Georgia Standards

South Carolina Standards

Key Vocabulary

Materials

• Example of a mobile by Alexander Calder, such as, “Mariposa”
• Examples of Jim Dine’s work that have different color schemes, such as “Four Hearts” and “Two Hearts in a Forest”
• 12x18 white mixed media (or heavier) paper
• Templates of circles in multiple sizes
• Tempera paint or watercolors
• Water cups
• Paint brushes
• Popsicle sticks (two per student)
• Yarn in various colors

Instructional Design

Opening/Activating Strategy

• Show students an example of a mobile by Alexander Calder, such as, “Mariposa”.
• Lead students through the Shapes / Lines / Colors Artful Thinking Routine.
  • Tell students to look at the artwork. Ask them to discuss:
    • What colors do you see?
    • What shapes do you see?
    • What lines do you see?

Work Session

• Tell students that they will be creating a mobile inspired by Calder that represents a positive and a negative perspective.
• First, discuss what the words “positive” and "negative" mean.
• Next, ask students to reflect on an experience that they could have looked at with a positive perspective or with a negative perspective. Ask them which they chose. Ask them to consider how their experiences might have been different if they had looked at it from the other perspective.
  • Provide time for students to share with a partner.
• Show students two examples of Jim Dine’s work that have different color schemes, such as “Four Hearts” and “Two Hearts in a Forest”.
  • Ask students to reflect on how different color schemes change the artwork.
• Next, have students select a color scheme for a positive perspective and a color scheme for a negative perspective.
• Pass out 12x18 paper, scissors, circle templates, and tempera paint or watercolors.
• Have students trace four different sized circles on their paper and cut them out.
• Using the color schemes students selected, have students paint one side of each circle with one color scheme and the other side with the other color scheme. Encourage expressive application of paint. Optional: Look at examples of abstract artwork, particularly examples of Abstract Expressionism, with students.
• After the paint is dry, have students draw a spiral in each circle starting in the center and going out to the edge. Using scissors, students will cut along the spiral lines.
• Pass out yarn to each table and two popsicle sticks to each student.
  • Students should paint their popsicle sticks on both sides.
  • When dry, have students use the yarn to attach the popsicle stick in an “X”.
• Next, have students cut four pieces of yarn–all different lengths. Students should tie each piece of yarn to each end of the popsicle sticks. Then, they should attach one end of each of their spirals to the hanging ends of the yarn.

Closing Reflection

• Display students’ mobiles by hanging them around the classroom. Have students observe each other’s work.
• Allow time for students to discuss their color choices and how they reflect positivity or negativity.

Assessments

Formative

Assess students’ learning by observing students’ responses to discussion questions and conferencing with students throughout the planning and artmaking process.

Summative

• Artwork rubric

Differentiation

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Katy Betts

*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:  August 2025 @ ArtsNOW

Georgia Standards

South Carolina Standards

Key Vocabulary

Materials

• Examples of Yayoi Kusama’s artwork, such as “Flowers” and “Petals”
• Small pieces of paper, such as 3x5 cards
• Permanent markers
• Pencils
• 8x8 inch white mixed media paper
• Watercolor paints
• Paintbrushes
• Water cups
• Color wheel

Instructional Design

Opening/Activating Strategy

• Show students examples of Yayoi Kusama’s artwork, such as “Flowers” and “Petals”.
• Ask students to notice the lines and shapes that Kusama makes in these artworks.
• Discuss how patterns are created by repeating lines and shapes.
• Pass out 3x5 notecards to students. Have each student make a simple pattern on the notecard.
• Students should then share their different patterns with the students at their tables.

Work Session

• Discuss with students how each person has strengths and weaknesses. Have students brainstorm a list of their strengths. Students should select one for their artwork.
• Pass out 8x8 square paper to students. Have the students write the word in pencil on their paper so that the letters overlap.
• Tell students to be sure each letter touches at least two sides of their paper.

• Next, have students go over their lines with permanent markers.
• Have students use lines to create patterns with their markers. Encourage students to use a variety of patterns and line qualities.
• Students should fill each of the shapes that they made with their overlapping letters.

• Next, discuss how different colors can evoke different emotions. Show students a color wheel and ask students to consider what each color makes them feel.
• Students should then select at least three colors for their artwork.
• Using watercolor paints, students will paint in various shapes of their artwork.

Closing Reflection

• Have students share their artwork using the following reflection questions:
  • What did you show in your work?
  • What types of patterns did you use?
  • What were some of the challenges you faced as you created your artwork?

Assessments

Formative

• Teachers will assess students throughout the lesson by observing responses to discussion questions, creation of patterns, and artmaking process.

Summative

• Artwork rubric

Differentiation

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Katy Betts

*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:  August 2025 @ ArtsNOW

Georgia Standards

South Carolina Standards

Key Vocabulary

Materials

• Paper (newsprint for practice and rice paper for project)
• Pencil
• Watercolors
• Water cups
• Brushes
• Paint palettes
• Wet wipes/baby wipes
• India ink
• Foam printing plate
• Red stamp pad, ink, or tempera paint (for chop)
• Examples of Japanese Sumi-e paintings
• Video to introduce Sumi-e painting

Instructional Design

Opening/Activating Strategy

• Introduce the idea of Japanese Sumi-e painting to students. Show students the video to introduce Sumi-e painting.
• Share how it is the art of relaxation and meditation.
• Engage students in a “Think, Pair Share” about the process of Sumi-e painting.

Work Session

• Discuss the “Four Gentlement”. Tell students that the “Four Gentlement” are four plants that a sumi-e painter must study and master to become a true artist.
  • The Four Gentlemen are: bamboo, wild orchid, chrysanthemum, and plum blossom branch.
  • Each plant requires years of dedicated practice under skilled guidance. They are called “gentlemen” because they embody elegance, refinement, and grace.
  • In sumi-e, each plant is created through a series of specific brushstrokes.
• Show students examples of each type of painting. Ask students to see if they can identify the different types of brushstrokes needed to create each plant.
• Guide the students in creating and practicing the different brushstrokes needed to create the “Four Gentlemen”.
• Allow students time to practice their brushstrokes.
• Discuss the importance of line, contrast, value, and balance in sumi-paintings. Ask students whether they think the brush strokes could represent different emotions.
• Allow students time to generate ideas for their Sumi-e painting. Emphasize using different types of lines, contrast, value, and balance in their paintings.
  • Engage students in a “Think, Pair share” about their ideas for their painting.
• After the students have had time to practice and generate ideas for their project, pass out the project paper and have the students begin creating their artwork.
• Remind students to try to stay in the present and practice mindfulness while they are creating their artworks.
• Once the projects are done and dry, ask students to reflect on the process. What was challenging? What do they feel most proud of in their work?
• Next, turn the focus to creating a chop for their signature.
• Cut and distribute a 1X1 inch square foam printing plate.
• Discuss the importance of a chop (signature). Explain to students that a chop does not have to contain letters. Instead, they can create a personal symbol to act as their signature.
• Have students generate ideas for their chop.
• Discuss the idea of printmaking and how letters must be written backwards so that when it is printed it will print correctly.
• Once they have chosen their design, have them use a dull pencil to etch it into their foam plate.
• Let them practice pulling the print a few times with red ink or paint before they add it to their Sumi-e painting
• Lastly, have them add their chop to their painting to finish their project.
• For added drama, have them mount their projects on red paper.

Closing Reflection

• Provide students the opportunity to share their sumi-paintings and discuss how it felt to intentionally stay present and be mindful during the process. Let them discuss their process and decision making. Use “Think, pair share” to facilitate discussion.
• Allow time for students to explain their chop, as well.
• Have students complete a 3-2-1 reflection at the end of the project. 3-2-1: list three things they learned about the process of Sumi-painting, two things they noticed about themselves during the process, and one question they have about the lesson.

Assessments

Formative

• Observe students’ responses to discussion.
• Observe students’ process in their sketchbooks.
• Use a Think-Pair-Share activity with students at the beginning, middle and end of the project so that they can give each other feedback.
• 3-2-1: list three things they learned about the process of Sumi-painting, two things they noticed about themselves during the process, and one question they have about the lesson.

Summative

• Artwork rubric

Differentiation

Additional Resources

• Blick Sumi-e Resist Painting

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: SAIL Grant Teacher Leaders–Chad Itnyre, Kristen Alvarez, Leah Patel, Lucerito Gonzalez, Tamu Clayton, Sandra Cash, Erin Smullen

*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:  August 2025 @ ArtsNOW

Georgia Standards

South Carolina Standards

Key Vocabulary

Materials

• Sketchbooks/practice paper
• Pencils
• 9X9 paper divided into four sections
• Markers, colored pencils, or paint (students may choose their preferred medium)
• Black permanent markers
• Black construction paper cut 11X11 for mounting
• Glue or double-sided tape
• Various artworks that express emotions (ex: Van Gogh, Picasso, André Derain, Jim Dine)
  • Examples: “Four Hearts” by Jim Dine, “Sunflowers” by Van Gogh, and “The Old Guitarist” by Picasso
• Video about Pop Art and Andy Warhol (Watch only the first four minutes)
• Examples of Warhol’s work:

• Emotions and feeling chart:

• Color psychology and emotions chart:
  • Red – love, mad, angry, happy, energetic
  • Yellow – excited, happy, hopeful
  • Orange – excited, energetic
  • Blue – sad, cool, calm
  • Green – cool, calm, growth, nature
  • Purple – creative, luxury, wealth, lonely
  • Black – power, evil, madness, anger
  • Gray – bored, tired, sad
  • Brown – sleepy, lonely, nature

Instructional Design

Opening/Activating Strategy

• Students will begin this lesson by discussing a variety of artists and how they use color to express or evoke emotions.
  • Examples: Van Gogh used yellow to show hope and joy, Picasso used blue to show sadness and despair, Derain used color to show noise and activity, Dine used color and line to show fun and excitement, and Monet used color to show calm and tranquil.
• Show examples of artwork that use color to evoke emotion and ask students to reflect on how each makes them feel. Provide time for students to discuss with a partner.
  • Examples: “Four Hearts” by Jim Dine, “Sunflowers” by Van Gogh, and “The Old Guitarist” by Picasso.
• Engage students in a discussion about what colors they identify with when they are sad, happy, mad, sick, etc.  
• Discuss color psychology and how this can help artists add emotion to their work.
• Ask students what other colors artists used to convey emotions.
• Next, look at and discuss artworks by Andy Warhol. Observe how he used contemporary objects in our everyday life in his work and how he used color to transform them.
• Show students images of different facial expressions used when conveying emotions. Discuss how changing the angle of the brow can make a face go from happy to sad, surprised to angry.
• Say different emotions and have students respond by making expressions to show that emotion.  

Work Session

• Ask students to provide an example of an emoji that displayed a particular emotion (sad face, happy face, mad face, etc.) and ask them how they could change or manipulate this emoji using facial expressions or colors to make this emoji appear to have more meaning.
  • Example: Using tints and shades of blue to color the sad emoji, using bright reds, yellows and oranges to show anger, etc.  
• Students will use their sketchbooks to design four emoji inspired characters that show different feelings or emotions through color and expression.
• Next, they will use crayons to practice using the appropriate colors throughout the piece to further express each character’s emotion. 
• After students have had time to sketch out their ideas, have them do a think-pair-share activity with the students around them to get constructive criticism.
  • Have students focus on communicating and expressing their concerns or thoughts about their peers’ artwork. The purpose is to gain other’s perspectives on their artwork and to make sure their classmates are communicating effectively.
  • Tell students that their peers should not have to guess what emotions they are trying to convey. It should be understood; if it is not, discuss what could be done differently to make it clearer.
• Show students examples of Andy Warhol’s artwork. Ask students to discuss the composition and colors that Warhol used.
• When the students are ready, pass out 9X9 inch project paper and have them fold it vertically and horizontally to create four equal sections.
• Have students trace or draw a large circle in each of the four sections. Students will then sketch out their four characters (one in each section) in a grid pattern like many of Warhol’s pieces.
• Once they have a sketch on the paper that they are happy with, have them outline their work with a black permanent marker.
• Students can use their choice of markers, colored pencils, or paint to finish their work. Remind them that the colors and facial expressions they use should express or convey a specific emotion.
• When the students are finished with their artwork, mount them on black paper giving them a clean border.

Student Examples:

Closing Reflection

• In closing, have students do a gallery walk. Have them determine what emotions are being conveyed. Students should be able to justify their answers using the knowledge they have gained from the lesson.
• Have students reflect on their own artwork and discuss what they thought they did well on and what they would change.

Assessments

Formative

• Teachers will assess students throughout the lesson through observations, questioning, responses to class discussion, sketching/practice, and conferencing.
• Suggestion: Use a Think-Pair-Share activity with students at the beginning, middle and end of the project so that they can give each other feedback. 

Summative

• Artwork rubric

Differentiation

Additional Resources

• Andy Warhol (Getting to Know the World's Greatest Artists) by Mike Venezia 
• Art & Emotions - YouTube (watch the first 2 ½ minutes)
• How Artists Use Color to Express Emotion (this can be used as a hook or a supplemental resource for kids that need more information or support)

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: SAIL Grant Teacher Leaders–Chad Itnyre, Kristen Alvarez, Leah Patel, Lucerito Gonzalez, Tamu Clayton, Sandra Cash, Erin Smullen

*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:  August 2025 @ ArtsNOW

Georgia Standards

South Carolina Standards

Key Vocabulary

Materials

• Examples of balance (symmetrical, asymmetrical, radial)
• Examples of mandalas from various artists
• Paper
• Pencils
• Clay
• Clay tools
• Clay mats
• Water
• Rulers
• Circle templates
• Oil pastels
• Black India ink
• Paint brushes
• Water cups
• Paper towels
• Varnish
• “Cup 2 Picasso” by Jasper Johns
• “The Great Wave” by Hokusai
• “Resurrection” by Alma Thomas
• Examples of radial balance in art: Charger of Charles II in the Boscobel Oak, Rayonnant Gothic rose window of the Notre-Dame Cathedral, and Tibetan mandala
• Examples of mandalas

Instructional Design

Opening/Activating Strategy

• Students will explore the concept of balance and how artists use balance in their work.
• They will examine all three types of balance (symmetrical, asymmetrical, and radial).
• They will use this knowledge to compare and contrast works of art by various artists.
  • Example: “Cup 2 Picasso” by Jasper Johns
  • Example: “The Great Wave” by Hokusai
  • Example: “Resurrection” by Alma Thomas

Work Session

• • After students’ clay mandalas have been fired in the kiln, they will use oil pastels to add color to their mandalas making sure to continue the pattern with color. Review examples of mandalas as needed.
  • Students will then use a black ink wash to paint over the entire front of the mandala creating a wax resist effect.
    • After students’ clay mandalas have been fired in the kiln, they will use oil pastels to add color to their mandalas making sure to continue the pattern with color. Review examples of mandalas as needed.
    • Students will then use a black ink wash to paint over the entire front of the mandala creating a wax resist effect.
      • After students’ clay mandalas have been fired in the kiln, they will use oil pastels to add color to their mandalas making sure to continue the pattern with color. Review examples of mandalas as needed.
      • Students will then use a black ink wash to paint over the entire front of the mandala creating a wax resist effect.
      • Students will then run their projects under the sink to take away any extra ink to reveal their colorful designs.Students will then run their projects under the sink to take away any extra ink to reveal their colorful designs.Students will then run their projects under the sink to take away any extra ink to reveal their colorful designs.Day 1: INTRODUCTION AND PLANNING
        • Students will do a close study of radial designs and discuss the importance of a circle's radius. Students will observe how they will use this information in their design.
          • Examples: Charger of Charles II in the Boscobel Oak, Rayonnant Gothic rose window of the Notre-Dame Cathedral, and Tibetan mandala
          • Spend time looking at the lines and shapes in each of the designs.
        • Next, have students look at examples of mandalas. Ask students what they see that is similar and what is different.
          • Students should notice repeated patterns and colors and how they are organized.
          • Discuss how the art of mandalas helps with the practice of mindfulness.
        • Students will then get a piece of paper and trace around a circle stencil on the front and back of the paper.
          • On one side of the paper, they will divide the circle into fourths.
            • They will begin using lines and simple shapes to fill one fourth of the circle with a design using shape and line. Students will repeat that design in each section creating a mandala.
            • Encourage students to create simple designs as they will be translating the drawing into a clay sculpture.
          • They will repeat this process on the back but will divide their circle into eighths.

         

        Days 2-3: CREATING WITH CLAY

        • Students will choose one of the mandalas they made on day one to recreate using clay.
        • Students will use hand building techniques, such as coils, slabs, and pinching to create lines and simple shapes to create their mandalas.
        • Once they have created their design with clay, they will score the back and smear wet clay on the back to attach all the pieces.
        • Students will turn their project over to reveal their final design.

        Days 4-5: WAX RESIST TECHNIQUE AND VARNISH

        • After students’ clay mandalas have been fired in the kiln, they will use oil pastels to add color to their mandalas making sure to continue the pattern with color. Review examples of mandalas as needed.
        • Students will then use a black ink wash to paint over the entire front of the mandala creating a wax resist effect.
        • Students will then run their projects under the sink to take away any extra ink to reveal their colorful designs.
        • Once they are dry students will add a clear varnish on top to protect the finish

         

Closing Reflection

• Close the lesson with a gallery walk having students observe each other’s work. Students can provide “a glow and a grow” for three different mandalas.
• Ask students to reflect on how creating their mandalas helped them with the practice of mindfulness.

Assessments

Formative

• The teacher will observe students’:
  • Responses to class discussion to determine their understanding of the different types of balance, particularly radial balance.
  • Planning process and initial mandala designs.

Summative

• Artwork rubric

Differentiation

Additional Resources

• What is a mandala: What is a Mandala? About Mandala art
• What is Balance: Principle of Balance in ART - elementary - YouTube
• Wax resist on clay: Wax Resist with Clay

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: SAIL Grant Teacher Leaders–Chad Itnyre, Kristen Alvarez, Leah Patel, Lucerito Gonzalez, Tamu Clayton, Sandra Cash, Erin Smullen

*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:  August 2025 @ ArtsNOW