 

Differentiation

Accelerated: Assign students individual challenges such as starting at a higher number or skip-counting by two instead of five, for example.

Remedial: 

  • Limit the numbers to up to 10. 
  • Assign the same number progression to the whole class.
  • As a whole class, create a body percussion progression adding “counting on” or skip-counting.

 

*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: Elizabeth Paige

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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