Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• 12” x 18” sheets of white paper cut into 4” x 18” strips
• Rulers
• Scratch paper
• Pencils
• Colored pencils
• Liquid glue
• Tag board or cardboard sheets

 

Instructional Design

Opening/Activating Strategy

• Show students an example of an accordion book. Ask students to identify how an accordion book is similar and different to the types of books that they read in class.
  • Students should notice that many features are the same. The difference lies in the form.
• Tell students that they will be creating an accordion book to tell a personal narrative.

 

Work Session

Personal Storytelling 

• Ask students to take a few minutes and reflect on the school year.
• Then ask each student to write down as many favorite school memories as he or she can remember on a sheet of scratch paper. Model this process by working alongside your students.
• Next, ask students to see if they can pick out three of the most important memories that they listed and circle them.
• Next, review the parts of a story reminding students that all stories need a beginning, middle, and end.
• Ask students to identify which memory has a beginning, middle, and end and has the most details. This should be the topic for their narrative.
  • Have students fold a sheet of white paper in half, and in half again to make four equal sections. Students will use this paper for their rough drafts.
  • Have students write the setting and characters in the first box.
  • In the other boxes, students should write text and/or draw images for the beginning, middle, and end of their stories.
• Tell students that each page in their accordion book will tell these elements of their story!

 

Accordion Bookmaking  

• Students will begin creating their books by folding a sheet of paper into equal lengths to create a designated number of panels.
  • In this case, they will need six panels for the inside of the accordion book (two for each part of the plot–beginning, middle, and end) and two additional panels for the front and back covers–eight equal panels total.
• Next, have students trace one panel of the book on cardboard twice. This will be the front and back covers of the book.
  • Students will cut out and glue these pieces to the first and last panel of the folded paper with liquid glue to make the front and back covers sturdy.
• Next, students should transfer what they wrote and drew on their planning paper (rough draft) onto each panel of their accordion book.
  • Each part of the plot should have two panels–one for text and one for illustration. Students should use color in their illustrations to make them come alive!
  • Remind students to use descriptive details and temporal words in their writing.
• Finally, students will design the front and back covers of their books with imagery; they will also include a title for their story and author/illustrator name.

 

Closing Reflection

• Students should share their accordion book narratives in small groups. Students can share a “grow” and a “glow” for peer feedback.
• Finally, students should complete a “grow” and a “glow” ticket out the door. Students should identify one thing that they think they did well and one thing that they would like to improve upon next time.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of the parts of a story, and conferencing with students during the writing and creating process.

 

Summative

CHECKLIST

• Students can create an accordion book that tells a personal narrative through text and imagery.
• Students can tell a personal narrative that includes an exposition, rising action, climax, falling action, and conclusion.
• Students can use descriptive details and temporal language to tell a story.

 

DIFFERENTIATION 

Acceleration:  Students will turn books into a performance to be shared with younger students. Students will transform books into audio books, incorporating sound effects to match their stories. Pair students with younger students to have them teach the basic technique of creating an accordion book. Remediation:  Provide students with pre-folded paper for the accordion books. Provide students with verbal prompting assistance when creating their front and back covers of their accordion books. When participating in the personal storytelling, brainstorm (as a group) the school memories of the past year and create a list, providing verbal prompts to help recollect memories. Provide students with examples of how to write an introduction and a conclusion. ESOL Modifications and Adaptations: Preview vocabulary: Accordion book, narrative, introduction, and conclusion. Model the activity by creating an ESOL accordion book using prior knowledge. Students may create their own accordion book or work with a partner, depending on the students’ language levels.

 ADDITIONAL RESOURCES

Make a mix and match accordion book - Met Kids

*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: Darby Jones. Modifications, Extensions, and Adaptations Contributed by: Candy Bennett, Patty Bickell, Vilma Thomas, and Lori Young. Updated by: Katy Betts.

Revised and copyright: August 2024 @ ArtsNOW

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• • Pencils and erasers
  • Watercolors
  • Paint brushes and water cups
  • Crayons, oil pastels, or permanent black markers
  • 9x12 sheets of mixed media paper

• Optional technology extension: Charged iPad with Kidsdoodle or drawing app downloaded

 

Instructional Design

Opening/Activating Strategy

• Project a portrait by one of the Renaissance masters, such as Diego Velazquez’s “La Infanta Margarita” or Raphael’s “Portrait of Baldassare Castiglione”.
• Engage students in the Artful Thinking Routine: See, Think, Wonder.
  • First, students will identify what they see in the image. Emphasize that they should make objective observations about the image (i.e. physical features, colors, textures, etc.).
  • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
  • Finally, ask students what they wonder about the image.
• Facilitate a class-wide discussion around students’ observations, inferences, and questions.
• Explain to students this artwork is an example of a portrait. Portraits are visual depictions of people–often posed. When an artist makes a portrait of themself, it is called a self-portrait.
• Explain that before the Renaissance, artists didn’t depict people realistically. Renaissance artists used measurement and proportion in painting portraits to make them look realistic.

 

Work Session

• Tell students that they will be making their own self-portraits, focusing on the use of proportion and spatial relationships, like the Renaissance masters.
• Pass out pencils and mixed media paper.
• Have students lightly draw a large oval or egg shape onto their paper.
• Tell students that the eyes are located about halfway down the face. Have them draw a light horizontal line about halfway down the oval.
• Next, have students begin drawing the eyes with a circle and two bird-beaks attached to make an eye shape. Then draw in eyebrows with curved lines.
• Have the students use their fingers to measure the width of one eye. This is the distance from the eyes to the bottom of the nose.
• Tell students that the center of the nose is a “U” shape surrounded by two nostrils on either side. You can describe these shapes as a forward and backward “C” shape.
• Next, tell students to draw two very light vertical lines from the center of each eye all the way down to the bottom of their face. These lines represent how wide their mouths should be. Have students draw in their mouths.
• Use your “measuring fingers” once again to demonstrate that the ears are located between the top of the eyebrows and bottom of the nose.
• Have students lightly sketch in their hair, neck and shoulders last.
• Have students go over the lines of their face with permanent black markers, crayons, or oil pastels.
• Tell students to set their portraits aside. They will come back to them later.
• Lead a discussion around what characteristics are. Differentiate between physical characteristics, like hair or eye color, and personality characteristics.
  • Ask students to share examples of personality characteristics. This can be done as a whole group, or have students work in small groups to create lists and share them with the class.
  • Next, ask students what type of words these are. Are they nouns? Verbs? Adjectives? Students should make the connection that characteristics of a person are words to describe them and therefore are adjectives.
  • Next, have students generate a list of adjectives to describe their personality. Remind them that personality characteristics are things that cannot be seen on the outside. Encourage students to generate a list of five to seven adjectives to describe themselves.
    • Project the sentence starter “I am _________.” on the board. Tell students that they should be able to insert their adjective into the sentence starter without adding any additional words. If they have to add “a” or “the”, the part of speech is a noun and not an adjective.
  • Provide time for students to share their adjectives with the class, in small groups, or with a partner. Check to make sure that students’ words are written as adjectives and not nouns before moving on.
• Tell students that they will write their adjectives in the negative space of their self-portrait. The negative space is the “empty space”, or space around the subject of the artwork. Encourage them to write big and fill the space.
  • Students should write their adjectives with the same material (permanent black marker, crayon, or oil pastel) that they used to go over the lines of their self portrait.
• Finally, students will add color and detail to their self portraits using watercolor. The crayon or oil pastel will “resist” the watercolor. If using a permanent black marker, the marker won’t smear when the watercolor is applied.
• Students should finish their masterpieces by writing an informative paragraph about themselves using all of the adjectives in their self-portraits. Students’ writing should meet grade-level standards criteria.

 

Optional technology extension: Demonstrate how to use Kidsdoodle or another drawing app on iPad. Lead a discussion of the pros and cons of using a drawing app versus hand drawing methods and the differences in proportion  Using the camera on the iPad, take individual portrait photos of each student and print it. Have students compare photos to original sketches and app-generated drawings. How does each differ from the other?

 

Closing Reflection

• Have students celebrate their self-portraits by conducting a gallery walk, in which students walk around the room and take a closer look at all the artwork.
• Facilitate a discussion around how we see ourselves and appreciating what each person brings to the class community.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation and contributions to the activator, ability to use informal measurement methods to create their self-portraits, discussion of personality characteristics and adjectives, and conferencing with students during the writing process.

 

Summative

CHECKLIST

• Students can create a self-portrait that correctly estimates the placement of facial features using informal measurement methods.
• Students can describe their personality characteristics using adjectives.

 

 

DIFFERENTIATION 

Acceleration:  Have students engage in the same art and writing process about a character from a text being studied in class. Have students use a ruler to study the spatial relationships in Renaissance portraits by having students place tracing paper over a printed copy of a portrait and tracing the major lines with pencil. Then, students will use a ruler to measure the spatial relationships between facial features. For an extra challenge, students can then apply these spatial relationships to create their own self-portraits rather than following the guided lesson. Remediation:  As a class, create a word bank of adjectives for students to choose from when describing themselves. Provide a printed oval outline on cardstock paper for students rather than having them draw their own.

 

 ADDITIONAL RESOURCES

Renaissance art

 

*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: Darby Jones and Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

• Magazines (student-friendly with primarily non-human images)
• Scissors (1 pair per student)
• Colored paper (for collage background on which to glue final composition)
• Scrap/photocopy paper (2 per student)
• Glue sticks (1 per student)
• Pencils (1 per student)
• Large black banner paper and tape for hanging

 

Instructional Design

Opening/Activating Strategy

• Project an image of a self-portrait, such as Frida Kahlo’s “The Frame”.
• Ask students to work collaboratively to engage in the See, Think, Wonder Artful Thinking Routine.
  • First, students will identify what they see in the image. Emphasize that they should make objective observations about the image (i.e. physical features, colors, textures, etc.).
  • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
  • Finally, ask students what they wonder about the image.
• Facilitate a class-wide discussion around students’ observations, inferences, and questions.
• Explain to students that Frida Kahlo was a real person and this is one of her self-portraits. A self-portrait is a visual representation of oneself. It gives the viewer special insight into how a person sees themselves.

 

Work Session

• Explain that students will create their own self-portrait using symbolism. They will use symbols to represent characteristics about themselves.
• Facilitate a discussion around examples of symbolism.
  • Draw or project symbols on the board such as a peace sign, a heart, a smiley face, a stop sign, etc. Ask students to tell you what each means. Then, explain that a symbol is an image that communicates meaning.
• Next, discuss what characteristics are. Differentiate between physical characteristics like hair or eye color and personality characteristics. Ask students to share examples of personality characteristics.
  • Each student will use symbolism by choosing objects and/or images that represent his/her likes, interests, talents, dreams, work and passions, but not pictures of actual body parts.
  • Ask students to generate a list of 5-7 characteristics they would like to include in their self-portrait. They will write them on scratch paper.
  • Have students brainstorm with a partner what types of images could represent these characteristics.
• Explain that students will cut out images from magazines and glue them down on the shape of a body to make their self-portrait.
• Pass out templates of a human body (outline only) or project an image on the board for students to draw on their own blank paper (preferably 12x18).
• Tell students that once they find and cut out their images, they should plan their composition by laying them out on their outline of the body. This will allow students to move pieces around and change them before they glue, preventing tearing of images.
• To glue the images, lay them face down on a piece of scrap paper. Use a glue stick around the edges and back surface until the entire area is covered with a thin, even layer of glue. Take the glued image and lay it down onto their paper, glued side facing down.
• Have students carefully place a piece of clean scrap paper on top and smooth over the glued piece by rubbing with their hand to secure it in place. This is called burnishing and will give the collage a professional look.
• On a separate sheet of paper, have each student write an informative paragraph describing their self-portrait. Paragraphs should have introduction and conclusion sentences. The body of the paragraph should identify each symbol they used and explain what the symbol represents.

Closing Reflection

• Display all collages on a piece of black banner paper without students knowing who created each collage.
• Have students guess the creator of each collage and explain their reasoning.
• Compare and contrast guesses with actual facts. This closing conversation can lead to discussions of perceptions, assumptions, similarities, and differences.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of symbolism and characteristics, ability to identify personal characteristics and translate them into symbols, and conferencing with students during the writing process.

 

Summative

CHECKLIST

• Students can identify and select symbols to represent characteristics about themselves.
• Students can create a self-portrait using symbols.
• Students can write an informative paragraph that identifies and explains the meaning of the symbols they used in their self portraits.

 

 

DIFFERENTIATION 

Acceleration: Students will choose a character from a class-read text. They will create a portrait collage to represent the character without sharing their choice with other classmates. All portraits will be displayed. Students will pick a collage created by another student to match to a character in the book and defend their choice in writing with support from the text. Finally, students will compose a writing sample comparing and contrasting their own self-portrait with the character portrait. Remediation: Provide a body template for each student. Discuss the parts of the template. Provide pictures for students to choose their favorites in the following categories: Stomach – food Hands – things to do Feet – places to go Head – academic topics Invite students to choose pictures from each category and glue them to the appropriate body part of the template. Students can dictate words or sentences for each body part. ESOL Modifications and Adaptations: Introduce vocabulary: Collage (show students examples of a collage) and burnishing (show students what burnishing is and have them try it with scrap paper). Teacher will create a prototype and use it as a demonstration model to scaffold process and product development. Students will label their own portraits including the head, body, arms, and legs. Students will also dictate descriptive words or write descriptive words (using inventive spelling according to language level).

 

*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: Anne Ostholthoff. Modifications, Extensions, and Adaptations Contributed by: Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, and Vilma Thomas. Updated by: Katy Betts. 

Revised and copyright: July 2024 @ ArtsNOW

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

 

Work Session

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

 

Closing Reflection

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

 

Assessments

Formative

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

 

Summative

CHECKLIST

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

and non-living things during prehistoric times.

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

 

DIFFERENTIATION 

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

 ADDITIONAL RESOURCES

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

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

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

Revised and copyright:  June 2024 @ ArtsNO

 

 

Georgia Standards

 

South Carolina Standards

 

Key Vocabulary

 

Materials

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

 

Alternative material choices: 

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

 

Instructional Design

Opening/Activating Strategy

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

 

Work Session

BACKGROUND:

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

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

 

STAINED GLASS DESIGNS:

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

 

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

 

PERSUASIVE WRITING

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

 

Closing Reflection

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

 

Assessments

Formative

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

 

Summative

CHECKLIST

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

 

DIFFERENTIATION 

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

 ADDITIONAL RESOURCES

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

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

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

Revised and copyright:  June 2024 @ ArtsNOW