Art and Science Connected

An Evening for Educators at

The Springville Museum of Art

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 Art & Science Connected
Contents

Carel Brest van Kempen bio (speaker) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

Artists & Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Design a Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Astronomy and Art: Faces (Phases) of the Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
What Can You See in the Dark? Light & Physics & Value Drawings . . . . . . . . . . . . . . . . . 13
Basic Color Theory, Experiments with Color Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Let It Snow: The science and beauty of snowflakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
3-Dimensional Forms From Platonic Solids – Art and Solid Geometry . . . . . . . . . . . . . 29
Rainbows, Prisms And Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
The Sights and Sounds of Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
The Science of Proportion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Who Needs Sagebrush? Utah Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
I’m Being Eaten By a _______? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Shaping Utah’s Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
The Science and Art of Invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Pirates, Seascapes, and the Aesthetic Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Creating Your Own Biosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Ideas for Art & Science Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Symmetry in Nature: Bug Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Camouflaged Butterflies and Natural Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
You have two sides to your brain – now use it! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Right Brain /Left Brain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Bone Up on Science with ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Becoming an Art Scientist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

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 Art & Science Connected
Carel Brest van Kempen

With over 20 years as an artist, naturalist and author, Carel Brest van Kempen’s artistic mission has
always been to deepen awareness of the natural world and how it functions. His work has been ex-
hibited worldwide in such venues as The Smithsonian, The American Museum of Natural History, The
British Museum and The National Museum of Taiwan. He has been named one of 100 “Most Honored
Artists of Utah” by the Springville Art Museum (2002) and one of 14 “Master Signature Members” of
the Society of Animal Artists (2008). He has illustrated over a dozen books, including Dinosaurs of
Utah (1998), Biology of the Gila Monsters and Beaded Lizards (2005), Biology of the Boas and Pythons
(2007), Urban Herpetology (2008), and Conservation of Mesoamerican Amphibians and Reptiles
(2010) and authored the popular coffee-table book, Rigor Vitae: Life Unyielding (2006). In addition to
painting, he actively writes and blogs about natural history and conservation themes and serves on the
board of Science Art-Nature, a Stanford-based non-profit devoted to “raising the prominence of Sci-
ence Art and the benefits of combining the accuracy of science with the evocative power of art.”

For more information and to see more art, go to smofa.org and http://www.cpbrestvankempen.com/

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Art & Science Connected
Artists & Artworks

Springville Musuem of Art images Wulf Erich Barsch, In the Valley of the Sun and the
Moon (2000)

Osral B. Allred, Front Hook-up (1984)

Wulf Erich Barsch, Towards Thebes (1985)

Carlos Andreson, Curtain Time (1940)

Carlos Andreson, A Break from Plowing (1930)

Carlos Andreson, Abstract II (1955)

Phillip Henry Barkdull, Seagulls on Utah Lake or

The Gulls (1930) Floyd E. Breinholt, Box Canyon (1967)

Carel Brest van Kempen, Crash-Barrier Waltzer

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 Black-billed Magpie 

Carel Brest van Kempen, Lizard Relay: Jaguarundi

with Green Iguanas and

Silvia L. Davis Guest (1994)

and The Colt (1995)

Mabel Pearl Frazer, Sunrise, North Rim Grand

Canyon (1928)

Alvin L. Gittins, Card Players (1959)

Carel Brest van Kempen, Riparian Rashomon
Ranch S. Kimball, Entrance to Zion’s (1934)
Carel Brest van Kempen, Barn Owl Portrait
Catherine Kuzminski, Kimono Teapot (1990)
Royden Card, Desert II (1978)

Royden Card, Red Rock II

Jeanne L-L Clarke, Entertaining Favorite Ladies II
Upper right,
(Isaac) Loren Covington, Angel’s Landing, Zions
(1925)
Robert Marshall, Snow Canyon (1984)
Michael Mogus, Century’s End (1977)
Lewis A. Ramsey, Towers of the Virgin, Zion Can-
yon (Three Patriarchs) (1931)

Cyrus E. Dallin, Pinnacles: Cathedral of the Pines Lee Greene Richards, Autumn Stream (1930)
(1920)

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 Mary Ann Free Smith, Grey Squares (1995) Artworks & Images from other sources

Arlene Braithwaite, Ode to Sagebrush: A Hidden

Edith Taylor Roberson, The Dance (2003) Picture (2003)

Sven Birger Sandzen Moonrise in the Canyon, Arlene Braithwaite, Lunar Projections (2003)
Moab, Utah (1928)
Plate XIX of “Studies among the Snow Crystals ... “
Trevor Jack Thomas Southey, New Bloom: Portrait by Wilson Bentley
of Olive Patterson of Alpine (1977)
Plate XIV of “Studies among the Snow Crystals ... “
Nathaniel Irving Spens, Embarkation from by Wilson Bentley
Scotland (1867)
Anthony Arrigo, Full Wolf Moon Rising

da Vinci Inventions, Crossbow and Catapult

da Vinci Toothed Gears

Frederick Judd Waugh, The Open Sea (1900) da Vinci Helicopter and Wing

Jerry B. Yazzie, Coke at the Fair (1990) Leonardo da Vinci, Self-Portrait in Red Chalk ca.
1510-1515

Diagram of a human female skeleton

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 Will E. Floyd, Sun & Shade Taj Mahal, Agra, India.

Will E. Floyd, I Might Smile Baron Caterpiller by WohinAuswandern 11Nov

2009

Christmas Beetle (Anoplognathus viriditarsus)

Will E. Floyd, Winter Sage

A last quarter crescent moon above Earth’s

horizon

Primary rainbow and a secondary rainbow Leaf Tailed Gecko (Uroplatus phantasticus) by
gripso banana prune
Rainbow in Germany, by Dr. Joachim Opitz, 2005

Rainbow at Jasper National Park, Alberta, Canada, Owl butterfly at the London Butterfly House in
by Wing-Chi Poon Syon Park, by wwarby

A Fibonacci spiral that approximates the golden

spiral, using Fibonacci sequence

Godfried Schalcken, Self-portrait (1694) Golden Spiral in Bromeliad by Grupo Firenze, 28

May 2008
JMW Turner, Snow Storm - Steam-Boat off a
Harbour’s Mouth exhibited 1842

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 Art & Science Connected
Design a Number

Elementary Visual Art & Math Lesson your checkbook or figure out how many miles per
By Joseph Germaine gallon you were getting?

OBJECTIVE: Students will demonstrate an under-

This is a very successful kindergarten and first standing of and engagement with the writing and
grade project that ties personal visual creativity reading of numerals (the symbols we use to write
with mathematics. No one gets to invent what the down numerical values) by choosing a favorite
symbol of the quantity (1) looks like. It is a done number and creating a redesigned version of that
deal, and our jobs as budding Math students is to number suitable for framing and exhibition.
memorize someone else’s symbol and then regur-
gitate on call. Most students are empowered by This is an ART and MATH lesson for the primary
learning this seminal symbolism from the grown- grades, but I have successfully used this lesson
up world. However, there is no ownership avail- with older students.
able in this process. Some students want terribly
to “draw the numbers my own way.” All students
will be empowered, intrigued, and engaged if they
are encouraged to decorate their favorite num-
ber in their own personal way. This may help lay
groundwork for the actual reality that mathemat-
ics is not just about numbers but is a quantitative
vocabulary that discusses all things in and out of
the world we know. Once a student (at any age)
realizes this simple truth they are no longer mere
victims of Math but have the option of becoming
players.

Most of us stop doing math when we no longer

have a class curriculum that requires it. Why?
Because we think that mathematics is about
numbers and not about us or the world we live in.
I can prove this: I built a deck in my backyard last
summer. After drawing it I realized that to actu-
ally build it I would have to translate my drawing
into the quantitative vocabulary of math. I also
had to use numbers when I went to the lumber-
yard. It is a good thing that I learned at an early
age that mathematics was about me. What is
the most complicated math problem in your real The Big ‘9’ by Nino, 4th grade
everyday life? How many years of math instruc- “Nine is my favorite number because it is 3X3”
tion did it take you to figure out how to balance

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STATE CORE LINKS: USOE Rainbow Chart: Kin-
dergarten, “Elements of Art,” Shapes: created
by a lines that encloses an area. First Grade,
“Research/Create,” Study and observe the use of
shapes in illustrating a number.
MATERIALS: Pencil, paper, ballpoint pens (black
and colored), colored pencil or crayon
one finished.) (When you are finished it is
time to see if your artwork is finished also.)
4. Cover the whole space, with no white paper
showing through the scribble lines.
5. Don’t rub your hand over the place you just
colored (always color away from your
hand, not into it).

PROCESS: In visual art, we would call this a

“shape” design lesson. In math, this lesson is
about familiarity and personal ownership of nu-
merical symbols. Students first choose a number,
their favorite number. Remind students to choose
it based on what it looks like, not on its quantita-
tive value. Good luck!

Depending on the age group, students can choose

a one-digit number or a more complex multi-digit
number. Have the students fold a sheet of copy
paper into four windows and design four brief
ideas for the project. If you only have one idea to
choose from, it is not only your best idea but it is
also your worst idea. The number should be ren-
dered as a large and hollow shape. Help students
“see” the basic geometric shapes that combine
to make hollow number shapes. Art is a kind of
thinking, so let the students think.

Once they have chosen their best design, students

will transfer the idea onto a sheet of “good” paper
like sulfite white or cardstock. They should draw
Quatro means ‘4’ by Hannah 4th grade
the image lightly with a pencil remembering to fill
I like 4 because I am in the fourth grade. I thought it
the whole space with a large image. The border is
was spelled with a “C” but it is spelled with a “Q”.
optional, but I would highly recommend it, espe-
cially for exhibition. Students will create design
textures for inside the number shape and perhaps
some kind of texture, design, pattern, or image for This assignment can also be done with textures
the background. For this project we will use black and patterns and designs inside the number
and colored ballpoint pens. shape. Some numbers, such as the number “8,”
lend themselves to other imagery. Let students
Help students with the idea of carefully coloring explore the visual stimulation of simple numbers.
and shading the project with the pens.
Hints for “neat” shading and coloring: SOURCES: “Big Board Books Colors, ABC, Num-
1. Shade from light to dark. bers,” by Roger Priddy. “Jo’s Big Question,” by
2. Use short strokes, all the same direction Barbara Parks (a children’s book of beautifully
(no scribbling). illustrated letters and numbers). “The Giraffe
3. Work slowly and carefully (In art, the first Numbers Book,” by Gene Yates.
one finished is not the winner, it is the best

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EXTENSIONS and VARIATIONS: This project can
be done with other media beside ballpoint pens.
Try watercolor and marker pens. This work can
also be constructed as a paper cut, once the basic
design has been developed. If you are an adven-
turous soul, try ceramic clay sculptures of “My
Favorite Number.”

Of course, this project can be done with literacy

symbols that someone else invented and we just
memorize them and their predetermined sound
and meaning. Make this a personal monogram
project.

One Plus Three Equals Four by Kennadi, fourth grade

“I know this looks like ‘13’ but it is really a secret
way to write what grade I’m in.”

Columbus Sailed the Ocean Blue by Mailyn, fifth

grade
“In fifth grade we study about explorers and this is
an important number.”

Right, My Teddy Bear Eight It, by Sabrina, 5th grade

“You probably think this is a teddy bear. It is not.
It is my favorite number. It is the number eight. I
like it because it is the most round of all the
numbers. Even zero because zeros only have
one round hole in it.”

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 The Eyeball Mask, by Devi, 3rd grade.
“If you turn the eight on it’s side it looks like
something else but it is still eight.
This is my favorite number because I ATE it.
That is a joke!”

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 Art & Science Connected
Astronomy and Art:
Faces (Phases) of the Moon
Elementary Visual Art & Science Lesson the “Lunar Cycle”?” If you introduce you lesson
by Joseph Germaine with compelling questions that the students buy
into, you will have their attention because it is
OBJECTIVE their questions you are answering.
Students will demonstrate an understand of the
traditional view of the moon in native cultures It can be tricky trying to explain the phases of the
and the significance of the Lunar Calendar by re- moon to elementary students. Likewise, it is diffi-
searching in Native American and Hawaiian lore cult for the students to understand. If you take it
and mythology the names and meaning of “moon one small step at a time it is accessible. Help chil-
phases” and then creating an original work of art dren understand the cyclic nature of the moon,
interpreting a phase of the moon. which is divided into 4 basic parts: new moon
(where you see no moon at all), first quarter (only
STATE CORE LINKS
USOE Visual Arts Standard 4, (contextualizing):
The student will interpret and apply visual arts
in relation to cultures, history and all learning.
Objective 1, Compare the arts of different cultures
to explore their similarities and diversities.

USOE 3rd Grade Science Core— Standard 1: Stu-

dents will understand that the shape of Earth and
the moon are spherical and that Earth rotates on
its axis to produce the appearance of the sun and
moon moving through the sky.

PROCESS
Find some audio/visual resources to show stu-
dents something about the phases of the moon.
See images on CD and “sources” for bibliography
of media. Try your local library for some excellent
resources. Provo Library, Orem Library, and SLC
Library all have appropriate media for this lesson.
Remember that you can purchase used books on
line very inexpensively. Students should be aware
of the astronomical reasons for the phases of the
moon. Start your explanation by asking pointed
questions like, “Why can you see the moon during A last quarter crescent moon above Earth’s horizon as seen
the day sometimes?” “Where does the moon go from the International Space Station.
NASA, International Space Station Imagery, 5 September 2010,
when you can’t see it?” “Why can we even see the Public domain
moon at all?” What causes the moon to change its http://en.wikipedia.org/wiki/File:Expedition_24_Crescent_
shape?” How many days does it take to complete Moon.jpg
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 Kane by Laila, 4th grade
“The Kane Moon is the 27th phase out of 30 for
Hawaiians. It was the sign for prayer for a good
harvest.”

half of the moon can be seen), third quarter: (only

half of the moon can be seen), and full moon:
(the entire moon can be seen). Your moon phase
lesson should discuss the earth and moon orbits.
The moon orbit around the earth is about 28 days
and is the basis of lunar calendars. Explain how
the positions of the earth, sun, and moon affects
the phases of the moon and which part of the
moon reflects sun light so we can see it. Explain
that the moon can be seen both day and night,
and why sometimes we can’t see it at all.

Keep it fun and interesting for the students. Re-

member that students will understand the phases

As the moon makes its monthly journey around the earth, the side of
the moon refecting the sunlight is viewed from different angles. The Phases of the Moon
line drawn through each image of the moon shows what part of it is Original graphic by
visable from the northern hemisphere. Mark Schneider (modi-
fied Nov 5, 2010)
First gov, so public domain
quarter http://kids.niehs.nih.
Waxing gov/lunar/home.htm
Gibbous

One website pointed

Waxing out that a graphic such
cresent as this is most useful
after the students have
Full
gotten the basic idea,
so use a demonstration
first.

New
Waning
Gibbous

Waning
Third cresent
quarter

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of the moon better (and enjoy the lesson more) if
you use a variety of teaching tools such as hands-
on experiments using flashlights and playground
balls, having students act out the orbits, diagrams,
and pictures, as well as verbal explanations.
ASSESSMENT: For a self-assessment process,
have students write a short statement describ-
ing the visual choices they made in their moon
rendering. For older students, have them write
a short story that includes a description of their
moon motif.

SOURCES: As a source for names and descrip-

tions of moon phases I will include a short list
on Native American and Hawaiian names, but I
highly recommend that you and your students
engage in some research. The information will fit
your needs better and be more significant if you
find your own answers. For names and images of
other than full moons, I recommend two websites
listed below: “Farmers Almanac” and “Hawaiian
Moon Calendar.”

FULL MOON NAMES: In Hawaii there are four

full moons (of course there aren’t really, but the
Hawaiians planted, harvested, fished, and built
by the moon. It is very hot and humid during
Ole Pau by Kevin, 5th grade the day. Night work was preferable and a big
“This is the 23rd phase in Hawaii. It was a little less
than a half moon and was the end of no working or
planting or fishing. This was a time to tidy up and
have some relaxation without getting in trouble.”

Once the “science” of moon phases has been

discussed and understood, it is time to invest
ourselves in our own interpretation. Share one
or more cultural approaches to the moon phases,
their names and meanings. Let students choose a
culture and or a phase to render as a personal art
project. We like to do this as a pen and ink project
and then choose color medium like watercolor,
colored pencils, or colored ballpoints. We try to
avoid marker pens only because we can’t mix the
colors, and they only have one intensity.

The moon illustration should have something to

do with its name and meaning. Make it personal
by asking, “What do you think a “Hunter’s Moon”
or a “Hoku Moon” would look like? What ever the
answer is, it is correct because the question was,
“What do you think?”
The Blood Moon by Ryan, 5th grade
“Sometimes the Blood Moon is called the Hunt-
ers Moon. It is the first full moon after the Harvest
Moon. Some Indians say it red because there was a
lot of smoke in the sky at night.”

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“full” moon was important. The four full moons
were: Hua, which means egg because it was not
quite full; Akua, which means Goddess as well
as corpse, devil, and idol; Hoku, which actually
means star because it was the fullest moon and
made it hard to navigate by the stars; Mahealani,
the last night of “full” moon, the 16th phase of the
lunar cycle, and a very good night for planting and
fishing.
In Native American lore as well as early pio-
neer folk lore there were several names of the
full moon based on which season (the seasonal
change in the tropics is so minimal that these
monthly distinctions were not emphasized unless
you were a Kahuna Mahina, (Moon Priest) and
had sacrificial duties to perform. This is only a
list of some of the full moon names:

January: Old Moon, Wolf Moon. February: Snow

Moon, Hunger Moon, Opening Buds Moon.
March: Maple sugar Moon, Worm Moon, Sap
Moon, Crow Moon, Crust Moon. April: Frog
Moon, Pink Moon, Planter’s Moon, Grass Moon,
Moon of the Red Grass Appearing. May: Flower
Moon, Budding Moon, Milk Moon. June: Straw-
berry Moon, Rose Moon, Flower Moon. July:
Blood Moon, Buck Moon, Thunder Moon, Hay
Moon. August: Moon of the Green Corn, Sturgeon
Moon, Corn Moon. September: Harvest Moon,
Fruit Moon. October: Hunter’s Moon, Moon of
Falling Leaves, Harvest Moon. November: Beaver
Moon, Frost Moon. December: Cold Moon, Long
Night Moon.
What is a Blue Moon?
VIDEO: “Astronomy 1” by Libraryvideo.com. This
is for older students and includes lessons on an-
cient astronomy, lunar phases, and the rotation of
the Moon.
“MAHINA: Days and Nights of Hawai’i”, VHS tape.
AUDIO CD: “Phases Of the Moon: Traditional
Chinese Music”, various artists.
AUDIO TAPE (CD): “Native American Star Tales”,
by Lynn Moroney. This book includes Native
American folk tales and sky lore. This three-au-
dio tape set includes “The Feather Moon”
and “Tales of the Sun and Moon” along with
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The Painter’s Moon, by Danica, 3rd grade
“I thought this was the painter’s moon and I love
to paint but when I read it again it was called the
“Planter’s” moon. It’s OK because I like to plant
flowers too.”
seasonal lore revealing how Native Americans
viewed the universe around them. There is a
plethora of music and stories about the moon.
Use them as background ambience while students
quietly work on their projects.
BOOKS: “The Girl Who Married the Moon: Tales
From Native North America”, (fiction) by Joseph
Bruchac. “Native Americans Today: Resources
and Activities for Educators”, by Arlene B.
Hirschfelder. “Full Moons” Indian Legends of the
Seasons”, by Lillian Budd. “Faces of the Moon”,
by Bob Crelin and Leslie Evans. “Phases of the
Moon (Patterns in Nature series)”, by Gillia M.
Olson. “Exploring the Sky: Projects for Beginning
Astronomers”, by Richard Moeschi. “Hawaiian
Tide & Moon Charts 2010 Wall Calendar”, by Hi
Tide Hawaiian Resources Co. “Goodnight Hawai-
ian Moon”, (fiction) by Dr. Carolan and Joanna F.
Carolan.
“Photographic Atlas of the Moon”, by S.M. Chong,
Albert Lim and P.S. Ang.
 The Worm Moon, by Isaac, 2nd grade
“The Worm Moon is full and in March and the
worms start to crawl out of the dirt. I like worms.”
The Fish Moon, by Ronnie, 2nd grade
“The real name is Akua. I was a full and good to go
fishing. I am a Hawaiian. I like fish. I like to see the
moon.”

Akua, the Fishing Moon, Lane, 5th grade

“Akua means God, Goddess and Corpse and Devil
and Idol in Hawaiian. Sometimes it meant “Sacred The Butterfly Moon, by Missy, 1st grade
Ones”. This is the second full moon in Hawaii and “I love butterflies.”
is almost the perfect full round shape. This was a
good night to go fishing because you could see the
fish. Offerings were made on this night because the
Hawaiians believed that the Gods and Goddesses
walked around with the people.”
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WEBSITES: www.instanthawaii.com/cgi-bin/Ha-
waii?...moon Hawaiian Moon Phases & Names.
www.hawaiianmoons.com/ Hawaiian Moon
Names
www.angelfire.com/sports/hunthishmaui/moon.
html Hawaiian Moon Calendar
http://www.imiloahawaii.org/57/ Hawaiian
Moon Calendar
www.farmersalmanac.com/full-moon-names/ Full
Moon Names and Meaning
home.hiwaay.net/-krool/Astro/moon/moonnames.
html Moon names for many tribes and other lunar
cultures.
If some of the media is OLD and OUT OF PRINT I
apologize, but please realize that I am old and out
print myself.
EXTENSIONS/VARIATIONS: A fun and educa-
tional project related to moon astronomy is to
study the various cultural myths about the moon
and then draw or paint a response to the story.
Mythological characters associated with “Moon
Stories”: African: Mawu, Aztec: Coyolxauhqui,
Hindu: Soma, Roman: Diana, Greek: Artemis,
Maori: Rona, Inuit: Anningan, Japanese: Tsuki-
Yomi, Mayan: Ix_Chel, Mamaluran: Iae, Chinese:
Heng-o, Sumerian: Sin. Of course there are many
more. Do some research and thrill yourself. It
will happen.
Another great extension of the Moon Project is to
keep a Moon Journal. This is simply a log of your
observations. Keep track of time (try to make ob-
servations at the same time each night), weather
and sky conditions (note any interesting stars)
and describe the phase of the moon. A Moon
Calendar is helpful. Scientists make illustrations
to go with their writing, so that would be a good
addition to your journal. Since very few Elemen-
tary students can stay up very late, try doing this
as a rotating group project.
A Moon Project that my 4th 5th and 6th grade
students look forward to each year is the Sun,
Moon, and Star Ceramic Mask project. They de-
sign a mask based on one of those celestial ob-
10
jects out of clay and glaze. These are wall hang-
ings and not intended to wear.
Advanced Variations: Use colored media or
photography to depict the moon. Have students
review information on the phases of the moon
and then choose one to interpret in an artwork.
SOURCES
A good source of secondary info on the moon.
http://jrscience.wcp.muohio.edu/lab/MoonLab.
html
Another possible source:
http://www.tutorvista.com/physics/solar-sys-
tem-earth-moon
Your school library should also have materials
Artworks
Wulf Erich Barsch, In the Valley of the Sun and the
Moon (2000) SMA, on CD
Arlene Braithwaite, Meteor Shower, on CD
From smofa.org
Albert Lambourne, Moonlight—Silver Lake, Cot-
tonwood Canyon (1880)
John B. Fairbanks, Moonlight on the Marshes in
Springville (1906)
Fred Hunger, Morning-White, Shadows and Mono-
liths (1974)
John Francis Murphy, New England Landscape
Sven Birger Sandzen, Moonrise in the Canyon,
Moab, Utah (1928)
Photographs
Search for “moon” on this flickr site—he has some
wonderful photographs
http://www.flickr.com/photos/seldom_seen/
A site with “Astronomy Picture of the Day”
http://antwrp.gsfc.nasa.gov/apod/astropix.html
Use an image search for “photographs moon.”
Anthony Arrigo, Full Wolf Moon Rising
October 26, 2010 6:50:06 AM MDT
Used by permission
http://www.adventuresinastrophotography.
com/images/the-moon/Full-Wolf-Moon-Ris-
ing-20080121-1280.jpg

Wulf Erich Barsch,

In the Valley of the Sun and the Moon
(2000)
Oil on canvas 71-1/2” x 54”
©Springville Museum of Art

11
12
 Art & Science Connected
What Can You See in the Dark?
Light & Physics & Value Drawings

Elementary Visual Art & Science Lesson
by Joseph Germaine
OBJECTIVE
Students will demonstrate an understanding that
light generally travels in a straight line and of how
light illuminates and casts shadows by creating an
original pen and ink drawing of “What Can You
See In The Dark?”
UTAH STATE CORE LINKS
USOE Rainbow Chart: Fourth Grade, “Elements of
Art,” Light side/dark side and Cast Shadow.
mine where the light source would be and how it
would cast shadows and highlights. As students
begin to focus on their ideas of what can be seen
in the dark, have them address questions such as,
“From where is the light coming?” “How does it
fall on the objects?” “What is the intensity (near
and far) of the light?” “Are there cast shadows?”
“Are there shadows in the dark?” Have students
use accurate shading techniques to render their
ideas. The light source can be included in the
drawing.

MATERIALS
Ballpoint pens or pencil and paper and a good
imagination.
You can use the black and white photographs
included in the packet as well as the artworks for
discussing how shadows fall and what the effects
of directional light are on people and objects.
The photographs and artworks are listed under
sources. If your classroom can be darkened, you
can have students demonstrate with a flashlight Carlos Andreson, Curtain Time (1940) SMA
or spotlight.

PROCESS
Use a strong light, either a spotlight or a strong
flashlight to demonstrate how the light creates
both light and dark sides of the objects and posi-
tive and negative cast shadows of light and dark.
Discuss with the students the parts of the shading
and the cast shadows. Use some black and white
photos to see how the shadows look in two-
dimensions. Use group “brainstorming” sessions
to discuss sources of illumination at night or in
darkened rooms such as lights, fires, lamps, stars,
moon, decorative lights, headlights, house lights,
flashlights, and so on. Have students imagine a
completely dark place or a night scene and deter-
13
SOURCES
Drawing Light and Shade: Understanding Chiar-
oscuro (The Art of Drawing) by Giovanni Civardi.
Light, Shade and Shadow (Dover Books on Art
Instruction), by Lucy Cavendish.
Light and Shadow In Drawing, by Parramon’s edi-
torial Team.
Light: Shadows, Mirrors, and Rainbows (Amaz-
ing Science), by Rosinsky, Natalie M, Boyd, and
Sheree.
There are all kinds of web sites and youtube
videos on shading. Here are a good web site
and a video on shading
a sphere: http://www.
artinstructionblog.com/
drawing-lesson-how-to-
shade-pencil-drawings-by-
miranda-aschenbrenner
http://www.you-
tube.com/watch?v=_
WufjjmGvxg&feature=related

Artworks & Photographs:

Carlos Andreson, Curtain Time
and Encore
Rembrandt, Night Watch
Godfried Schalcken,
Self-Portrait
Will Floyd, I Might Smile, Sun &
Shade, and Winter Sage Will Floyd, Sun & Shade used by permission
Robert Nickelson, Lucia by Candlelight

Student examples follow

EXTENSIONS/VARIATIONS: This project can be
done in color using pen and ink and watercolor,
or value rendering with colored pencil. There is
no color in moon and starlight except the color of
the moon’s reflection.

The Street Light, by Ronnie, 2nd grade.

Robert Nickelson, Lucia by Candlelight “I can see a street light in the dark.”

14
The Flashlight, by Parker, 5th grade A Little Candle in the Dark, by Matia, 3rd grade
“If everything was dark, and you lit a candle you
could see it and around it.”

Sitting Around the Campfire, by Bowdee, 5th grade

“When you go camping there aren’t any lights but
there is the moon and stars and bright burning
campfire to light up the night.”

15
16
 Art & Science Connected
Basic Color Theory
Experiments with Color Mixing
Young Elementary Visual Art & Science Lesson
by Carrie Wilson
OBJECTIVES
UTAH STATE SCIENCE CORE
Science Benchmark (K-2)
Standard 1
The Processes, Communication, and Nature of
Science
Students will be able to apply scientific processes,
communicate scientific ideas effectively,
and understand the nature of science.
Generating Evidence: Using the processes of
scientific investigation (i.e. framing questions, de-
signing investigations, conducting investigations,
collecting data, drawing conclusions)
Objective 2.
Communicating Science: Communicating effec-
tively using science language and reasoning
Objective 3.
Knowing in Science: Understanding the nature of
science
Copies of the Color Wheel Experience Worksheet
Pencils
Some of the listed artworks (the first two are on
the CD)
Jeanne L-L Clarke, Entertaining: Favorite Ladies II
(1992)
(Good example for the primary and secondary
colors.)
Lee Greene Richards, Autumn Stream (1930)
(Good example of complementary color scheme.)
Artists: Frank Stella or Mark Rothko (any work)
Movement: Color Field / Abstract Expressionist
Josef Albers
http://www.albersfoundation.org/Home.php
(Good examples on how colors influence each
other when placed together.)

UTAH STATE VISUAL ARTS RAIMBOW CHART:

Kindergarten: Holding a brush, Mixing Colors,
Identifying Colors
1st Grade: Identify Primary Colors
2nd Grade: Secondary, Warm, Cool and Neutral
Colors

Vocabulary:
Basic Color, Red, Yellow, and Blue, Color Wheel,
Primary Colors, Secondary Colors

MATERIALS
Index Cards (any size)
Watercolors
Brushes
Bowls for water
Newspaper to cover the table or a tarp Lee Greene Richards, Autumn Stream (1930) SMA

17
Web Resources for information:
http://www.colormatters.com/science_faq.html
(Great page on color theory and other really cool
things about color.)
http://www.color-wheel-pro.com/color-theory-ba-
sics.html
http://en.wikipedia.org/wiki/Color_scheme
(Color Schemes)
http://www.colourlovers.com/blog/2008/03/24/mod-
ern-color-field-artists-using-the-full-spectrum/
(Cool artist images like the work of Jim Lambie,
who uses colored tape for his installations.)
http://www.engineeringplanet.rutgers.edu/pdf/les-
sons/engineering/civil_enviromental/2004/lesson5.
pdf
(Great lesson plan about why we see the color
blue in the sky: Check it out!) Even very young children can have fun mixing colors
http://leisurelanelegers.blogspot.com/2008_11_01_
Books: archive.html
The Dot, by Imma S. and James H. Black

ACTIVITY ASSESSMENT
Teacher: Color is fun and all around us! Start the Did they circle the color they thought it would
conversation about color simply by asking the turn into when mixed?
students what colors they see in the room and Did they use a brush to paint the watercolors?
showing where they are by pointing. You can talk Can they identify the primary colors? (Example, a
about how color makes you feel by holding up tree is green.)
something red or blue. Show some of the artists
listed and talk about how the color effects how we 2nd graders:
see the artwork. Demo how to use the watercol- Can they identify the primary, warm, cool, and
ors, but not how to mix the primary colors togeth- neutral colors?
er, use two secondary or complementary colors
(colors opposite on the color wheels), so that it
will not interfere with their experiment. (Remind
them to wash the brush inbetween each color.) Other Ideas:
Have 2nd graders show the primary mixes and
then the secondary mixes.
1. Have the students break into small groups to
work on the worksheet. They will do the water-
colors individually but compare the results with
each other. Just have the students staple the index
cards to the worksheet.

EXTENSION
Give the students another index card and just let
them play with the watercolors and hang them up
in a grid. Then talk about how the different colors
influence or change in relationship to each other.

18
 The Color Wheel Experiment
WHAT IS GOING TO HAPPEN?
Name:____________

Yellow

Orange Green

Blue
Red

Purple

=Primary Colors (Red, Yellow, and Blue)

=Secondary Colors (Orange, Green, and Purple)

Questions:
What is going to happen when I mix colors together? What do you think?
Mixing RED and YELLOW together, I will see:
(Circle one)
Purple Orange Green

Mixing BLUE and YELLOW together, I will see:

(Circle one)
Purple Orange Green

Mixing RED and BLUE together, I will see:

(Circle one)
Purple Orange Green
s
After mixing the colors what happened? Circle one
Red + Yellow= Purple Orange Green
Blue + Yellow= Purple Orange Green
Red + Blue= Purple Orange Green
Are your results the same as the rest of your group? (Circle one) Yes or No

19
20
 Art & Science Connected
Let It Snow:
The science and beauty of snowflakes
Elementary Science & Visual Art Lesson
by Vicki Gehring
OBJECTIVE
Students will understand that snowflakes are
made up of six-sided crystals and learn to fold
paper to make six-sided snowflake shapes.
STATE CORE SCIENCE OBJECTIVES
Understanding the process for gaining knowl-
edge, understanding the natural world of learning
process and thinking skills
MATERIALS
white copy paper and scissors
LESSON
The science of crystals and snowflakes
Crystals are solid material in which the atoms
are arranged in regular geometric patterns. They
start to form by a process called nucleation. Some
of the things that cause nucleation or cause crys-
tals to form are,
Evaporation
An adjustment in PH
Lower temperatures
The major factor in the formation of snowflakes is
lower temperature.
Crystal formation is very much like the growth
of living things, and scientists are still doing
research on how they are created and grow. Ice
crystals were thought to be flat, but the research
of Yoschinori Furukawa, is beginning to indicate
that they may actually be three dimensional. To
see actual examples of how snowflakes grow, go
to Kenneth Libbrecht’s site at http://www.its.
caltech.edu/~atomic/snowcrystals/movies/mov-
ies.htm
21
For an excellent description of how snowflakes
form, go to
http://www.lifeslittlemysteries.com/how-do-
snowflakes-form-0438/
Or, go to http://www.its.caltech.edu/~atomic/
snowcrystals/photos/photos.htm
If you click on “Designer Snowflakes,” you can see
the progress of a snowflake, as it grows.
Ordinary hexagonal dendrite snowflake.
Source/credit
http://www.lpsi.barc.usda.gov/emusnow/Selected/5994.jpg
Captured by the Beltsville Electron Microscopy Unit, part of
the USDA.
Public domain
Although it is possible that some snowflakes may
appear alike, particularly small, simple snow-
flakes, every complex snowflake is thought to be
different because no two snowflakes form under
the exact same conditions. The dust particles, the
temperature, and other factors are unique to the
formation of each snowflake crystal. For example,
a few degrees difference in temperature can make
the difference between a flowery looking snow-
flake and a snowflake with spiky points. The only
consistent element or characteristic of snowflakes
is that they are six-sided crystals. In other words,
they have six identical sections.
An American farmer named Wilson Bentley was one of the first people to photograph snowflakes. He
figured out how to attach a camera to a microscope, and, after much experimentation, was able to
photograph a snowflake. He eventually made 5,000 photographs of snowflakes and became a pho-
tographer fulltime. He became known as “The Snowflake Man.” http://en.wikipedia.org/wiki/Wil-
son_Bentley

22
Plate XIV left, and Plate XIX, above, of “Studies among the Snow Crystals ... “ by Wilson Bentley, “The Snow-
flake Man.” From Annual Summary of the “Monthly Weather Review” for 1902.
http://commons.wikimedia.org/wiki/File:SnowflakesWilsonBentley.jpg public domain

23
The Project: Folding a square piece of paper in the proper way to cut out a shape that will imitate a
snowflake crystal.

Folding method 1:
Step I - Fold a piece of copy paper and cut off to make it square.

Step 2 - Leave the paper in the triangle shape and fold in half again.

Step 3 - Open the second fold. Put the folded edge of the triangle toward you, and using the fold line as
a guide, cross one point of the folded edge of the paper at an angle from the fold line to about halfway
between the open edges and the fold line. Make a soft fold

Step 4 - Repeat the above process with the other side.

Step 5 - Adjust the folds so the edges and the folds line up with each other. When the
alignment is correct, harden the folds.

24
Step 6 - Fold the paper in half again along the guideline fold, which should
be on the backside of the other folds.

Step 7 - Cut off all of the angled edges so you have a triangle with even sides.
This is the outside edge of the snowflake. The angle cut will determine the
shape.

Step 8 - Leaving some connections on the folded edge of the triangle, cut
away various parts of the triangle to create the patterns of the paper
snowflake.

Step 9 - Carefully unfold the snowflake and press the folds flat.

25
Folding method 2:
Step I - Starting with a square piece of paper—fold in half matching the corners

step 2 - Fold the paper in half again and press folded edge, then re-open.

Step 3 - With the folded edge toward you, fold the bottom edge from the center fold line up to the top
edge so the corner is about in the middle of the other section.

Step 4 - Repeat this fold with the other side.

Step 5 - From the point fold in half matching the

edges to form a cone.

Step 6 - Make a cut that will remove all the different

angled open edges. This is very important, as this
will determine the outside edge of the snowflake.

26
 A
Step 7 - Make the cuts in the sides that
will determine the design of the snow-
flake.

Step 8 - Unfold snowflake and press flat.

Note: Two folding methods are offered because some students find one easier than the other. It is im-
portant that all folded edges are adjusted so they line up with each other.

The point is the middle of the snowflake, and it must be as sharp a point as possible. If the point is cut
off there will be a hole in the middle of the snowflake.

The shape of the cuts and their depth determine the

finished look of the snowflake. Young students will prob- A B C
ably make simple shapes, but older students can make
more complex shapes. For example, cuts for A, produced
the snowflake A, above right. If the snowflake is cut just a
little deeper, B, it becomes a lacier snowflake, see B below
left. Even deeper cuts, C, produce the laciest snowflake, C,
below right.

B C

27
ASSESSMENT
Formtive: Students should understand that in
order to replicate the crystal quality of a snow-
flake they must make the edges match up. If the
snowflakes are not turning out like the repeated
pattern of a six-sided crystal, discuss why they
should be called paper designs, but not paper
snowflakes
Summative: Young students should be given a list
of criteria for being “Finished.” For example, 1
snowflake with 6 even sides. At least three design
cuts. Paper is neat, with no tears or smudges.
Older students can be given additional criteria
and asked to self-assess the quality of their fin-
ished snowflake. Add whatever criteria meet
your teaching strategy.
Kenneth Libbrecht’s website has some activities
for kids including printable pdf’s of actual snow-
flake photographs and a page of images of the
different types of snowflakes.
http://www.its.caltech.edu/~atomic/snowcrys-
tals/kids/kids.htm
BOOKS
Snowflake Bentley
Jacqueline Briggs Martin and Mary Azarian $7.99
paperback at Amazon.com
Snowflakes in Photographs, W. A. Bentley (850
photographs of snowflakes) $8.76 paperback
The Little Book of Snowflakes by Kenneth George
Libbrecht

Ask the students how the exact folding of the Snow Crystals, W. A. Bentley
paper is similar to the exact conditions
needed to produce a snowflake.

EXTENSIONS

Older students can add detail to their snowflakes

using a ruler and a pen. Show the class the im-
ages of the snowflakes photographed by Wilson
Bentley: ask the students to look at the details of
the snowflakes. (Many of them have ridges and
lines in them.) Students can make their snow-
flakes look similar to one of the real snowflakes
and can then add appropriate details, see example
at right.

For a lesson on snowflakes and fractals, go to

http://www.schools.manatee.k12.fl.us/boehm/
snowflakecurve/snowflake_fractal_lesson_plan.
html

28
 Art & Science Connected
3-Dimensional Forms from Platonic Solids
– Art and Solid Geometry
Elementary Visual Art & Science Lesson
By Joseph Germaine
OBJECTIVE
Students will demonstrate an understanding of
regular three-dimensional polyhedra by building
and decorating several polyhedra and decorating
them in a personally creative way.
STATE CORE LINKS
Rainbow Chart: Sixth Grade, “Elements of Art”,
Geometric Forms, 5 basic geometric forms hav-
ing height, width, and depth (sphere, cone, cube,
cylinder, & pyramid) and 3-D: Objects that have
height, width and depth.
colored ballpoint pens make great decorative
medium. After the cardstock is decorated have
students carefully cut out the template. Accuracy
is important so the various faces will match up
for the gluing. Fold the cutout in the appropriate
places and have students carefully glue it togeth-
er. Use rubber bands or masking tape to keep the
tabs in place while the glue dries. I usually use
white glue but other faster drying glue may work
better. Be careful with younger students. Gluing
is an art form in itself. Display this work by hang-
ing or on display shelves.

MATERIALS
Polyhedra templates (end of lesson), cardstock,
scissors, pencil and glue.

PROCESS
There are only five geometric solids that can be
made using a regular polygon and having the
same number of these polygons meet at each
corner. The five Platonic solids (or regular poly-
hedra) are the tetrahedron, cube, octahedron,
dodecahedron, and icosahedron.

Before you teach this lesson it is important to

make several or all of these forms. There are
some delicate strategies especially in gluing that
can only be appreciated by the experience of do-
ing. Use the templates included in this lesson to
enlarge and copy onto cardstock. Use a regular
copy machine to print the templates to the size
you want. Show students the finished forms so
they can choose which one they want to con-
struct. When the students receive the templates
have them design a pattern or a decoration to
put on the outside of the form. Marker pens or
29
The Beautiful Octahedron, by Siale, 5th grade
SOURCES
“Drawing Stars & Building Polyhedra” by Christo-
pher M. Freeman.
If these ideas interest you I recommend an excel-
lent book by Paul A. Calter, “Squaring the Circle:
Geometry in Art and Architecture”. This book in-
cludes all the topics necessary for a solid founda-
tion in geometry and explores the timeless influ-
 ence of geometry on art and architecture. The
book includes an interesting historical perspec-
tive and is appropriate for both basic mathemat-
ics and cross discipline courses in math and art.
It also requires no previous study in mathematics.

EXTENSIONS/VARIATIONS:
A fun extension to this project is to have students
render their polyhedral form with pencil or pen.
It is a visual discussion of the idea.

These pieces can also be used as Holiday Orna-

ments by decorating them with thematic designs
Decorating the template. Matia, 3rd grade and by gluing thematic additives such as sequins
and glitter.

These forms can be made as slab constructions of

¼ inch ceramic clay.

And, of course there are many other three-dimen-

sional forms that can be made in similar ways.
Look up resources of other three-dimensional
forms. A few are listed below.

http://www.korthalsaltes.com/ paper models of

a wide variety of polyhedra

http://britton.disted.camosun.bc.ca/jbpolyhedra.
htm a wide variety of activities related to
polyhedra

A finished Tetrahedron by
Bowdee, 5th grade

Some finished solids

30
http://www.origami-resource-center.com/modu-
lar.html Origami Polyhedra (some simple ones)

http://nuwen.net/poly.html Origami Polyhedra

(for advanced, especially interested students)

http://hektor.umcs.lublin.pl/~mikosmul/ori-
gami/balls.html Origami Balls

Great dodecicosidodecahedron
Creative Commons License
http://www.flickr.com/photos/fdecomite/3829792244/in/photostream/

31
PLATONIC SOLIDS:

What is a platonic solid? A platonic solid is a “regular” Polyhedron: any one of five solids whose faces
are congruent regular polygons and whose polyhedral angles are all congruent. The name of each fig-
ure is derived from it number of faces: respectively 4, 6, 8, 12, & 20. The aesthetic beauty and symme-
try of the Platonic solids have made them a favorite subject of geometers for thousands of years. They
are named for the ancient Greek philosopher Plato, who theorized that the classical elements were
constructed from the “regular solids.”

A TETRAHEDRON (plural: tetrahedral) is a polyhedron composed of four triangular

faces, three of which meet at each vertex. A regular tetrahedron is one in which the
four triangles are regular, or “equilateral.”

A CUBE or HEXEHEDRON (plural: hexahedra) is a polyhedron with six faces. A

regular hexahedron, with all faces square, is a cube.

An OCTAHEDRON (plural: octahedral) is a polyhedron with eight faces. A regular

octahedron is a Platonic solid composed of eight equilateral triangles, four of which
meet at each vertex.

A DODECAHEDRON is any Polyhedron with twelve flat faces, but usually a regular
dodecahedron is meant: a Platonic solid. It is composed of 12 regular pentagonal
faces, with three meeting at each vertex. It has 20 vertices and 30 edges.

An ICOSAHEDRON is a regular polyhedron with 20 identical equilateral triangular

faces, 30 edges and 12 vertices. It is one of the five Platonic solids.

Patterns and directions for each of the 5 platonic solids are included on the next pages.

32
Schema Template for a Tetrahedron. Using a photocopier, you can make this any size you need. For
the ornament project, I suggest about 2-1/2 to 3 inches per side of small triangle shapes.

opposing plane

1. Crease on fold lines, folding each section up.

2. Apply glue to tab A and attach to the opposing plane. (The opposing plane is always the plane
directly to the left or right of the plane with a tab. The opposing plane will not have a tab.)

3. Repeat Step 1 with tabs B and C.

4. If desired, insert string just as you glue the final tab to its opposing plane.

33
 Schematic Template for OCTAHEDRON and Assembling Instructions:

1. Crease on fold lines, folding each section up.

2. Apply glue to tab A and attach the opposing plane.

3. Repeat Step 1 with tabs B and C.

4. Apply glue to tabs D and E and press down the closing plane. Insert hanging string.

34
Schematic Template for CUBE and Assembly Instructions:

1. Apply glue to tabs A and B

and attach the opposing
plane.

2. Repeat Step 1 with tabs C

and D.

3. Apply glue to tabs E, F

and G and bring down
the closing plane.

35
Schematic Template for ICOSAHEDRON
and Assembly Instructions:

1. Crease all folds and

tabs up.
A
2. Start at A and glue
each tab to its
opposing plane.

3. Continue around the

shape, clockwise,
until finished.

Note: Left handers may

be more comfortable
starting at * and going
counter clockwise

36
Schematic Template for DODECAHEDRON
and Assembly Instructions:

1. Crease all folds and

tabs up.

2. Glue each A tab to

the opposing plane
next to it.

3. Glue each B tab to its

opposing plane.

4. Glue the C tabs to

their opposing
planes, starting on
one side of the piece
that joins the two
halves and working
around toward E.
Then start at the
other side of the join
and work towards E.

5. Glue the closing

plane, E, to the D
tabs.

37
38
 Art & Science Connected
Rainbows, Prisms and Colors

Elementary Visual Arts & Science Lesson
by Joseph Germaine
OBJECTIVE
Students will demonstrate an understanding of
light refraction (the phenomena if not the term
and physics of it) and rainbow prism colors by
creating an original watercolor landscape of a
rainbow with the colors in the proper order.
again, in the process being further refracted. The
reason that rainbows are somewhat rare is that
you will only see them when there is rain in front
of you and somewhat in the distance, and the sun
is behind you and fairly low on the horizon.
Obviously, this scientific explanation of refraction
and reflection will be difficult to understand ini-
tially by primary grade elementary students. We

UTAH STATE CORE

USOE Rainbow Chart: Fourth Grade, Elements of
Art, Color Wheel Theory. Fifth Grade, Elements of
Art, Color Wheel Theory, mixing colors.
4th Grade Science: Standard 2: Students will
understand that the elements of weather can be
observed, measured, and recorded to make pre-
dictions and determine simple weather patterns.

MATERIALS
Pen or pencil for drawing,
watercolors for painting, good heavy gage paper.

PROCESS
Two physical phenomena are at work within a
rainbow: refraction and reflection. Refraction
occurs each time light passes across a boundary
from one substance to another, such as from air
into water. As light crosses that boundary, the
rays bend at different angles depending on the
wavelength (color) of light. This is the familiar
prism effect wherein “white” sunlight is broken
into a spectrum of different colors from red to
blue-violet.

The same thing happens in a rainbow: white sun-

light enters a raindrop and is broken into differ- Rainbow at Jasper National Park, Alberta, Canada,
ent colors heading in slightly different directions. by Wing-Chi Poon
The light is then reflected (and magnified) off the Creative Commons Attribution-Share Alike 2.5 Generic license.
back of the raindrop and passes back into the air commons.wikimedia.org/wiki/File:WhereRainbowRises.jpg
39
want to explain this in accurate scientific terms,
so the teacher must have that depth of back-
ground. Let children know that white sunlight
divides into all the colors of the color spectrum
(color wheel) when it passes through a raindrop
at a certain angle and then reflects off the back
of the raindrops and is magnified to make the
beauty we know as a rainbow. Science has a very
difficult time discussing beauty because beauty
is too subjective. The discussion of beauty is the
purpose of art.
Give a short discussion of the cause of the rain-
bow colors. It is easy to demonstrate how a
rainbow is made. Try to make it happen in your
classroom. There are several processes that work
well.
The Water Glass Method:
1. Fill a glass with water. 2. Place the glass on a
table in front of a sunny window. 3. Place a sheet
of paper on the floor. White paper works best. 4.
Wet the window with hot water by misting it with
a spray bottle. 5. Adjust the glass and the paper
until you see a rainbow.
The Mirror Method:
1. Place a mirror inside a full glass of water. 2.
Make sure the room is dark, and has white walls.
3. Shine a flashlight into the water, moving it
around until a rainbow can be viewed.
40
The Flashlight Method:
1. Fold a white piece of paper in half, and cut a
little triangle with a pair of scissors. (Experiment
to get the right sized hole) 2. Fill a glass con-
tainer with water. A fishbowl works well. 3. Tape
a flashlight on the hole in the piece of paper. 4.
Hold the paper up with the flashlight bar. 5. Turn
on the flashlight directly at the glass of water. 6.
Shazaam! A rainbow appears.
PRISMS: A great demonstration in rainbow build-
ing can be done easily with a prism. In optics, a
prism is a transparent optical element with flat,
polished surfaces that refract light. The exact
angles between the surfaces depend on the ap-
plication. The traditional geometric shape is that
of a triangular prism with a triangular base and
rectangular sides, and in colloquial use, “prism”
usually refers to this type. Some types of optical
prisms are not, in fact, in the shape of geometric
prisms. Prisms are typically made out of glass,
but can be made from any material that is trans-
parent to the wavelengths for which they are
designed. A prism can be used to break light up
into its constituent spectral colors (the colors of
the rainbow). Prisms can also be used to reflect
light, or to split light into components with differ-
ent polarizations. (See image below)
PRISM REFRACTION DIAGRAM:
www.school-for-champions.com/science/light_dispersion.htm
Prisms can be purchased inexpensively from any
educational or art supply catalogue. They can be
used easily with a flashlight to create a beautiful
rainbow projection. Students will be interested.
Many people have prisms in their chandeliers and
around lampshades. Under the right light these
decorative prisms will also create rainbows.
The creation of a rainbow in your class is a real
attention getter and sets the mood for the cre-
ative thinking necessary to make an interesting
drawing and watercolor. Identify the colors in
the right order: Red, Orange, Yellow, Green, Blue,
Indigo, and Violet. The memory device for this
is ROY G. BIV. There are songs and stories about
Roy, so use them. Show students that the color
order is the same as the color wheel. Remember
that Indigo is made by mixing blue and violet.
To make the rainbow picture be something more
than just some colored arches, the whole compo-
sition must be interesting and fit together. Have
Little Island, Big Rainbow, by Annie, 5th grade
“My teacher just got back from Hawaii so I made
this for him.”
41
students look at some calendar art photographs
of rainbows. There are a lot on the Internet. Go
to Metacrawler. Hit the images mode and type
in “Rainbow Photos.” (A few are included in the
packet.) Have students draw before they paint.
Students should shade in shadows and textures
in the drawing. Remember that drawing a circle
with a black pen does not make a black circle; it
makes a white (color of the paper) circle with a
black line around it. Lightly draw in the rainbow
arches as gently flowing arches. We want to try to
get past the symbolic icon of a rainbow.
When it comes time to watercolor, here are a few
simple hints to improve the effect of the water-
color technique. 1. Use the tip of the brush and
use gentle pressure. Do not scrub with the brush.
2. Do not over use the water. Do not go back to
the water each time you paint. 3. If you want to
mix colors and you probably will, to get a good
indigo (blue violet) do not mix on the paper ,mix
the colors in the mixing tray on the back of the
watercolor set.
ASSESSMENT
When students are finished, have them give their
artwork meaning by giving it a title. Exhibit this
artwork with title and name cards. Have students
self-evaluate according to criteria you set with
them, based on what specific art skills you have
been working on in your class.
SOURCES
“Over the Rainbow (Book & Audio CD),” by Judy
Collins and Eric Puybaret. This is an excellent
story with illustration and music and songs by
singer/songwriter Judy Collins.
“All the Color of the Rainbow (Rookie Read-About
Science),” by Allan Fowler. This is accessible de-
scription of the science of rainbows. “The Magic
School Bus Makes A Rainbow: A Book About Color,”
by Joanna Cole. Video: “Reading Rainbow: Once
There Was a Tree: Rainbow Science,” VHS tape.
EXTENTIONS/VARIATIONS
By combining the “rainbow project” with a “color
wheel” project, you can help students see that all
that color theory stuff has a basis in nature and
natural reality. While very young students seem
empowered by making a color wheel, older stu-
dents approach it more like “just another boring
worksheet.” When combined with a landscape
watercolor project, I have noticed an increased
enthusiasm.

A prism is a polyhedron, which means the cross

section will be a polygon (a straight-edged figure
with no curves). Prisms come in many shapes,
triangular, trapezoidal, square, cube, and pen-
tagonal. After seeing what a prism will do to light
students will be more interested in drawing these
form three-dimensionally. It is also easy to see
through the prism to see what the lines and sur-
faces on the other side are doing so students get a Rainbow in the Sky by Emily,
more accurate vision of three-dimensional forms 3rd grade
and therefore, can render the perspective draw- “Once I saw a rainbow in the sky. It
ing more astutely. didn’t touch the ground.”

Big Island Promise, August, 2010

Photographs of rainbows are easy to
find but it helps if you have some of
your own to share. Students are ap-
preciative of teachers who “practice
what they teach”.

Double Your Pleasure,

Utah Valley, 2007

42
 End Of The Rainbow Road, by Claire, 5th grade
“There is always a rainbow at the end of the road.”

The Pretty Rainbow, by Missy, kindergarten

“My rainbow has two stripes of purple, I mean vio-
let.”

43
44
 Art & Science Connected
The Sights and Sounds of Geometry

Elementary Visual Arts & Math Lesson
By Joseph Germaine
OBJECTIVE
Students will demonstrate an understanding of
“Geometry” by using their knowledge of diameter,
radius, circumference, and the use of compass
and straight edge to create their own geometri-
cally accurate design to be used as the cover for a
compact disk.
elementary student. If you have the “Compass
Drawings” video, show it after you have got your
students’ interest. A folder of several “Compass
Designs” at each work area becomes a great
research part of this project. If you don’t have
examples, you can find them on line or make
them. Keep them simple; the students will make
them more complicated without much encourage-
ment. Use photocopied student work as research
examples.

STATE CORE LINKS
USOE Rainbow Chart, 3rd Grade, “Elements of
Art”, Geometric Shapes, Circles, squares, rect-
angles and triangles; mathematical in propor-
tion and “Build Skills/Practice”, practice making
geometric forms and geometric shapes with or
without a ruler.
USOE Math Learning Outcomes, Grades 3-6
5. Connect mathematical ideas within
mathematics, to other disciplines, and to
everyday experiences.
6. Represent mathematical ideas in a variety of
ways.
When students are ready to start designing, show
them some simple techniques for using the draw-
ing compass and straight edge, like using a pad
under the paper to secure the point of the com-
pass and moving the paper around the compass
instead of always moving the compass. Show
students that by holding a straight edge with two
fingers instead of one it is less apt to teeter-totter.
Show students several “compass flower” designs
to get them started and then let them experi-
ment. After the students have decided on their

4th Grade, Standard 3: Students will understand

attributes and properties of plane geometric
objects and spatial relationships.

MATERIALS
Drawing compass, straight edge (ruler) and per-
haps a right triangle drafting tool.
Black pens, colored pens, and pencils or water-
color. Use good paper.

PROCESS
Begin this project with a couple of simple geomet-
ric designs on the board using a large compass
and dry erase pens on a white board. This should The Music Goes Round and Round
get the interest of even the most lackadaisical by Aubrey, 6th grade
45
design, give them a 4-1/2” square piece of paper Here are some simple examples of “compass
(or whatever will fit in a CD jewel case) to create designs”
their finished design.

Remember that whenever young students start to

use color, they should be reminded of
possible color relationships such as
complementary, analogous, and monochromatic
color schemes. Textural relationships are also an
important part of this project.

Matia, 3rd grade, almost finished

This is Matia, 3rd grade, working on her

compass design

If you want to make the artwork larger and not

worry about the CD design, it’s O.K. Make sure
you matt or frame the work before exhibition. If
you would like to push the project further, then
you should fold a piece of paper and cut it to the
appropriate size to fit into a CD jewel case. The
compass design can be glued onto the cover. If
you have access to iTunes, you can print a play
list and cover at the correct size. The creation of
a graphic design housed in a plastic CD jewel case
is enough of a project. See extensions for sugges-
tions on the music mix.

46

This is Treg, kindergarten, and his first compass
design. Even very young students with minimal
dexterity have a wonderfully creative experience.
Remember that success breeds success.
This is one the teacher made as an example of art
using a compass and straight edge. Always let your
students see you making art, and if you have a
chance, let them see you make mistakes and model
how to fix your mistakes.

See more examples on the following pages.

ASSESSMENT
As a proponent of “Self-Assessment,” I recom-
mend all students write a “criteria of success”
statement as to why they think their design works
or what they like about it.

SOURCES
Video and Book: Compass Drawings: Construc-
tion designs using a compass and a ruler (grades
4-6), by Linda Nelson Harst. Navigating Compass
Designs, by Barbara Ann Caron.
The Spider Web. This is Treg’s, kindergarten,
finished design
47

Curly Circles by Bowdee, 5th grader. “The “S”
shaped designs were made with the compass
and then “hand blended” to make them look
like wiggly roads.”
SQUARE: “Square Dance Song” by Disney Play-
house; “Big Square Walking” by Sarah Lee Guth-
rie; “Square-Cuadrado” by Audio Teachers; “Hope-
lessly Square” by Neal and Leandra; “Square”
by Boom bip & Doseone (hip hop); “You’re So
Square” by Elvis Presley.
CIRCLE: “Circle” by Harry Chapin; “Circle” by
Barbra Streisand; “Circle of Life” from The Lion
King, “Full Circle” Miley Cyrus, “Circle” by Solace,
“Circle”, by Miles Davis Quintet, “Circle of Friends”
by Point of Grace; “The Circle Game” by Tom Rush
or Joni Mitchell; “Happiness Runs In a Circular
Motion” by Donovan; “Circle, (running ‘round my
head)” by Micatone.
TRIANGLE: “Triangle” by Rock the Standards;
“Triangle” by Patsy Cline; “The Eternal Triangle”
by Dizzy Gillespie and Sonny Stitt; “Triangle
Walks” by Fever Ray; “Magnolia Triangle” by Stan-
ton Moore; “Triangle” by Linus of Hollywood.
“Square Circle Triangle” or “Triangle Circle
Square” by The Limousines.

EXTENSIONS
After creating a compact disc cover, it seems
appropriate for students to create their own CD
mix of music that relates to Geometry or Math in
general or that relates to the design they used for
the cover. Encourage children to bring their own
music from home. Use the iTunes program found
on most computers and all the laptops in Alpine
School District. You can purchase tunes to use
and share. You can use your own music collec-
tion. You can download free music from a num-
ber of sites. All of this is legal if you don’t mass-
produce or try to sell the mixes. Most computers
these days have the capacity to burn discs. In my
case, I have over 7,000 tunes in my iTunes files,
so the kids have a lot to choose from. Obviously,
some discretion must be used, and I never have
the students use my laptop unattended.

*See the Mandala project in the Around the

Asymmetrical Circles and Symmetrical Triangles, by
World” Evening for Educators packet for addi-
Lane, 5th grade. “Using a compass to make asym-
tional ideas.
metrical arcs is something I would not have thought,
but my friend with the 6th grade brain thought it
Here are some musical tunes about numbers and
was a “no brainer.”
geometric designs:
48
DIAMETER: “In Diameter” by Medusa Cyclone;
“Diameter (instrumental)” by Circus of Pain; “Di-
ameter of a Point” by It Concubia Nocte.
RADIUS: “Radius” by Ed Harrison; “Radius” by
Tim Halbert; “Radius” by The Humble Bros.
CIRCUMFERENCE: “Circumference (it just makes
sense)” by Rhythm, Rhyme, Results; “The Color of
My Circumference 1” by Mike Ladd & Vijay Iyer.
COMPASS: “Compass” by Crosby, Stills and Nash;
“Compass” by Marek Hemmann.
GEOMETRY: “Geometry” by Karl Roemer; “Poly-
gon” by Mindy Bauer; “Geometry” by The Hipwad-
ers; “Do Re Mi Geometry” by Obie Leff.

If you are nervous about the appropriateness of

some musical selections, here are some instru-
mental pieces: “Uncommon Square Dance” by
Dave Brubeck, “Circle” by Guitar Music Society,
“Triangle” by Sounds From the Ground, “Triangle
Tango” by Cirque du Soleil. The Circumferences, by Parker, 5th grade

You may want to limit your choices to music spe-

cifically recorded and produced for children such
as the album “Math” by Rock The Standards and
“Math Albums 1 & 2” by Rhythm, Rhyme, Results;
“Class Dis-missed” by Mr. Duey; “Science” by
Teacher and the Rockbots; “The Science Juke Box”
by Ellen McHenry; “Solar System Slide” by Dr.
Planet; “Human Body 101” by Hip Science; “Here
Comes Science” by They Might Be Giants; “Math
Songs That I Must Sing” by Karl Roemer; “Catchy
Math Jingles” by Mindy Bauer; “Do Re Mi Geom-
etry” by Obie Leff;
Personally, I find much of the music made specifi-
cally for children to be shallow and somewhat
insipid, and I hesitate in suggesting that my
students should limit their aesthetic horizons to a
musical idiom and style that is designed primarily
to sell to adults who persistently underestimate
the depth and sophistication of children’s taste in
music and art. I must admit that my own grand
daughter really likes Miles Davis, Eric Satie, and
Buddy, but she also loves Miley Cyrus and The
Wiggles. She is seven years old.
young students. I promise that it won’t work;
otherwise we would all listen exclusively to opera
and classical music, which were of course the
“Pop” musical idioms of former days. Every gen-
eration must invent the sound and tone of their
own “Soundtrack.” Every individual gets to create
his or her own life’s musical accompaniment—the
soundtrack to the “Dance” of life. The purpose of
life is not to get an education, so you can get a job,
so you can go into debt, so you can afford a retire-
ment home of your own choosing. We do all of
that for the real purpose of life, which is to be able
to afford to go to the Symphony once a month and
the Reparatory Dance Theatre once a year, visit a
museum whenever a new exhibition is available
(or just to hear that echoic murmur of aestheti-
cally satisfied patrons, to buy a lot of large-format
picture books of the great artworks of the world
and to visit some of the beautiful and interest-
ing places on this blue planet and…Oh yes! To be
able to afford really good art supplies. That is the
purpose of life. “Man is that he might have JOY!”…
and make art!

It is O.K. to have your own personal tastes and This music also becomes great sources of circle
prejudices in music, I suppose, but please be dance activities. You can dance to the shapes. My
careful about forcing your own aesthetic on your young students love the brain dance.
49
If you must avoid the actual music for the jewel
case project, you can make a faux disc by scribing
concentric circles on cardstock with a drawing
compass and inserting it into a jewel case.

This example was made using the ellipse tool in

Photoshop with additional lines drawn over the
circular design. Make a square canvas and under
“View,” go to “Show” and “Grid.” The grid is ex-
tremely helpful in aligning the shapes. Then just
use the paint bucket to add the color.
The Sound of Flowers, by Joe, 4th grade

SECONDARY VERSIONS

Have students make more complicated versions

of the compass drawings. These drawings can
include shading or texture, or color, or all three.

Or, have the students make computer drawings.

These can be straight “compass-type drawings”
that are colored or the “drawings” be manipulated
to create less standard artworks.

50
 Art & Science Connected
The Science of Proportion

3rd – 6th grade Visual Art & Science Lesson dimensions of a plane figure or the two divisions
by Vicki Gehring of a line such that the smaller is to the larger as
the larger is to the sum of the two, roughly a ratio
of 3 to 5.” (see below)
OBJECTIVE
Students will become aware that there are consis-
tent proportions in nature that are the foundation
of what our brain preserves as pleasing, and these
proportions are used in the arts. These propor-
tions are connected to what has become known
as the Golden Mean, the Golden Ratio, and/or
Sacred Geometry.

Note: Students should understand that although

the Golden Mean can be formulated mathemati-
cally there are so many variables in nature that
nature rarely reflects the exact mathematical
equation. The projects in this lesson referenced to
the Golden Mean, will be dealing with whole num-
bers as it is believed were used by the Egyptians
and the Greeks, and not phi fractions.
MATERIALS
2 or 3 sheets of drawing paper, pencils, rulers,
a picture of a Greek columned building or temple
(one on the CD or at http://www.schnapp.org/
bosi/images/LowQ/20041011_13.jpg)
sample drawings of a tree whose trunk is too
large for the leaf area
a copy of Trevor Southey’s New Bloom (on CD)
Throughout history, many people have been fas-
cinated by the ratio of the Golden Mean, so much
so, that it’s sometimes called the “Divine Propor-
tion.” Historians and scientists have found exam-
ples in architecture, art, and in the natural world.
Some of these applications were deliberate, as in
use by specific artists and architects, but many
of the instances of these ratios depend on where
the person measuring chooses to measure the
specific item (see the example of the Mona Lisa on
the next page). We can also find perfect examples
of the Golden Mean as expressed in Fibonacci
spirals( below), say in nautilus shells, sunflowers,

Core Skills: Ruler skill, drawing correct scale and

proportions

Lesson information on the Golden Mean (also

called the Golden Section and the Golden Ratio):
Sacred Geometry, Stephen Skinner, Sterling Pub-
lishing Co. Inc. New York

“Harmony is the repetition of the same propor-

tions—The Golden Section is a ratio between two
51
branching of plants and pinecones because this is
an efficient way of growing. For example, leaves
or branches that follow the Fibonacci sequence,
gain the most sun exposure because the leaves do
not block those just below. The ratio of the Gold-
en Mean also appears in geometric figures such as
the pentagon, pentagram, and dodecahedron.
La Gioconda, or Leonardo’s Mona Lisa, mapped with golden
rectangles, by Juan ángel Paniagua Sánchez Enlace
Creative Commons Attribution-Share Alike 2.0 Generic
http://commons.wikimedia.org/wiki/File:Joconde.gif
Many people believe the approximate ratio of the
Golden Mean is one that appears to be pleasing
to the human eye, and some artists and architects
have instinctively used a similar ratio in their
work. Ever since the Greeks, certain artists have
believed that they should use idealistic repre-
sentation in their artwork, and have chosen to
52
use specific proportions they believed to be most
beautiful.
http://en.wikipedia.org/wiki/Goldenratio
http://www.maa.org/devlin/devlin_06_04.html
http://mathworld.wolfram.com/GoldenRatio.
html
Depending upon how you measure, the Golden
Ratio is apparent in the human body, and you can
use this as an introduction to the idea.
Lesson:
Have a student volunteer to be measured. Mea-
sure from the head to the waist and record the
measurement. Measure from the waist to the bot-
tom of the feet and record the measurement. Mea-
sure the head from the top to the chin. The ideal
human proportions are that a person is 8 heads
or sections tall. Three of those sections represent
the length from the head to the waist and 5 of
those sections are taken up from the waist to the
feet. With the understanding that the child is not
fully-grown see how closely the measurements
reflect a 3 to 5 ratio. Have the class figure out if
the student matches the perfect ratio when fully
grown how tall will he/she be.
Discuss the information about the Golden Mean.
Draw a square on the board 12 inches x 12 inches.
Label the length of one side of the square B. Ask
the students, “If the ratio of a golden rectangle
is B is to A as A is to ½ of B, how long should the
section be to make this a Golden Mean rectangle?”
Show Trevor Southey’s etching New Bloom, see
on upper right). Measure the length of the print
(image area). Measure the section with the figure
and the section of the rose. Discuss how the divi-
sion of this is like the golden rectangle. Then
measure the height of the image and the divisions
in the section on the right with the rose. Ask
the students if these divisions reflect the Golden
Mean.
Show the students the drawing of the tree whose
proportions are incorrect and have them discuss
why the tree doesn’t look real. If possible, look at

a real tree and talk about the proportions. (Some
images are included on the CD) Which part of the
tree is larger, the trunk or the branches? Which
part of the tree is wider? Look at a small tree and
a large tree and discuss the size of the trunks and
how the thickness of the trunk is in proportion to
the size of the tree. (Although trees differ widely
in their natural shapes and proportions, no natu-
ral trees look like the tree “symbol” most elemen-
tary students draw. This exercise is an attempt
to help students realize that trees have trunks
that are considerably smaller than the width of
their leaf mass, and one pleasing proportion for a
broad, leafy tree is to apply the golden ratio.)
John Hafen, Tree on Main Street SMA
53
What reasons do you have for
believing this artist deliberately
used the Golden Mean in this
artwork? What might you do to
find out?
Project 1:
On one piece of drawing paper have the students
draw a tree. (This part may be skipped if the
students are in the habit of drawing trees with
correct proportions. However, if they draw trees
that are more like the one used to show incorrect
proportions it will help them to do some self-
analysis.)
On another sheet of drawing paper have the stu-
dents draw a rectangle 9 inches high and, 6 inches
wide. Then draw a horizontal line three inches
from the bottom.
They will then draw a tree inside this rectangle
using the bottom section for the trunk and the top
section for the branches and leaves.
Discuss how these proportions reflect the natural
tree growth. Then compare the two tree draw-
ings and discuss which they find visually pleasing.
Project 2:
On another sheet of drawing paper have the
students draw two side-by-side rectangles each 5
inches high and three inches wide. In one rect-
angle draw a horizontal line 2 inches from the
top. In the other draw a horizontal line across
the middle. Then show the picture of the Greek
building and have the students draw a simple rep-
resentation of that style building in each rectangle
using the top section for the roof area and the
bottom section for the columns.

Greek Temple
http://hillbuzz.files.wordpress.com/2008/08/giant-temple.jpg
Discuss which drawing more closely reflects the
proportions used by the Greeks. Which propor-
tions look more pleasing? Which proportions are
connected to the Golden Mean? Have the students
figure out the Golden Mean divisions of the 6-inch
square.
Project 3: (optional)
Have the students draw a Golden Mean rectangle,
divide it into Golden Mean sections and do a
drawing of their own choice using those divisions.
(Refer them back to the “New Bloom” poster.
ASSESSMENT
You may want to just give students a check or
points for completing the drawings correctly, or
you can give a grade of 1-3 for how well they
followed directions, demonstrating their under-
standing of the Golden Mean.
If students completed Project 3, assess the stu-
dent drawings for correct application of the
Golden Mean. You may choose to give them other
criteria that relate to art skills and techniques you
have been working on in class. Be sure to provide
the criteria before the students begin their draw-
ings. Have students self-assess how well they met
the criteria.
54
EXTENSION for Secondary
Show the class examples of the Golden Ratio and
Fibonacci numbers in nature, such as the slide
show from the website above. Explain that artists
have both deliberately and instinctively used this
ratio as the basis for compositions. Give the stu-
dents copies of images of artworks that they can
draw on. Have the students see if the artworks
exhibit the Golden Ratio, Fibonacci Numbers, or
the Golden Spiral. Have students examine some
of their own favorite past artworks. Do any of
them come close to using the Golden Ratio? You
may choose to explain that although the Golden
Mean has a big following, many of its applications
depend on the person looking for that specific
ratio. (See http://www.maa.org/devlin/dev-
lin_06_04.html)
Have students sketch an example of a naturally
occurring example of the Golden Ratio. Next,
have students use the sketch in a larger artwork.
Have them make a sketch of the projected art-
work and then examine the sketch for its pro-
portions. Students should check to see whether
there are places in the planned artwork that
could benefit from application of the Golden Ratio
or just from a different one than they used. For
example, where is the point of interest in the
Sunflower head displaying florets in spirals of 34 and 55
around the outside
Helianthus flower, Bannerghatta Bangalore, by L. Shyamal,
2006
Creative Commons Attribution-Share Alike 2.0 Generic
http://en.wikipedia.org/wiki/File:Helianthus_whorl.jpg
artwork? What are the proportions of the major
elements to each other and to the whole? They
should also consider the proportions of colors
they are planning on using. When the students
have changed the sketches several times to im-
prove the proportions of the drawings, they may
complete the artwork.
Have the students self-assess using the following
or a similar self-rating sheet.
SOURCES
Golden Ratio, Golden Rectangle
http://en.wikipedia.org/wiki/Golden_ratio
Lots of math you won’t need, but wonderful im-
ages of shells, showing the spiral sequences
http://www.spirasolaris.ca/sbb4d2c.html
“Fibonacci in Nature” has examples of the Fibo-
nacci sequence in plants, animals, and humans.
http://jwilson.coe.uga.edu/emat6680/parveen/
fib_nature.htm

“Fibonacci Numbers in Nature” has examples of

the Fibonacci sequence in plants
http://britton.disted.camosun.bc.ca/fibslide/jb-
fibslide.htm

Proportion and the Golden Mean

Name ______________________________________________________ Period ___________________

______ I completed a sketch of an example of the Golden Ratio.

My sketch is Great Okay Not as good as it could be

_______ I completed a planning sketch of my artwork.

_______ I changed my sketch to improve the proportions at least twice.

_______ I completed the artwork.

My artwork is Great Okay Not as good as it could be

The best part of my artwork is

One thing I would do differently another time is

_______ I turned in a copy of my initial sketch, my planning sketches, my finished

artwork, and this self-evaluation.

55
56
 Art & Science Connected
Who Needs Sagebrush?
Utah Environments
4th Grade Visual Art & Science Lesson
by Louise Nickelson

OBJECTIVES (other elements and principles as chosen by the

By studying sagebrush habitat, students will teacher)
come to understand that a habitat is an ecological Identify, Experience: make drawings of multiple
or environmental area with a group of organisms objects, with overlapping and accurate size rela-
that depend on each other, and the group, as a tionships
whole, to provide life. Students will create art-
works that demonstrate their understanding of MATERIALS
the interdependence of life in a habitat. Student Image of Ode to Sagebrush: A Hidden Picture, by
artworks will demonstrate an understanding of Arlene Braithwaite
foreground, middle ground and background. Piece or picture of sagebrush
Copy paper and pencils
UTAH STATE CORE LINKS Large sheets of drawing paper
Science Core 4th Grade—Science Benchmark Colored pencils or other colored media (colored
Utah has diverse plant and animal life that is pencils are good because they provide a lot of
adapted to and interacts in areas that can be control but can be mixed easily)
described as wetlands, forests, and deserts. Books, Internet, other research materials
Standard 5: Students will understand the physical
characteristics of Utah’s wetlands, VOCABULARY
forests, and deserts and identify common organ- Habitat, sagebrush, steppe, pygmy rabbit, vole,
isms for each environment. antelope, rattlesnake, obligates. Foreground,
e. Create models of wetlands, forests, and middle ground, background.
deserts.
Objective 2: Describe the common
plants and animals found in Utah
environments and how these
organisms have adapted to the
environment in which they live.
a. Identify common plants and
animals that inhabit Utah’s
forests, wetlands, and deserts.
c. Describe some of the
interactions between animals
and plants of a given
environment

Utah Visual Art, Rainbow Chart: Im-

plied Texture, Art Criticism, Aesthetic
57
Show the piece or picture of sagebrush and ask
the students how many of them know what kind
of plant it is. Ask the students what they think of
sagebrush. Then pass out the “Who Needs Sage-
brush” worksheet.

When the students have filled in the worksheet,

go over it with them, asking the students what
they know. (See teacher’s copy of the worksheet)
Then show the class the image of Ode to Sage-
brush, by Arlene Braithwaite. See if the students
can identify any of the plants, animals, or insects
in the artwork.

Indian Paintbrush
http://www.nps.gov/grte/galleries/gallery_plants.htm
As a work of the U.S. Federal Government, image is in the
public domain
http://commons.wikimedia.org/wiki/File:Indian_Paintbrush_
in_Grand_Teton_NP-NPS.jpg

Indian Paintbrush
Yarrow (the white flower)
Becker’s White Butterflies (also called the Great
Basin White or Sagebrush White)
Lupine (the blue flower)
Indian Rice Grass
Bees
Garden Spider
Beetle
Grasshopper
Ladybug
Fly
Scorpion
Ferruginous Hawk
Sage Grouse, photo by Gary Kramer
Source: U.S. Fish & Wildlife Service Digital Library System Read the words that go around the outside of the
As a work of the U.S. Federal Government, image is in the
public domain
artwork to the students:
http://en.wikipedia.org/wiki/File:SageGrouse21.jpg
Our eyes burn from clouds of dust blowing across
the sand and cheatgrass landscape, once a thriving
Sage Grouse sagebrush steppe. When the sage canopy disap-
Brewer’s Sparrow peared, the future of the myriad insects, reptiles,
Sage Thrasher birds, mammals, and humans living on this land
Sage Sparrow was sealed.
Pygmy Rabbit
Sagebrush Lizard In webs of life it is easy to overlook the unglamour-
Sagebrush Vole ous, like the sagebrush. The importance of these
Pronghorn Antelope unflashy anchors for entire communities only
Great Basin rattlesnake becomes apparent when they are gone.

58
Help the students understand any parts they find
confusing. Ask the students why they think the
artist may have felt so strongly about sagebrush.
Ask the students to make a list of things that
might be harming the sagebrush steppes (you can
make the list on the board or have them work in
small groups).
If they need help, ask leading questions. A few
possibilities are
development of land for housing
development for oil, gas, or coal
overgrazing by cattle
wildfires
cars and trucks and other vehicles
use of land for farming
poor management
invasion by juniper trees
Explain to the students that one of the important
facts about habitats or ecosystems is that many
parts of them are interdependent—changes in
one component, such as the number of sagebrush
plants, will affect the other plants, animals, and
insects in the ecosystem. (You can read or para-
phrase the following information for students.)
For example, in the “. . . sagebrush community.
This symbiosis literally starts from the ground up,
where biological soil crusts, protected by sage-
brush, hold moisture, fertilize soil and discourage
exotic weeds. Beneath the surface, sage roots
form the base for fungal networks that extend
the sages’ reach to nutrients and moisture. In the
winter, sage collects snow in drifts and shades it
for slow melting. In summer, ten-foot long tap-
roots bring water to the surface. This moisture
enhancement helps native sod-forming grasses,
which in turn, stabilize soil.”
(From Human Nature, Insights from the Natural
World, Exhibition Catalog, Arlene Braithwaite)
Ask the students to look at the image and see if
they can figure out any other ways the different
parts of the sagebrush steppe works together.
Help them only as needed by pointing them in the
right direction or adding small bits of informa-
tion such as that the lupine, which grows under
59
Sagebrush Vole, Professor Mark Chappell
© Mark A. Chappell, used by permission
http://faculty.ucr.edu/~chappell/INW/mammals/lagurus.shtml
the sage canopy, is a member of the pea family,
which replenishes the nitrogen in the soil to help
support other plants. Beetles, such as the dung
beetle, recycle animal waste into fertilizer for the
plants, and some insects take pollen from plant to
plant, fertilizing their blossoms.
Ask the student which of the life forms in the
artwork eat other things that are depicted. Ask
them to explain how that helps balance an ecosys-
tem. What happens if one part of an ecosystem
starts disappearing? How do we know what the
effects of changes in an ecosystem will be a long
time from now? Is it important to try to maintain
ecosystems? Why or why not?
Ask the students to look at the image as artwork,
now, rather than mostly as science. In what ways
is this piece an effective artwork? If needed, ask
the students to look at the use of the elements
and principles of design such as color, line, tex-
ture, balance, proportion, variety and repetition,
center of interest, etc. Ask the questions such as
the following:
What is the overall effect of the artwork?
How was creating this artwork (it’s a pastel) simi-
lar to painting someone’s portrait?
How different?
How does the text change your response to the
work?
What might the artist be saying about people with
this artwork?
 Who Needs Sagebrush?
Name

1. Sagebrush are like weeds; they grow in lots of places we don’t want them to.

2. Land with sagebrush on it has more problems with wildfires than land with juniper trees.

3. Mule deer eat sagebrush.

4. Pygmy rabbits like to live where the sagebrush are pretty close together.

5. Indian Paintbrush (a flower) use the roots of sagebrush to help provide the nutrients and
water they need.

6. Sage Grouse use sagebrush for food, shelter from predators (other animals that want to eat
them) and to make snow caves that keep then warm in the winter.

7. Bears use sagebrush to line the caves they hibernate in.

8. One scientist counted 83 different kinds of spiders that live in areas with lots of sagebrush.

9. Pronghorn antelope eat sagebrush in the winter.

10. One kind of vole (kind of like mice with short tails) eats sagebrush leaves and bark as well
as wheatgrass and lupine, which grow near sagebrush.

11. Four kinds of birds are sagebrush obligates (that means they can’t survive without
sagebrush and the other plants that grow near sagebrush).

12. Pronghorn antelope like to eat several plants that grow on sagebrush steppes.

13. One kind of lizard lives in areas with lots of sagebrush so much that it’s called a sagebrush
lizard.

14. Sagebrush can release chemicals that “talk” to other parts of the sagebrush plant.

15. Sagebrush blooms in the late summer or early fall when there isn’t as much pollen or
nectar for insects.

16. Great Basin rattlesnakes eat sagebrush berries.

17. More than 170 species of birds and mammals live in areas with sagebrush, including
black-tailed jackrabbits, prairie falcons and golden eagles.

60
 Who Needs Sagebrush? (teacher’s copy)
Below is a list of statements; put an X by any that you think are true.

1. A sagebrush steppe is a large, dry level area with lots of sagebrush, grasses and flowers, but few
or no trees.
True—and Utah has sagebrush steppes in several places throughout the state.
2. Sagebrush are like weeds, they grow in lots of places we don’t want them to.
The answer may depend on who you are—but students may discover sagebrush is more
helpful and important than they think.
3. Land with sagebrush on it has more problems with wildfires than land with juniper trees.
False—Although sagebrush burns, areas where juniper and pinion pine trees have invaded
have more problems because the trees provide more fuel for fires than sagebrush does.
4. Four kinds of birds are sagebrush obligates (that means they can’t survive without sagebrush and
the other plants that grow near sagebrush).
True —Sage Grouse, Brewer’s Sparrow, Sage Sparrow, and Sage Thrasher
5. Pygmy rabbits live where there is a lot of sagebrush.
True —Sagebrush are so important for pygmy rabbits that they are also sagebrush obligates
6. Indian Paintbrush use the roots of sagebrush to help provide the nutrients and water they need.
True —Indian Paintbrush grow their roots right into sagebrush roots—they are partially
parasitic (use another plant to live on)
7. Sage Grouse use sagebrush for food, shelter from predators (other animals that want to eat them)
and to make snow caves that keep then warm in the winter.
True —Sage grouse eat sagebrush and other plants in the summer, but in the winter they only
eat sagebrush, and they like the small cave-like spaces that snowdrifts make on sagebrush.
8. Bears use sagebrush to line the caves they hibernate in.
False—bears don’t need anything but their fur to keep them warm in winter.
9. One scientist counted 83 different kinds of spiders that live in areas with lots of sagebrush.
True —scientists did a study to find out about the spiders that live in and around sagebrush.
10. Pronghorn antelope like to eat several plants that grow around sagebrush in summer and
sagebrush in winter.
True
11. One kind of vole (kind of like mice with short tails) eats sagebrush leaves and bark as well as
wheatgrass and lupine, which grow near sagebrush.
True —it’s called the sagebrush vole.
12. One kind of lizard lives in areas with lots of sagebrush so much that it’s called a sagebrush lizard.
True —it looks a lot like a Western fence lizard, which many of the students will have seen.
13. Sagebrush can release chemicals that “talk” to other parts of the sagebrush plant.
True—a scientist just did experiments that proved this.
14. Sagebrush blooms in the late summer or early fall when there isn’t as much pollen or nectar for
insects.
True
15. Great Basin rattlesnakes eat sagebrush berries.
False—but Great Basin rattlesnakes do live in sagebrush steppes.
16. More than 170 species of birds and mammals live in areas with sagebrush, including black-tailed
jackrabbits, prairie falcons and golden eagles.
True

61
ART PROJECT
There are a variety of ways to approach the
artwork portion of this lesson. Students can
research a habitat or ecosystem in books, on the
Internet, or by asking experts. Or, students may
be able to observe a particular ecosystem in the
area. They should compile information about
what plants, animals, birds, insects, and other life
forms live in the ecosystem and how they interact
and depend on each other. You may choose to
have them use the Research Worksheet included
in the lesson materials. Students should then
choose one small portion of the ecosystem to
depict, perhaps 3-7 life forms.
Before students start work on their artwork,
show them Braithwaite’s image again. Have the
students identify ways the artist has created a
sense of depth in the artwork using foreground,
middle ground, and background. Ask students
what is different about each of these parts of the
artwork. (The plants in the foreground are bigger,
brighter, and have more detail than those in the
middle ground. Compare the Indian Paintbrush
in the front, to the side, and behind the sagebrush
and the sage grouse. Look at the detail on the
sagebrush in the front of the painting as com-
pared to those behind it. Compare the size of the
hawk to the beetle in the front. Also look at the
detail in the dirt as compared to the lack of detail
in the mountain ridge in the background of the
painting. Ask students to use these art techniques
in their own work.)
Students should then plan their artworks, mak-
ing changes and editing their sketches at least
three times. Next, students should make a light
sketch of the larger artwork. As they work on the
planning, remind students to use what they know
about the elements and principles and what they
discovered about foreground, middle ground and
background such as using overlapping shapes,
more intense colors in the front, more detail close
up, etc.
Encourage students to include implied texture
and any other elements and principles of art they
are familiar with.
62
Students should write a brief statement about
their depiction of a habitat and the relationships
among the plants, animals, and insects they chose
to depict. Students can include the text as part of
the artwork or can make their statement part of
their label, which should also have their name, a
title, and the habitat they have depicted.
ASSESSMENT
Have students turn in their Who Needs Sagebrush
worksheet. They should receive credit if they
completed the worksheet. They should also turn
in the Research Worksheet.
Assess the students’ artworks using criteria such
as the following (modify the specific art criteria to
fit what you have taught your class).
EXTENSIONS
You can add other scientific information the
students need to learn such as the definition of
herbivores, carnivores, and omnivores and the
identity of each in the habitat. See the Science
core for other ideas.
VARIATIONS
Use a different habitat as the focus of the lesson.
Have the students work in small groups to re-
search parts of the habitat and then have each
group present that information to the class.
After learning about habitats and what threatens
them, choose a way to increase public awareness
of the problems. Find a place or places to display
the artworks where members of the public can
see them. Include information about ways the
public might help protect the habitat(s) or even
particular elements of the habitat.
Choose a way your class might help one of the
animals, plants or insects in the habitat. Create
a plan, assign responsibilities, execute the plan.
It may help to get local media involved. Write a
press release as a class writing exercise.
 Habitat Research
Name ______________________________________________________________________ Date _____________________________

Chosen habitat

Where is found in Utah?

Animals that live in this habitat What do they eat? What do they need for shelter?

Plants that live in this habitat Insects What plants do the insects
need?

Other life forms What threatens this habitat?

What are the most important parts of the habitat?

63
Who Needs Sagebrush?
Habitat Artwork
Name __________________________________________ Date ______________

Circle the face that shows how well you did each item Great! Okay Bluh!

I completed the Habitat Research worksheet

I turned in the worksheet with my artwork

My artwork shows at least 5 things that belong in the habitat

My artwork shows something about how the habitat works

together (For example, animals sheltered by or feeding on
plants)

I used different textures to help depict parts of my habitat

I created depth in my artwork through overlapping, color, and

detail

I included a statement about the relationships in my habitat

I made a label with my name and the title and what the
habitat is

Overall, my artwork is

Totals for each column

Grade

Sagebrush Drawing, Public Domain because by government employee

http://gf.state.wy.us/services/news/pressreleases/03/05/02/index.asp

64
 Art & Science Connected
I’m Being Eaten By a _______?

Visual Art & Science Lesson

By Louise Nickelson
OBJECTIVES
Students will examine the way an artist creates
tension in his artwork. Students will demonstrate
their understanding by identifying the compo-
nents of tension in other artworks.
Students will explore the ways animals relate to
each other and other life forms in a particular
environment. Students will demonstrate that
understanding by planning a realistic scene that
has tension based on real-life interactions of life
in the environment.
Optional: Students will create an artwork based
on a scenario they identified on their planning
page.
UTAH STATE CORE LINKS
This lesson could be adapted to fit several science
objectives as well as a broad variety of visual art
objectives. Choose ones that match
your grade level.
PROCESS
Show the class the image of Lizard Relay and
ask students to identify what is going on in the
painting. Ask the students what their reaction is
to what is happening. Do they think the jagua-
rundi will catch one of the lizards? If they can’t
articulate it themselves, help the students realize
that the sense of being caught in a moment when
things are happening creates tension and interest
in the painting.
Show some other images of Carel’s artworks
while you give the students information from his
biography in this packet. Make sure you include
his statement that he tries to represent nature:
“lots of stuff chasing other stuff,” as he puts it.
You may want to sing a few verses of “I’m being
eaten by a ______________” to the tune of “I’m being
swallowed by a boa constrictor.” Substitute ani-
mals from the artworks and let the students come
up with verses. For example, “I’m being eaten by
a Great Blue Heron, a Great Blue Heron, “ etc. (If

MATERIALS
Images of Carel Brest van Kempen’s
paintings from the CD or poster
(include Lizard Relay: Jaguarundi
with Green Iguanas and Banded
Basilisks
Images of other artists’ artworks
from the CD
Paper
Pencils
Research materials on environments
If desired, copies of the Planning Page
from the packet
Optional, paper and colored pencils
for the artwork
65
 There are no right answers about these artworks;
the students just need to think and to justify their
answers. You can help students learn to discuss
without getting upset by chiming in with an occa-
sional response such as, “I didn’t notice that part
of the painting, I think I agree with you.” Help
them see that the give and take can be fun.

One of the interesting things about Carel’s art-

work is that he chooses realistic scenes to depict
based on his knowledge, his experiences travel-
ing, and research. He wants to show how nature
really works, but his work tends to be about kinds
of animals other artists, at least in the US, aren’t
painting, which gives him a nearly unique niche in
the artworld.

Assign students to research a particular environ-

Carel Brest van Kempen, Riparian Rashomon
Used by permission
© Carel Brest van Kempen
you are too young to know this song,
you can learn it from this site: http://
www.youtube.com/watch?v=dki6hO
22XFg&feature=related)
ment (this can relate to social studies as well as
science curriculum or be their choice) and find
out what animals, birds, insects, or other kinds
of life might be interacting in that environment.
Next, they will plan a possible scene that would
have tension or drama and be based on real
behaviors that might be observed in that environ-
ment. You can have them use the Planning Page
or just plain paper. Students can do the research
and planning as individuals or as small groups.
What words would you use to describe the
feeling of Silvia Davis’ sculpture The Colt?

Next, show the class other artworks

and ask the students how much ten-
sion is in the artwork and what cre-
ates that tension. Use the images of
the following artworks or others you
have copies of.
Silvia L. Davis, Guest (1994), and The
Colt (1995)
Cyrus E. Dallin, Pinnacles: Cathedral
of the Pines (1920)
Phillip Henry Barkdull, Seagulls on
Utah Lake or The Gulls (1930)

66
ARTWORK (Optional)
After the students have com-
pleted the planning page, they
can produce the artwork. If you
have colored pencils, they are a
good medium to use.

ASSESSMENT
If the students are going to make
an artwork, have them help you
create a list of criteria based on
both science and art. (Studies
have shown that student perfor-
mance is improved when they
participate in establishing the
criteria for an assignment.) If
students are not creating an art-
work, use a checklist to record
participation in the class discus-
sion and either assign comple-
tion points for the planning page
or rate it on a scale of 1-3 or
whatever scale you typically use.

SECONDARY EXTENSION
You can use the basic approach
from the elementary version of
the lesson but include an extend-
ed artwork using colored media
of the students’ choice. You may
want to have students practice
gesture drawings of animals in Carel Brest van Kempen, Three Worlds
motion before they start their used by permission
artwork. They may also need to
research the way other forms of
life in their chosen environment VARIATION
move. Although Carel Brest van Use some of the other Carel Brest van Kempen paintings such as
Kempen’s artwork are realis- the one of the magpie, the trout, or the barn owl, all animals from
tic, students may choose a less the Science Core. Give students photographs or books for research
realistic approach to rendering. and have them choose one of the animals, birds, or fish that is
However, all students need to found locally. Have them create an artwork featuring that animal.
base their scene on a realistic, Students should work on representing the animal faithfully, so the
possible scenario. artwork is both beautiful and useful as a scientific image.

The “Tension in Art Planning

Page” is on the next page.

67
 Tension in Art Planning Page
Name ______________________________________________________________________ Date _____________________________

Chosen environment (kind and place)

What lives in this environment? What do they eat or what eats them?
Mammals

Birds

Reptiles

Insects

Other

Plants

Describe a possible scene that has tension:

68
 Art & Science Connected
Shaping Utah’s Surface

5th Grade Science & Visual Art Lesson

by Louise Nickelson
OBJECTIVES
Students will examine the geological formations
depicted in artworks and will explore the geologic
processes that created those formations through
experimentation. (Optional) Students will create
a landscape of a specific geologic formation(s)
and will demonstrate their understanding of the
elements and principles of design as well as their
knowledge of depicting depth in a landscape.
UTAH STATE SCIENCE CORE
Standard 2: Students will understand that volca-
noes, earthquakes, uplift, weathering, and erosion
reshape Earth’s surface.
Objective 3: Relate the building up and
breaking down of Earth’s surface over time to
the various physical land features.
a. Explain how layers of exposed rock, such
as those observed in the Grand Canyon,
are the result of natural processes acting
over long periods of time.
UTAH VISUAL ARTS, Rainbow Chart, any or all of
the Elements & Principles of Art
up to several days preparation.
Experiment report forms (included)
Optional: Paper, pencils, colored media, and/or
writing paper and pencils
Divide the class into small groups. Give each
group a copy of an image from the CD or a simi-
lar image, and ask the group to come up with a
hypothesis about the creation of that particular
section of Utah landscape. Let the group perform
research to validate their hypothesis. If neces-
sary, they should revise their hypothesis as they
find information that conflicts or adds informa-
tion. Each group should make a brief presenta-
tion to the class about their image, their hypothe-
sis, and the results of their research. They should
point out any particularly interesting features of
the land in their image. (For example, it may show
bands of different colored rock that indicate the
layers contain different minerals, etc.

MATERIALS
Images from the CD: Lewis A. Ramsey, Towers of
the Virgin; Zion Canyon; Royden Card, Red Rock II;
Royden Card, Desert II; Loren Covington, Angel’s
Landing; Ranch Kimball, Entrance to Zion’s; Mabel
Frazer, Sunrise North Rim Grand Canyon; Birger Royden Card, Desert II SMA
Sandzen, Moonrise in the Canyon (The last two are
also Elementary Posters from the SMA set.) Have each of the groups, or new ones, complete a
science experiment that demonstrates a principle
Whatever you need for the geology experiments of weathering. Some possible experiments
you choose to use (most of them need dirt, a box follow:
top, and a watering can or device. Some do need
69
1. Fill a large plastic tub or a shallow box with
dirt, making some sections higher than others.
Carefully pack the dirt down. Pour water from a
sprinkling can and observe and record the re-
sults. If possible, do this experiment outside or
use another tub or pan underneath. Continue to
pour water over the dirt until it accumulates in
some areas along the edge. Make a hole a small
way below these spots to allow the water to drain,
simulating the way water will find a weaker area
to erode. Continue to “rain” on the dirt, watch-
ing to see whether the shapes that develop look
familiar to shapes in the surrounding mountains
and valleys. As a group, write up the results of
your experiment.
2. Gather several colors of dirt, or use light-col-
ored dirt that you can add food coloring to. Put
the different colors in their own containers. Add
enough water to one color dirt to make thick mud.
Spread the mud in a box lid (like from a paper
box) and let dry. Use the same process with the
other colors of dirt, letting each one dry before
a new one is added. (Don’t make the layers per-
fectly even.) When all the layers are dry, cut away
a section of the box lid on one short end. Prop the
other end of the box lid up and pour water on that
section, using a small watering can or a container
with some wholes punched in the bottom. Let the
Mabel Frazer, Sunrise North Rim Grand Canyon SMA
70
water run down and eventually, out the cut area.
Continue to pour water on the top section of your
“land.” As a group, write up the results of your
experiment.
3. You will need a shallow box or plastic bin. Fill
the bin with sand. Take a small fan and point it
so that the air blows slightly down but across the
sand. Record what happens. Try moving the po-
sition of the fan and try different speeds. Record
what happens when you modify the position or
speed of the fan. As a group, write up the results
of your experiment.
4. Fill a large, shallow container with a variety
of kinds of soil, clay, pebbles, sand, bits of rock,
even rock salt. Poke some holes in one end of the
container and tilt the container slightly (prop it
up on a piece of 2 x4) and place a tray or other
container under the end with holes. Using a
watering can, “rain” on the tray and keep track of
what happens. As a group, write up the results of
your experiment.
5. Pack slightly moist dirt in a plastic, shallow pan,
at least 2” thick. Stick some pieces of cardboard
down into the dirt to make indentations (these
can be at different angles. Leave the cardboard
pieces in for at least an hour, then gently pull the
cardboard pieces out. Let the dirt dry overnight
and then freeze it for a while. Carefully pour
water in the indentations and put the container
back into the freezer overnight. Record any
changes in the dirt in the pan and write up the
results.
These are just a few of the kinds of experiments
that can be done. Your science book probably
has some, and there are all kinds of variations of
these and many others online.
Have the groups share the results of their experi-
ments with the class. After the class has seen and
heard the results of the experiments, have them
look again at the artworks. Which experiments
help explain how the formations depicted in the
artworks occurred?
SOURCES for additional information or
photographs
http://upload.wikimedia.org/wikipedia/
en/6/66/SEUtahStrat.JPG
http://geology.com/rocks/sedimentary-rocks.
shtml
http://geology.utah.gov/utahgeo/geo/index.htm
Utah’s Spectacular Geology, How it Came to Be, by
Lehi Hintze. ISBN 0-9760722-2-X
OPTIONAL EXTENSION
Have students use their new knowledge about
how erosion helped shape the land in Utah.
Students should make at least 4 sketches of their
planned landscape. They can use images of actual
Utah places for inspiration, but should not just
copy a particular picture. The students can use
whatever color media you have available in your
classroom. Remind them to use what they know
about using the Elements and Principles of design
as well as anything they know about creating vi-
sual depth in an artwork. Students should write a
label that has a title for the landscape, their name,
and a brief explanation of erosion helped create
the landscape they depicted.
VARIATION
Instead of creating a landscape of a large area,
have students make drawings of close-ups of
71
some small section of a landscape that shows a
weathering process.
ASSESSMENT
One possible assessment tool is included at the
end of the lesson.
3-D EXTENSION
Students may create their chosen formation in
3-D using clay, cardboard, paper mache, salt
dough, or any approved combination of media.
LITERACY EXTENSION
Show students the image of Royden Card’s Red
Rock II and read them the poem that he paired
with it. (On next page) (You may want to read
other samples of appropriate poetry to the stu-
dents. Ask students to choose one of the images
from the lesson and quickly write a list of words
or short phrases that come to mind when they
look at the image. They should think about their
senses: what colors do they see, what shapes, do
they hear or smell anything? What might they see
besides the rocky landscape if they were there?
What feelings does the place invoke? Does it in-
voke memories or ideas or other times or places?
After the students have had a few minutes to
write down what comes to them, ask them to
look back at what they’ve written. Which words
or phrases best evoke the image or their feelings
or sense of being in that place? Which words or
phrases are related or go well together or per-
haps are at odds with each other? Have students
put checks by the parts they want to use. Give the
students time to organize the words and phrases
and to add whatever transitions they need. Re-
mind them that poetry packs lots of images or
ideas or feelings into a small space. The words
should be rich, but the poems do not have to
rhyme or have complete sentences.
Ask interested students to read their poems aloud
and see if the rest of the class can match the poem
to the artwork. (They may not be able to since
the poet may have used ideas, feelings, or memo-
ries that were personal.)
VARIATIONS
Many artworks and photographs are available that
match other specific areas of the science curriculum
for Utah Geology. You can use the artwork as an in-
troduction to a specific topic or as a way to cement
the geologic knowledge through tying it to an actual
hands-on experience that uses the students’ science
knowledge in a different way.

You can also link art, literature, and science by reading

short essays, descriptions, or short stories by western
writers such as Terry Tempest Williams, The Illumi-
nated Desert , Coyote’s Canyon (with photographs by
John Telford), etc.

By Royden Card

evening

whisper wind
crisp grasses rasp against stone
swish feathers of evening swallows in
tight arcs
round glowing stone

shadow raven
ruffled whispering wings above
and below
quiet climbed sheer walls
and was blown
fast across the sand

Above,
Temple of Sinawava, Zion by
Robert Nickelson

72
Shaping Utah’s Surface
Geology: Science & Art
Name __________________________________________ Date ______________

Put a check in the box that shows how well you did each Great! Pretty Okay Bluh!
part of the lesson Good
4 pts 3 pts 2 pts 1-0 pts
I participated in the Class discussion

I helped complete the science experiment

I made conclusions about weathering and our artwork

My artwork shows something about what I learned about

erosion
I used everything I know about the elements & principles
of art in my artwork
I created depth in my artwork through overlapping, color,
and detail
I made a label with my name and the title and a statement
about how the forms in my landscape would have been
created
Overall, my artwork is

Totals for each column

Grade:
Student Comments:

Teacher Comments:

73
Shaping Utah’s Surface
Geology Experiment Report
Name s_________________________________________________

_________________________________________________________________________

Describe your experiment set up:

Procedure:

Results:

Conclusion:

How might your experiment tell you something about your group’s artwork?

74
 Art & Science Connected
The Science and Art of Invention

Upper Elementary, Junior High, and High School
Visual Arts & Science Lesson
by Elicia Gray
OBJECTIVES
Students will understand how artists and scien-
tists work together in order to create new inven-
tions.
Students will design, draw, and produce a three
dimensional prototype of an original invention.
Students will participate in an “invention exhibi-
tion” in order to display and explain their ideas.
that they are asked to solve problems in a variety
of ways. Both of these people use the creative
process in order to find solutions that have not
existed before. Artists and scientists often work
with each other in order to solve problems for
society. Throughout history, artists and scientists
have helped citizens to discover new worlds, de-
velop communities, increase efficiency, and even
cure diseases.

STATE CORE OBJECTIVES:

Standard 1: Students will assemble and create
works of art by experiencing a variety of art me-
dia and by learning the art elements and prin-
ciples.
Standard 2: Students will find meaning by analyz-
ing, criticizing, and evaluating works of art.
Standard 3: Students will create meaning in art.
Standard 4: Students will find meaning in works
of art through settings and other modes of learn-
ing.

MATERIALS
Visuals of Leonardo Da Vinci and his inventions,
Image of Osral B. Allred, Front Hook-up (1984)
SMA Collection, Inventions Handout, Invention
Particulars Handout, Invention Particulars—
Teacher Example, Invention Prototype Checklist,

ACTIVITY
Show a picture of Leonardo da Vinci and explain
Start the discussion by writing the words Artist that he was both an artist and a scientist. Show
and Scientist on the board. Ask students to make pictures of his paintings and his inventions. Point
a list of attributes that describe each of these out that both have value and both have had an
professionals. Then draw comparisons between impact on future societies. Show image of Osral B.
the two. Emphasize that artists and scientists Allred, Front Hook-up (1984) SMA Collection, and
have a lot in common, but the most important is explain that each time someone invents some
75
 Particulars Handout, Invention Par-
ticulars—Teacher Example, Invention
Prototype Checklist,

ACTIVITY

Start the discussion by writing the

Osral B. Allred, Front Hook-up (1984) SMA
Upper Elementary, Junior High, and High School
Visual Arts & Science Lesson
by Elicia Gray
OBJECTIVES
Students will understand how artists and scien-
tists work together in order to create new inven-
tions.
Students will design, draw, and produce a three
dimensional prototype of an original invention.
Students will participate in an “invention exhibi-
tion” in order to display and explain their ideas.
words Artist and Scientist on the
board. Ask students to make a list of
attributes that describe each of these
professionals. Then draw compari-
sons between the two. Emphasize
that artists and scientists have a lot
in common, but the most important
is that they are asked to solve prob-
lems in a variety of ways. Both of
these people use the creative process
in order to find solutions that have
not existed before. Artists and scien-
tists often work with each other in order to solve
problems for society. Throughout history, artists
and scientists have helped citizens to discover
new worlds, develop communities, increase ef-
ficiency, and even cure diseases.

STATE CORE OBJECTIVES:

Standard 1: Students will assemble and create
works of art by experiencing a variety of art me-
dia and by learning the art elements and prin-
ciples.
Standard 2: Students will find meaning by analyz-
ing, criticizing, and evaluating works of art.
Standard 3: Students will create meaning in art.
Standard 4: Students will find meaning in works
of art through settings and other modes of learn-
ing.

MATERIALS
Visuals of Leonardo Da Vinci and his inventions,
Image of Osral B. Allred, Front Hook-up (1984)
SMA Collection, Inventions Handout, Invention commons.wikimedia.org/wiki/Leonardo_da_Vinci

76
Show a picture of Leonardo da Vinci and explain
that he was both an artist and a scientist. Show
pictures of his paintings and his inventions. Point
out that both have value and both have had an
impact on future societies. Show image of Osral B.
Allred, Front Hook-up (1984) SMA Collection, and
explain that each time someone invents some-
thing, that person (or someone else) must create
a detailed drawing before the object can be cre-
ated. See if students can identify the machine that
is depicted in this artwork.

Explain that students will be required to design

an invention or product to solve an existing prob-
lem or meet a specific need. This problem can be
simple or complex. Products may be completely
unique, or they may be an improvement upon an
existing item.

Have students read about historical and bizarre

inventions in order to obtain ideas (see Inven-
tions Handout). Once they have decided on a
clever idea, students should complete the Inven-
tion Particulars worksheet (see Invention Particu-
lars Handout)

The teacher may choose to show a completed
example of the Invention Particulars worksheet in
order accelerate the brainstorming process (see
Invention Particulars—Teacher Example).
Students will then complete a detailed drawing
of their invention, using one-point or two-point
perspective where possible. Drawings must be
carefully colored and labeled to explain the vari-
ous design features.
FaustoVeranzio: Following Leonardo da Vinci’s idea,
he actually created a flying device by
attaching ropes around his “homo volans” and to
the cloth roof above his head. He tried to fly thus
equipped when he jumped from a Venetian belfry.
Miraculously he survived.
http://www.library.yale.edu/slavic/croatia/science/
science.html

Using clay, papier-maché, cardboard, or found

objects, students will then complete a simple
prototype of their invention. Prototypes need not
operate realistically, but must be a semi-accurate
three-dimensional representation of the student’s
idea.

When students have completed their prototype,

the teacher will host a “science fair” or an “in-
vention exhibition” where students will have a
chance to reveal how their invention will work.
77
 Inventions
WINDSHIELD WIPER
The windshield wiper was invented by Mary Anderson in 1903 to help
streetcars operate safely in the rain. In 1905, she patented her invention,
which allowed the car operator to control the external swinging arm
wipers from within the car. Windshield wipers became standard equip-
ment on cars a decade later. Anderson was from Alabama, USA.

BUBBLE GUM
Bubblegum was invented by Frank Henry Fleer in 1906, but was not successful; the formulation of
Fleer’s “Blibber-Blubber,” was too sticky. In 1928, Walter E. Diemer invented a superior formulation
for bubble gum, which he called “Double Bubble.”

CRAYONS
Crayons were invented by Edwin Binney and Harold Smith, who owned a
paint company in New York City. Binney and Smith invented the modern-
day crayon by combining paraffin wax with pigments (colorants). These
inexpensive art supplies were an instant success since they were first
marketed as Crayola crayons in 1903.

SILLY PUTTY
Silly putty was invented in 1943 by the General Electric engineer James
Wright, who was trying to invent a synthetic rubber during World War II. He made it from boric acid
and silicone oil, which forms a weird polymerized compound. Wright could find no uses for this boun-
cy, gooey substance. Peter Hodgson, who worked in marketing, realized its future as a novelty toy in
1949, and it was a success. It was even taken to the moon in 1968 by the Apollo 8 astronauts.

SLINKY TM
The Slinky TM was invented by the engineer Richard James (1914-1974)
in 1943. This spring-toy came about by accident as James was developing
springs to support sensitive equipment on ships. James invented a manu-
facturing machine that could make a Slinky TM from 80 feet of steel wire
in 10 seconds. His wife Betty James (1918- ) named the Slinky TM and
runs the company that produces it.

YO-YO
The yo-yo is one of the oldest toys. Yo-yo’s have been used as a toy for
over 2,500 years, when the ancient Romans played with wooden and
metal yo-yo’s. The word “yo-yo” may come from Tagalog language (the
language of the Philippines), meaning “to come back.”

BLUE JEANS
Levi Strauss (1829-1902) was an entrepreneur who invented and mar-
keted blue jeans. Trained as a tailor in Buttenheim, Bavaria, Germany,
Strauss went to San Francisco, USA from New York in 1853. Strauss sold
dry goods, including tents and linens to the 49ers (the people who came
to the California gold rush, which began in 1849). In 1873, Strauss and Jacob Davis, a Nevada tailor,
patented the idea (devised by Davis) of using copper rivets at the stress points of sturdy work pants.
78
Early levis, called “waist overalls,” came in a brown canvas duck fabric and a heavy blue denim fabric.
The duck fabric pants were not very successful, so were dropped early. His business became extreme-
ly successful (and still is), revolutionizing the apparel industry.

VELCRO
George de Mestral was a Swiss engineer who invented Velcro in 1948.
While hiking, he had noticed that burrs (burdock seeds) stuck to his
clothing extraordinarily well. The burrs had hook-like protrusions that
attached themselves firmly to clothing. Mestral used this same model to
develop Velcro, which consists of one strip of nylon with loops, and an-
other with hooks. Mestral patented Velcro in 1957. It was originally used mostly for fastening clothes,
but is now used to fasten many other things.

SAFETY PIN
The safety pin was invented by Walter Hunt in 1849. Hunt patented the
safety pin on April 10, 1849 (patent No. 6,281). Hunt’s pin was made by
twisting a length of wire. Hunt invented the safety pin in order to pay a
debt of $15; he eventually sold the rights to his patent for $400.

LIFE SAVERS
The candy called “Life Savers” was invented in 1912 by Clarence Crane, a
chocolate maker from Cleveland, Ohio. His original Life Saver was a life-
preserver-shaped peppermint candy called “Pep-O-Mint.” Crane designed it as a summer candy--one
that would not melt in the summer heat. He bought a pill-making machine to make the candies, and
then punched a hole in the middle. Since they looked like little life preservers, he called them Life
Savers. In 1913, he sold the rights to his candy to Edward Noble for only $2,900. Noble then sold Life
Savers in many flavors, including the original peppermint. There are now 24 flavors; they are manu-
factured in Holland, Michigan.

POPSICLE
The popsicle was invented by 11-years-old Frank Epperson in 1905. Ep-
person (1894-?) lived in San Francisco, California. Epperson had left a
fruit drink out overnight (with a stirrer in it), and it froze, making a new
treat. His frozen treat was originally called the Epsicle. Epperson got a
patent on his “frozen ice on a stick” many years later, in 1923. The Epsicle
was later renamed the popsicle. Epperson also invented the twin pop-
sicle (with two sticks so it could be shared by two children), Fudgsicle,
Creamsicle, and Dreamsicle.

Invention information retrieved January 12, 2004 from www.enchantedlearning.com/inventors/

79
 Invention Particulars
Name_______________________________________________________________________________­­­­­___Per________

In order to create an effective marketing campaign for your invention, you must be able to describe
clearly all of its functions and features. Use the following boxes to help you envision all of the
different options and attributes of your invention. Please be as specific as possible. You may use
catalogs or the teacher’s example to help you formulate your ideas.

Options available:(colors, settings, sizes, and so forth) Instructions for care:

Out of what materials is it Explanation of your invention: (What is it, and how does it
made? work?)

Why would individuals or companies want to buy this? What are the major selling points?

80
 Invention Particulars
Teacher Example

In order to create an effective marketing campaign for your invention, you must be able to describe
clearly all of its functions and features. Use the following boxes to help you envision all of the
different options and attributes of your invention. Please be as specific as possible. You may use
catalogs or the teacher’s example to help you formulate your ideas.

Options available:(colors, settings, sizes, and so forth) Instructions for care:

 Colors available: Ivory, Wedgwood Blue, Burgundy,
and Hunter Green
 Three temperature settings: warm, warmer, and
warmest.
 Three sizes available: Twin, Full, and Queen size.
 Shipping and handling $4.95 per item
 Battery attachment is available.
For best results, hand or machine
wash in gentle cycle with mild
detergent in warm water. Rinse well.
Do not use bleach or spot cleaners.
Tumble dry on low heat or line dry.

Out of what materials is it
made?
Tootsie Toasters are quality
crafted in the U.S.A. Made of
Velour, the popular blanket
material that provides thermal
warmth without weight.
Explanation of your invention: (What is it, and how does it
work?)
The Tootsie Toaster is an inexpensive and unique blanket. Its
patented design has a pocket approximately three feet deep. The
pocket wraps around the bottom of the bed between the sheets
and your other blankets. Side and bottom flaps provide an easy,
snug, and secure fit for any standard twin, full, or queen-size
bed. The Tootsie Toaster is equipped with tiny heated coils that
softly heat the velvety fabric, keeping your toes delightfully cozy
all night long.

Why would individuals or companies want to buy this? What are the major selling points?
 Tootsie toasters are guaranteed against defects in fabric and workmanship.
 This is a great gift for seniors!
 Constructed with over 500 million 100% surface fibers for velvety softness and
extraordinary durability.
 The plush surface will never matt, pill, or shed—even after numerous washings.
 Cozy, lightweight, durable, and machine washable.
 For a delightful sleeping experience, order your Tootsie Toaster today!

81
 Invention Prototype Checklist
Name ____________________________________________________________________________ Per ____________________

As you complete each of the following requirements,

please place a checkmark in the box provided.

I have completed the “invention particulars” worksheet.

I have completed a detailed sketch of my invention.
I have added arrows and labels to my sketch in order to explain my invention drawing.
I have asked at least one peer to review my invention labels to check for clarity and
spelling errors.
I have carefully reviewed my drawing in order to decide which medium (clay,
papier-maché found objects, or the like) would be best for my prototype.
I made a list of items I would need for my prototype.
I showed my list to the teacher so that he/she could tell me which items I would need to
bring from home.
I made a list of items I would need to bring from home.
I showed my list to my parent or guardian.
I brought the necessary items from home.
I carefully constructed a prototype of my invention.
I modified my idea as necessary in order to tackle any problems that arose while I con-
structed my prototype.
I used my class time wisely to work on my prototype.
I added color to my prototype.
I added small details to my prototype.
I added tiny numbers on sticky labels to my prototype in order to identify all of the
interesting features.
I created a list to explain all of the special features. My list has numbers that corresponded
to the numbers on my sticky labels.
I asked at least one peer to review my list of special features to check for spelling errors
and clarity.
I thoroughly looked over my prototype again, searching for areas where I could improve,
and making the necessary adjustments.
I took my time and completed a quality piece of work.
When I was completely finished, I showed my prototype to the teacher.
I asked for ways that my prototype could be improved.
I made the necessary improvements
I turned in my prototype on time.

82
 Art & Science Connected
Pirates, Seascapes,
and the Aesthetic Experience
Visual Art & Science Lesson, may be adapted for choose to blindfold students in order to help them
all age levels more fully concentrate on the senses other than
By Elicia Gray sight.

OBJECTIVES Explain that many times, an aesthetic experience

Students will identify and apply the concept of
the aesthetic experience.
Students will gain an appreciation for artwork
that generates an aesthetic response.
Students will compose a poetic, aesthetic re-
sponse to an artwork and to a daily activity.
can stem from a memorable experience that is
linked to one of the five senses. Ask students to
put their heads down, close their eyes, and get
comfortable as they imagine the scenario that fol-
lows.

STATE CORE OBJECTIVES

Standard 2: Students will find meaning by analyz-
ing, criticizing, and evaluating works of art.
Standard 3: Students will create meaning in art.
Standard 4: Students will find meaning in works
of art through settings and other modes of learn-
ing.

MATERIALS
Assorted objects for motivational activity (see be-
low), Aesthetic Mold handout, bowls, warm water,
chunks of dry ice, color overhead of Joseph M. W.
Turner’s seascape entitled Snowstorm, Joseph M. http://inspirethereal.files.wordpress.com/2007/08/
W. Turner Handout, Seascapes slide show, Embar-
kation from Scotland by Nathaniel Irving Spens You are relaxing on the deck of your softly swaying
(1867) and Open Sea (1900) by Frederick Judd ship. Your feet are propped up on a fluffy pillow,
Waugh, from the Springville museum collection. there is a soft warm breeze blowing through your
hair, and you’ve just polished off the last of the
ACTIVITY freshly baked biscuits. With your stomach comfort-
Motivation: As a means to introduce the aes- ably full, you stretch out in your hammock to watch
thetic experience, students must endure a trip as the sun begins to melt slowly into the distant
through the Treasure Cave. In a dark corner of the horizon. Filling the sky with fiery shades of angry
classroom (or the stock room), design a haunted orange and passionate red, you watch as the heav-
cave. Each student must experience the terror by ens above are transformed while daylight turns to
handling monkey brains (slimy spaghetti), pirate dusk. Slowly the sun disappears, and you are left to
eyeballs (peeled grapes), pirate cuisine (tuna enjoy the deep purplish shadows of nightfall. You
fish), and so forth. Students will be given only get the chills as you reflect upon the colorful mas-
moments to touch, smell, taste, or listen to the terpiece you have just experienced. Feeling deeply
items in the haunted treasure cave. Teachers may satisfied, you realize that there is nothing more
83
beautiful than an ocean sunset on a calm summer choose to explain the scientific processes that
evening. cause the fog effect.

With their eyes still closed,

ask students to identify a time
when they have been “blown
away” by a sunset, a storm, a
view, or a piece of artwork.
Identify those events as aes-
thetic experiences.

On pirate ships, food is often

moldy; therefore, the teacher
may choose to use a moldy
apple to show the difference
between an aesthetic experi-
ence and a practical experi-
ence. First, demonstrate a
practical reaction to the moldy
apple. Next, demonstrate an
aesthetic reaction to the moldy
apple. Read Aesthetic Mold
(see Aesthetic Mold, Handout)
and explain that rich description and poetic lan-
guage can add to an aesthetic experience.
Invite students to have an aesthetic experience
with clouds of white fog. Explain that fog was
a common occurrence in nautical life. Place a
number of large bowls around the room, each
filled with warm water. Encourage students to
sit on the floor around each bowl of water. Using
tongs or a pair of thick gloves, place a substantial
fragment of food-grade dry ice into each bowl.
The extreme cold will cause the water vapor to
condense into bubbly clouds, creating a billowing
amount of ground hugging fog. Ask students to
observe the process carefully as the dry ice turns
to fog. Students must then write an aesthetic
response to this cloudy phenomenon. Encour-
age students to use rich descriptions and poetic
language to enhance their responses. Discuss the
difference between a practical experience with
fog, and an aesthetic experience with fog. For an
extension of this activity, the teacher may choose
to add colored dish soap to the dry ice mixture
in order to create another bubbling monstrous
effect, evoking a different kind of aesthetic re-
sponse. If time permits, then the teacher may also
Display the color overhead of Joseph M. W.
Turner’s seascape entitled Snow Storm. Relate
the historical information pertinent to the work
(see Joseph M. W. Turner Handout). Demonstrate
an aesthetic response to this work of art. Also
display Embarkation from Scotland (1867) by
Nathaniel Irving Spens and Open Sea (1900) by
Frederick Judd Waugh (SMA collection).
Explain that aesthetic experiences can cause
people to feel a variety of diverse emotions.
They are not always pleasant or calm. Display
the Seascapes slide show (on the CD) and invite
students to choose one artwork about which they
will write an aesthetic response. When students
are finished, ask them to share their responses.
Identify similarities and differences between
responses.
Divide students into small groups. Ask students
to make a list of everyday activities that pirates
might experience, such as eating, swimming, or
sailing. Invite students to choose one item from
the list and create an aesthetic response. Encour-
age students to incorporate the pirate vocabulary
in their responses (see Pirate Vocabulary Hand-

84
out). Students will create one response per group.

ASSESSMENT
Student aesthetic responses will be
evaluated for completion and coher-
ency. Group responses will also be
evaluated and given a group score.

SOURCES
Sources are stated on each individual
handout, and in the slide show.

VARIATIONS Focus on the science

connections of the lesson. Options
may include studying weather cycles
to help explain the seascape paint-
ings, investigating the scientific pro-
cess and properties behind the dry
ice phenomenon, and exploring the
nerve responses that affect the five
senses. Raoul Dufy, The Casino at Nice, Night (1935-36)
Fair Use, Education, to inform, only
EXTENSIONS
In order to better explain aesthetic experience,
identify ways in which the body responds to
different stimuli. What happens when we get
scared? What happens when we are happy? How
do the different stimuli cause us to respond
differently?

Frederick J. Waugh,
The Open Sea (1900)
SMA

85
 Joseph M.W. Turner (1775-1851)
"Snowstorm"

In this painting, wind and water violently cascade as if the boat were in the midst
of a treacherous storm. Why might this British artist have wanted to compose his
painting in such a manner? What feelings, emotions, or reactions was he hoping
to bring forth? Turner based this particular composition upon his own experience
at sea. While traveling upon a boat called the Ariel, he demanded a front row seat
during a deadly ocean storm. “I got the sailors to lash me to the mast to observe it,”
he said. “I was lashed for four hours and I did not expect to escape, but I felt bound
to record it if I did (Grolier, 1996, p. 28).” Critics at the time were frustrated by
Turner’s attempt to show what it felt like to experience a storm. One critic claimed
that the painting looked like “soapsuds and whitewash (Grolier, 1996, p. 28).”
Today, this painting is considered to be one of Turner’s greatest works.

Grolier Educational. (1996). “Sea, Sky and Storm.” Danbury: Grolier Publishing Company.

86
 Pirate Vocabulary
Note to the Teacher: This vocabulary is to be used with the aesthetic experience activity. While it is relevant to
many of the other activities, the diverse terms may be easily integrated into a clever aesthetic response.
 Avast-nautical term meaning halt or stop. Derived from the phrase “hold fast.”
 Becalmed-the state of a sailing ship when it cannot move because of lack of wind.
 Bilge-the lowest part of the ship. Bilge water is the foul, brackish sea water that seeps into this area.
 Black Jack-a leather tankard used by dockside pubs and taverns to serve wine and beer.
 Booty-a batch of stolen goods.
 Bowspirit-a long spar that projects from the ship’s bow.
 Buccaneer-a pirate or unscrupulous adventurer.
 Careen-cleaning a ship’s hull of barnacles, seaweed and marine worms by beaching it and leaning it over to
one side.
 Corsair-a French privateer.
 Crow’s nest-a platform up at the top of the mast.
 Davey Jones’ Locker-slang term for the bottom of the ocean.
 Cutlass-a short, curved, thick, sword; the preferred weapon of many buccaneers.
 Doubloon-a gold coin minted by Spain or Spanish colonies, worth about seven weeks pay for an average
sailor.
 Filbustier-a French term for pirates during the golden age.
 Freebooter-another term for pirate.
 Gibbet-a wooden frame from which dead pirates were hung, often in a metal cage especially fitted for the
pirate. Used as a warning to any others who would think of taking up a career of piracy.
 Jolly Roger-the pirate flag with its skull and cross bones.
 Letters of Marque-proof that a particular government sponsors a pirate/privateer.
 Marooned-to be left alone on a desert island.
 Mutiny-a revolt by the crew, overthrowing the captain of the ship.
 Picaroon-term meaning both pirate and slaver.
 Piece of Eight-Spanish silver coin, or old Spanish peso, often cut into pieces to make change.
 Pirate-derived from the Greek pirate, meaning one who plunders on the sea.
 Ponton-an English prison hulk, or converted ship hull, where captured pirates were held.
 Privateer-a pirate working for a particular government, restricting prey to that of another unfriendly
government.
 Scurvy-a disease resulting from a vitamin C deficiency, characterized by weakness, anemia, and spongy gums.
 Scurvy Dog-slang term for low quality or mean spirited.
 Sea rover-a pirate’s ship.

87
 Aesthetic Mold

Slowly I sift
Through the madness
that is my office.
A tiny crumpled container
Is revealed.
The contents—
a mystery.
I unwrap cautiously.
Light caresses
a lonely article.
In finer days
It matured
on a tree limb.
Now disturbed
from a lengthy slumber,
it is protected
by a blanket
of luscious spores.
Glistening spheres,
like miniscule snowballs
mask
the once ruby skin
of forbidden
fruit.

88
 Art & Science Connected
Creating Your Own Biosphere
Junior High Visual Arts & Science Lesson
By Carrie Wilson
OBJECTIVES
Students will use perspective drawing in the 9th
grade Science Core to discover ideas about the
zone of life.
Visual Arts (Secondary):
The students will create unique landscape of
another planets biosphere using basic landscape
perspective techniques like one point, two point,
aerial perspectives. (Standard 1and 3, VSA)
Student Friendly Language:
I can create a unique landscape.
UTAH STATE CORE
Science Benchmark
Earth supports an interconnected system of liv-
ing organisms. This system is unique in the solar
system. Biodiversity on Earth is determined by
biotic and abiotic factors. Throughout Earth’s his-
tory, the number and distribution of species have
changed over time in response to environmental
changes.
Objective 1 
Describe the unique physical features
of Earth’s environment that make life on Earth
possible.
A. Compare Earth’s atmosphere, solar energy, and
water to those of other planets and moons in the
solar system
B.Compare the conditions that currently support
life on Earth to the conditions that exist on other
planets in the solar system.
C.Evaluate evidence for existence of life in other
star systems, planets, or moons, either now or in
the past.
Standard 2 
Students will understand that the
features of Earth’s evolving environment affect
89
living systems, and that life on Earth is unique in
the solar system.
VOCABULARY
http://www.artlex.com/
(Look up perspective and any other art term you
are interested in.)
MATERIALS
Scrap Paper for Sketching and Practice
Larger Paper for the Final Drawing
Pencil
Color Medium (markers, colored pencils or any
thing on hand)
Images of artworks:
James Christensen, The Rhinoceros, and Fantasies
of the Sea
Catherine Kuminski, Kimono Teapot
Julie Buckley, Artwork: http://www.jdbuckley-
fineart.com/
(Unusual landscapes and creative environments.)
M. C. Escher, Belvedere (http://picasaweb.google.
com/lh/photo/EjyYJfGTl1R_AUToMKF4SA or
http://thegirlwithkaleidoscopeeyes.files.word-
press.com/2009/09/belvedere-lithograph-1958.
jpg)
(Escher is a great example of imaginary land-
scapes using perspectives.)
The Illustrated Book Dinotopia
http://www.dinotopia.com/dinotopia-art.html
RESOURCES
http://springvilleartmuseum.org/collections/
index.html
Perspective Drawing Basics:
http://drawsketch.about.com/library/weekly/
aa021603a.htm
(Good history on perspective)
http://www.technologystudent.com/designpro/
twopers1.htm
http://www.ider.herts.ac.uk/school/courseware/ tree is just the basic shape, plus things that are
graphics/two_point_perspective.html really far away have a blue cast to them.
http://perspective.currencyretail.com/onepoint-
perspectivedrawings/ Have the students sketch out their basic idea as
Aerial Perspective: a thumbnail and have them show it to you. The
http://psych.hanover.edu/Krantz/art/aerial.html thumbnail should be small with only the most
basic detail, just to get the idea out.
Once the idea is plotted out on the scrap paper
ACTIVITY (Although this lesson is for junior high, and they have practiced the perspective they
it can be easily changed to younger grades by need, have the students start work on the larger
using simpler ways of using perspective such as paper.
overlapping, objects in the distance having fewer
details, which I will talk about in this lesson.) Students may add color with any color medium
you have available. Have the students create a
Introduce: The marriage of art and science is a nametag for their planet’s landscape.
logical and fun one. Talk about different ecosys-
tems here on earth. Concepts like the Biosphere, You can display the landscapes with the nametag,
Lithosphere, Hydrosphere, and Atmosphere with and/or lay the drawings out with just the title
your class. Then talk to them about creating their of the landscape, and then have the students
own world, so they have to know the basics of this go around looking at the landscapes like a walk
one to make another. For example, discuss what around. You can have the students write down
a water planet would be like, where would it have what they think the planets are like.
to be in relation to their sun, the life on the planet,
what kind of structure would be created if human
like individuals were there, what would they look
like and what ecosystem would exist? Or a planet
with no gravity, would they anchor thing down
or, a cool fantasy planet, not limits to the creative
expression, just that the students have to think
in the whole picture of the complete ecosystem.
Basically, how would life be sustained? Another
good example to show is the book Dinotopia be-
cause it has beautiful illustrations about an imagi-
nary landscape and ecosystem.

Brainstorm their ideas. You can have the students

work in small groups to help each other flesh out
the ideas. (You can use the brainstorming work-
sheet included at the end of the lesson.)
Talk about different types of perspectives. If the
students want to draw a structure in their land-
scape, they need to use one-point perspective
or two-point perspective, and there are lots of
web pages giving step-by-step instruction, please
check the web resource list. Plus, you can just
talk about how we see. Things that overlap come
at you, and things that are far away lose detail.
Think about a line of trees. In the first tree, we see
the bark and the details of the leaves. The furthest

90
Name: _________________________________________________________________________
Period: ___________________
Date: ____________________

Create your own world!
Brainstorm as many possibilities you can think of, if you could create a world! Nothing is silly or too
out there, so really push your imagination.

Name of your planet: Describe the characteristics of your planet. What kind
What does it look like from space? of life lives on your planet?
Draw it.

Draw what life looks like on your planet.

91
Assessment Rubric
Student Name: Class Period
Assignment/Problem: Self-Created Landscape Date Completed
Circle the number in pencil that
best shows how well you feel that Superior, Excellent Good Average Needs
you completed that criterion for the Justify Improvement
assignment. Below
Composition and Design—does it
read well? Can I see what my planet 5 4 3 2 1
is like from the drawing?
Growth and progress— how does
the work compare to previous
work? Is there growth in thought?
Have I tied in my knowledge about 5 4 3 2 1
what it takes to make a planet?
Impact—Is it daring? Does it
extend from past work? Is it a
theme of personal expression or if 5 4 3 2 1
borrowed, how did I change it?
The problem—have I addressed
the problem posed? Are variations 5 4 3 2 1
made for a reason?
Care/effort—Is the work
appropriate to the style? Have I
Paid attention to details—What 5 4 3 2 1
level is the craftsmanship?
Work habits —Did I use my time
efficiently, ask questions, record my 5 4 3 2 1
thoughts and experiments?
Totals for each column
Total points
Grade:
Name of the Planet

Characteristics of the Planet

(How have I shown this in my
drawing?)

Student Reflection:

Teacher’s Comments:

92
 Art & Science Connected
Ideas for Art & Science Lessons
BRANCHES OF SCIENCE: With Accompanying
Art Projects.
by Joseph Germaine
ACOUSTICS: It is a branch of science related to
the study of the transmission of sound waves. It
usually refers to the characteristics of theaters,
auditoriums, and studios and includes the behav-
ior of sound in buildings. It also studies the way
acoustic musical instruments make their sounds.
>Try making handmade instruments like clay
whistles, flutes, ocarinas, rattles, and drums and
playing them in a variety of acoustic environ-
ments such a classroom, outside, in the cafeteria,
and the gym. Compare and contrast the differ-
ent sounds and discuss possible reasons for the
change in sound. Look at the walls, at the size, at
the kinds of texture in the rooms. What causes an
echo?
http://everydaycraftygoodness.wordpress.com/2009/02/11/
clay-whistles/
AERODYNAMICS: It is associated with the study
of forces of air acting on objects in motion relative
to air.
93
>Paper airplanes are a natural. Find some good
books on the subject or there are some excellent
websites to use. (This one has all kinds of air-
planes and gliders and has everything from easy
to hard with folding diagrams as well as videos:
http://www.paperairplanes.co.uk/planes.php)
What makes a “long distance flyer? What makes a
loop to loop? What makes a fast rocket? All these
ideas and many more are available for exploration
through the “origami” art of paper airplanes.
AGRICULTURE: It is the science of cultivating
the ground, harvesting the crops and rearing and
management of farming.
>Try growing plants in your classroom. As you
cultivate some interesting plants, use them for
still-life rendering. Try growing from seed. Use
grow lights and hydroponic growing techniques.
Have students study the variety of line in a single
plant. Notice the harmonious and dynamic rela-
tionship between the visual elements of a single
plant. Notice the contrast with other kinds of
plants. Render the observation with pen and ink
or watercolor. Look at the way botanists make
illustrated renderings of plant species.
>Grow a sunflower from seed. Draw and paint it.
Look at Vincent Van Gogh’s, Sunflowers.
ANATOMY: It is a branch of biology, related to
the study of structure and organization of living
things. It involves human anatomy, plant anatomy
and animal anatomy.
>Have students learn the names of the bones in
the human the skeleton. Have students draw the
skeleton from memory. Make skeletal gestures
with the correct proportions. (See the handout
for the lesson on Bones.)
http://commons.wikimedia.org/wiki/
File:Danj%C5%ABr%C5%8D_Ichikawa_II_as_Shibaraku.jpg
ANTHROPOLOGY: It involves the study of both
the past and present human cultures. It is as-
sociated with physical and social characteristics
of humanity through the study of historical and
present geographical distribution, acculturation,
94
cultural history, and cultural relationships. An-
thropology also deals with “Material Cultural,”
which includes art.
>Have students make artifacts based on ideas and
designs from other cultures: Australian Aborigi-
nal dreamtime maps, Collagraphic printmaking
using Polynesian Tapa designs, Peruvian Retablo
sculptures, Japanese paper mache Kabuki masks
(some of these are in past packets).
>Have students write their names in other lan-
guages using phonetic alphabets from Sumerian
(cuneiform), Egyptian Hieroglyphics, and Japa-
nese Kanji, Hiragana, Katakana and the Latinized
alphabet called romaji. Translation sites for most
languages can be found on the Internet.
ARCHAEOLOGY: It is a sub discipline of anthro-
pology that involves the study of physical evi-
dence of past human societies, recovered through
excavation.
>Have students construct ceramic mugs and bowl
using Anasazi style designs. Use black sharpies
on white clay to reproduce the aesthetic.
>Have students sculpt Fremont Indian “votive
figure” dolls from red ceramic clay. Use other “ex-
tinct” cultures such as Hohokam, Mogollon, and
Casas Grande for their decorative design ideas.
This artist makes traditional Anasazi-style pot-
tery. www.ancientarts.org/Pottery.htm
http://commons.wikimedia.org/wiki/File:Chaco_
Anasazi_canteen_NPS.jpg
ASTRONOMY: It is the scientific study of celestial
bodies such as stars, comets, planets, and galax-
ies and phenomena that originate outside of the
Earth’s atmosphere.
>Find some of those amazing images taken by
the Hubble Telescope. (This site has the top 100
images and they’re big images. One is included on
the CD. http://www.spacetelescope.org/images/
archive/top100/ ) Have students make “outer
space” images with watercolor that resemble
non-objective abstract expressionism.
>After studying some of the Greek mythological
star constellations, find a good photo of the Utah
night sky, copy it approximately with pen and ink
and copy off sheets for each student and have the
students create their own constellations in the
star-filled sky. (Find images at http://www.utahs

The Pleiades in the Utah night sky.
kies.org/) Students should share their mytholo-
gies and stories.
>Look at the wealth of historical symbols using
the sun, moon, and stars from most every culture.
Have students pick one of these heavenly bodies
to create a personal symbol that uses sun, moon,
or star as the prime design motif.
BIOLOGY: It is the scientific study of LIFE. It
involves the study of structure, origin, growth,
evolution, function, and the distribution of living
things.
>If possible, organize a field trip to the Hogle
Zoo in Salt Lake City. Have each student carry a
small handmade sketchbook and a pencil or pen.
Students should make “life drawings” of the zoo
animals. Using photographs as research options,
have students make accurate drawings of baby
animals. Try endangered species.
>A good option to the Zoo is the Bean Museum at
BYU.
BOTONY: Sometimes “plant biology,” plant sci-
ence or phytology. It involves the scientific study
of plant life.
>Make your own plant-based pigments to color
eggs, color handmade paper, paints. Try using
beets, carrots, onions, cabbage, tomatoes, grass,
blueberries, and concord grapes. Experiment
with any plant or leaf by boiling, pureeing, or
soaking. Boiling makes the darkest colors. (One
good site: http://www.pioneerthinking.com/
naturaldyes.html)
95
>Use plant fibers in your recycled handmade pa-
per for texture and color. (See the lesson in Art on
a Shoestring Budget, Evening for Educator packet
Sept. 2010, SMA)
http://www.tapeeurope.org/G6-Slovakia/proj-
ectsslovakia.html
An example of a Hawaiian—style quilt based on
a sego lily—not perfectly symetrical. Made by an
adult
>Look up Hawaiian Quilt patterns and have stu-
dents use this idea to create their own plant pat-
tern. Try making the symmetrical pattern using
sego lily, pine tree, sagebrush, Indian paint brush,
yucca, Joshua tree, or other local native plants.
http://www.adamsamigos.net/daniel/parriot1.
htm
CHEMISTRY: It is a branch of natural science
that is associated with the composition of sub-
stances and their properties and reactions. It is
the science of matter and its interactions with
energy and itself.
>Experiment with clay from the schoolyard and
students yards to see if any of it is fireable clay.
Make a small wafer of clay and fire it. The chem-
istry for usable clay is 1 part alumina to two parts
silica with a little feldspar thrown in for flavoring.
>Experiment with the chemistry of ceramic glaze
by making a line blend using soda ash, volcanic
ash, and borax (Twenty Mule Team Borax) or any
soluble salt as the basis for low-fire clay. As in all
scientific inquiry, you must be willing to experi-
ment. Use your kiln.
CIVIL ENGINEERING: This branch of engineering
deals with the planning, designing, construction,
and maintenance of structures (roads, bridges,
buildings, etc.) and altering the geography to suit
the human needs.
>Have students create drawings, paintings, and
sculptures of historic architecture, buildings,
monuments, bridges, dams, towers, cathedrals,
castles, fortresses, palaces, temples, and other
kinds of engineering projects. Models of all these
edifices can easily be made of ceramic clay. Try a
clay sculpture of a Freeway Interchange.
CLIMATOLOGY: It involves the study of climatic
data, analysis of climatic changes and investiga-
tions of its phenomena and causes.
>Have students draw or paint the wind. Find
examples. Try “Starry Night” by Van Gogh.
>Have students document photographically the
climate changes in your school playground and
the visual effects the climate changes make. Try
photo essays of seasons.
COMPUTER SCIENCE: It includes a systematic
study of computation and computing systems. It
also involves different theories for understanding
the computing systems and methods, algorithms,
design methodology, and tools.
96
>Have students use computer technology to
create original works of art. Scan in an original
drawing or painting or photograph and then use
one of your drawing or painting or photo adjust-
ment applications to change and distort or en-
hance or cut and paste to change the original into
an interesting and compelling visual work.
>Use Photo Booth to create an original self-por-
trait for your students’ Portfolio covers. (See Let’s
Face It! Packet.)
ECOLOGY: It includes the study of interrelation-
ships between living organisms and their envi-
ronments.
>Have students draw and color (colored chalk
or pastels) a large mural sized habitat of Desert,
Swamp, Mountains, Beach, Reef, or Prairie. Ren-
der only the topography and general landscape
without any animals or plants. Research the flora
and fauna in a specific habitat and have students
make cut out representations of these elements
and have them attach them to the appropriate
location on the mural.
ENTOMOLOGY: It is a branch of science that
includes the study of insects in their relations to
forests and forest products.
>”That Really Bugs Me.” Have students research
scientific drawings of insects. Students should
then render copies of these insects, choosing two
or three. Now have students combine elements of
each insect to create and name their own insect.
Remember that not all “bugs” are insects. Insects
have an exoskeleton, a three-part body (head,
thorax and abdomen), three pairs of jointed legs,
compound eyes, and two antennae.
>A fun entomological project is to hatch but-
terflies from larva and pupa. These can be pur-
chased in several varieties from most Science-
Educational catalogues.
>Design and invent your own butterfly. Deco-
rate it with pen and ink and watercolor. It can
be symmetrical or asymmetrical, traditional or
unconventional. It can also be a cut out and col-
lage project. This is also a good time to use color
theory and color scheme applications.
EVOLUTION: It is the sequence of changes in-
volved in evolutionary development of a species
or taxonomic group of organisms.
>Study M.C. Escher’s “Metamorphosis” to see the
evolving shapes and objects. This would be a
good time to teach Tessellation patterns.
GEOGRAPHY: It includes the study of the earth
as well as its features, phenomena and in ha-
bitants. It also deals with climate, topography,
vegetation and soil.
>Get a list of National Parks in the United States
(try other countries also). Find distinctive images
and use as inspiration for original artwork. These
projects could also be rendered as collage
>Have students experience how topographical
maps are made by making their own maps of
their own neighborhood or community.
en.wikipedia.org/wiki/File:Puu_Oo_cropped.jpg
GEOLOGY: This branch of science involves the
study of origin, history, evolution and structure of
the earth’s crust. It also involves the examination
of soil and rocks.
>Show students some videos of Hawaiian Vol-
canoes and have them illustrate the volcanic
phenomena including the magma chamber. Have
students render images of the two types of lava:
pahoehoe and a’a. http://www.solarviews.com/
eng/hawaii.htm
http://hvo.wr.usgs.gov/
GEOMETRY: It is a branch of mathematics that
deals with the questions of shape, size and rela-
tive positions of figures as well as with the prop-
erties of space. It is associated with polygons,
vertices, triangles, meshes and associated opera-
97
tions to be done with them in 3D applications.
>For young students, a “dance” project where
students hold hands and create and name basic
shapes is a wonderful to introduce the concepts
of plain geometry by starting with concept and
vocabulary.
>All “perspective” drawing is involved with geom-
etry as the students learn to create the illusion of
space (three dimensional).
>Using the tools of geometry is a grand way to
make art. Have students create original designs
by using straight edge rulers, compass, protrac-
tor and right triangles. Try using “French Curves”
as drawing guides to non-objective designs and
patterns.
>The Tangram is a Chinese dissection puzzle con-
sisting of seven flat shapes, called tans, which are
put together to form new and interesting shapes.
The object of the puzzle is to form a specific shape
(given only an outline or silhouette) using all
seven pieces, which may not overlap. This puzzle
game came from China and became very popular
in 19th century Europe.
A pattern is included at the end of these lesson
ideas.
http://p6den.blogspot.com/2009/11/tangrams.
html
Lots of puzzles http://www.tangrams.ca/inner/
down.htm
>The Pentomino is shape composition made of
five congruent squares, connected along their
edges. Sometimes it is call an orthogonal con-
nection. There is a game of sorts connected
with pentominos but we just use it to see how
many ways we can combine the squares to create
unique arrangements of geometric forms. Most
of the compositions are similar to letters of the al-
phabet and their mirror image. We have come up
with 18 different compositions. How many can
you find? Remember, only sides connect. http://
en.wikipedia.org/wiki/Pentomino

>After looking at images of geometric crop circles

(there are many in Britain) have students create
their own geometric design using drafting tools.
Give the designs names to imbue meaning.
>Remember that geometry can be 3-dimensional.
Have students build Platonic Solids, Geodesic
Domes and any other complex polyhedra out of
triangles and pentangles made of matt board or
cardboard.

Wall relief of Ra, temple of Edfu, Egypt

Photo by Rémih, 9 June 2009
GNU Free Documentation
http://commons.wikimedia.org/wiki/File:Edfu32.JPG

gies. Some of the cultures that worshiped the sun

A crop circle in the form of a Triskelion composed of Circles
public domain
http://en.wikipedia.org/wiki/File:Crop_circles_Swirl.jpg
HELIOLOGY: It deals with the study of the Sun.
>Have students understand something about how
light travels and where light comes from by creat-
ing an original work based on the question, “What
Can You See In The Dark?” Create light sources,
shadows and reflections. Use pencil and render
as a value study.
>Many cultures worshiped the sun as the giver
of life. It is understandable why this would be
so. Have students study several cultures that
worshiped sun gods and have them create their
own images of the sun deities or sun mytholo-
were the Egyptian Ra, the Greek Helios, the Native
Americans (Iroquois and Plains Indians) per-
formed the “Sun Dance,” the Persians Mithra (he-
liodromus, the sun-carrier, the Roman Apollo, the
Eskimo (Inuit) Malina, the Mayans Kinich Ahau,
Do you know about Litha? It is the celebration of
the midsummer solstice, longest day of the year.
ICONOGRAPHY: It is a system of using images,
symbolic pictures, or figures to represent a theme
or structure.
>Have students develop “personal symbols” that
represent themselves in some personal way. I
have students come up with four different sym-
bols so they can choose the best one. To help
them think and get an idea, we divide the thinking
into four different categories. 1. Monogram, 2.
Pictograph, 3. Geometric shapes and patterns, 4.
Self-Portrait. After students have designed their

98
personal symbol, they can use it for portfolio cov-
ers, collagraphic printmaking, or repeated pattern
projects.
>Have students develop symbols, which replace
clichéd symbols like the sun, the heart, and the
smiley face.
>Part of iconography is found in the advertising
world where recognizable icons are used for in-
stant recognition of a product or company. Have
students develop an original advertising logo for a
real or imaginary business.
>The national flag is a recognizable icon in all
countries. Have students work is small groups to
design a flag for their school, community, grade
level, or neighborhood that uses symbolic images,
colors, shapes, or words.
Sodium Chloride (Salt) Halite Crystal
public domain
http://en.wikipedia.org/wiki/File:Halite%28Salt%29USGOV.jpg
MINERALOGY: It is the study of chemical com-
position, physical properties, internal crystal
structure, origin occurrence, and distribution of
minerals.
>Use a variety of minerals to create color pigment
in paint or glaze. For room temperature pigments
in a neutral base, try Red Iron Oxide for Reddish
Browns, Hematite for black, Red Hematite for
bright red, limonite for yellow, azurite for blue,
Iron Oxide in clay for yellow, Yellow Ocher for Yel-
low, Red Ocher for Red, Minium for Red, Verdigris
and Malachite respectively, for Green, Lazurite for
99
Purple, Orpiment (Arsenic Sulfide) for Orange,
Chalk for White, Umbra for Brown. In my class
we use a white gesso as the base to mix our own
paints for mineral colorants.
If you want to use minerals for colorants in glazes
the list will be different and depend somewhat
on the temperature you wish to fire the ware to.
Cobalt Carbonate for Blue, Chromium Oxide for
Green, Copper Carbonate for Turquoise, Rutile for
Yellowish Tan, Black Iron Oxide and Cobalt Ox-
ide for Black, Red Iron Oxide for Reddish Brown.
These colorants work well at cone 06.
OCEANOGRAPHY: It is the study of chemistry,
physics, geology and the biology of oceans.
>Waves and surfing always attract young stu-
dents’ attention. Get hold of a surfing movie or
short surfing clips for free online. Have student
try to reproduce what waves look like as they
roll in set after set. A little explanation about the
physics of wave energy will help. The waves will
probably not look very realistic. There just aren’t
a lot of big waves on Utah Lake. These wave
sketches will make good cardstock templates for
a collagraphic printmaking project. They could
also be used for a stencil printmaking project but
obviously the most natural medium for waves is
WATERcolor. Get it?
Katsushika Hokusai, The Great Wave off Kanagawa,
(c. 1833) Color wood block print
public domain
en.wikipedia.org/wiki/File:Great_Wave_off_Kana-
gawa2.jpg
100
 Art & Science Connected
Symmetry in Nature – Bug Drawings

1st – 4th Grade Visual Art & Science Lesson Point titled Symmetry in Nature included in the
by Stephen Pratt CD of this packet for some examples.
Check for understanding by having students
OBJECTIVES point out symmetrical objects around the room.
Students will be able to: Or have a collection of objects or images (some
Define Symmetry and be able to recognize it in symmetrical and some that are not) and have
objects from nature. the students give you a thumbs up if the image is
Illustrate their understanding of symmetry by symmetrical, and a thumbs down if it is not.
making drawings of bugs.
Make a connection with symmetry in nature
and symmetry in manmade creations by looking
searching for symmetrical objects in the class-
room, and studying the architecture of the Taj
Mahal.
Define the different anatomical names for the dif-
ferent sections of insects

STATE CORE OBJECTIVES

1-4th Grade Rainbow Chart: Line, Shape, Color –
Identify, Explore, Create

MATERIALS
Images of symmetry from nature for presentation
Images of bugs for students to draw from – bee-
tles and butterflies
Blank paper, or photocopies of drawing sheet sup-
plied in this lesson.
Pencils
Color pencils
Fine tipped sharpies or other black pen/markers
(optional)
INSTRUCTION
Explain the meaning of symmetry – having both
sides of an image or object look the same. If you
were to divide it in the center, both halves should
be mirror images of each other. Show them some
images of examples of symmetry we see in nature.
Images could include bugs, flowers, human faces,
leaves, tiger faces (interesting to see that even
their stripe pattern is symmetrical). See Power-
101
Christmas Beetle (Anoplognathus viriditarsus)
Dhobern 23 December 2008
Creative Commons Attribution-Share Alike 2.0
http://commons.wikimedia.org/wiki/File:Anoplognathus_virid-
Art Criticism: Explain that a lot of manmade
things are symmetrical. Sometimes it makes a
design more balanced and pleasing to look at
when it has symmetry. Some architecture is a
good example of this. Show them an image of the
Taj Mahal, (on CD)and explain that the Islamic
culture believed that symmetry was a form of
beauty and perfection, and helped balance our
lives. Everything about the design of the Taj Ma-
hal is symmetrical. Even the gardens and exterior
walls and architecture (which you don’t usually
see in photos) were laid out to give a symmetrical
balance. There is a structure off to the side of the
gardens of the Taj Mahal built to house servants.
In order to keep everything symmetrical, there
was a replica building built on the opposite side,
even though it was never used. Would the Taj
Mahal look as good if it were missing some of its
architectural features from one side or the other?
You could ask students if they can think of any
other buildings that are symmetrical. Is the
school a symmetrical or asymmetrical design?
Do they have a preference over symmetrical or
asymmetrical design? What are some good things
about symmetry, and what are some good things
about asymmetry?
If you would like you, can show the class more im-
ages of buildings or designs that are symmetrical
and asymmetrical.
Demonstration: Explain that realizing that an
image is symmetrical can help us draw it more
easily. Do a demonstration of drawing a beetle or
butterfly, with an image of one that everyone can
see. I like to have it projected on my screen while
I make a drawing on my white board. Start by
putting a line of symmetry on your bug picture,
and a line of symmetry on your drawing paper.
From there you start drawing the contour of one
half of your bug, and then try to imitate the sec-
ond half on the other side of your line. (This same
process can be done for drawing animal faces,
which would be a good extension for students
who finish this project early). This is also a good
time to talk about the anatomy of beetles, and
other insects, and introduce them to the proper
terms: head, thorax, and abdomen. See Sources
for websites teaching bug anatomy.
Activity: Hand out photocopied images of beetles
and butterflies. You can hand out a blank sheet
of paper for them to draw on, or I like to give
them a paper with two rectangular windows for
them to draw in. I tell them their bug drawing
should fill the rectangular window, and that helps
them draw it a little bigger. They should start by
drawing their lines of symmetry before they start
drawing anything else. It is ok to erase, there is
102
http://www.robink.ca/blog/dragonfly-turtle-bayview-train/
no shame in it. After their line drawings are done,
I have them trace it with a fine tipped sharpie
and erase their pencil lines. The last step is to
use color pencils to color in their bug drawings. I
require them to color their bugs in solid.
SOURCES:
Bug Anatomy:
http://www.earthlife.net/insects/anatomy.html
http://www.insectidentification.org/insect-anat-
omy.asp
http://biokeys.berkeley.edu/inverts/insect_anat-
omy.html
Good Dover Publications book for bug images to
draw from: Insects, ISBN-13: 978-0-486-99779-7
and ISBN-10: 0-486-99779-0
Good website with different beetle images:
http://www.cerambyx.uochb.cz/cerambyx.htm
VARIATIONS
You could do the same lesson with animal faces
instead of bugs.
EXTENSIONS
You can require the students to use complemen-
tary colors to color their bugs. It’s a good way to
get them familiar with complementary colors. It
doesn’t have to be limited to just two colors per
bug. They can use different shades of the comple-
mentary colors, and they can add neutral colors,
such as black, grey, and brown.
ASSESSMENT
Use the rubric below to assess student work or have your students help you create one.

Criteria 5 4-0

-used a line of symmetry in the center -line of symmetry is not in the center of
of the window at the beginning the window or missing
Symmetry
-student attempted to create both - student did not grasp the concept of
sides of the bug drawing symmetrically symmetry

-used sharpie to carefully go over the
pencil lines
-erased extra pencil lines
Craftsmanship
-kept color pencil strokes close
together and solid
-student used the class time wisely
-drawing was passed off by the teacher
for any suggestions before moving on
Effort
to using the sharpie
-evidence of erased lines in attempts to
make the drawing more symmetrical
-sharpie lines were made too quickly
-did not erase all or any of the pencil
lines
-coloring is not smooth. Colored too
lightly, or left too much white paper
showing through
-student had difficulty focusing on the
work, getting very little done in class
-didn’t pass off the bug drawing before
moving on to sharpie
-it appears that the student drew too
quickly, and did not take the time to
make corrections

103
104
 Art & Science Connected
Camouflaged Butterflies
and Natural Selection
5th – 12th Grade Visual Art & Science Lesson
by Stephen Pratt, Jakob Ellinger, and INSTRUCTION
Katherine Sonne Start with a presentation on natural selection
(you may refer to the PowerPoint included in
this packet). Natural selection is the concept
OBJECTIVES that desired traits of a species will become more
Students will be able to: common through the years as those members
Explain how natural selection works and the con- of a species possessing those traits survive and
cepts of evolution. reproduce. One of the best- known examples of
Define the terms camouflage, mimicry, adapta- that process is the English peppered moth. There
tion, and fitness as it relates to the theory of are two types of peppered moths — a white moth
evolution with speckles and a dark moth. In the 1850’s
Explain the differences between moths and but- the white moth made up 99% of the population
terflies. of peppered moths, because it camouflaged well
Create a butterfly that will hide in the classroom with the light colored lichen on the tree trunks.
surroundings.
Form their own opinions about the message of
the camouflage art by Liu Bolin.

STATE CORE OBJECTIVES

Science 5th grade Standard 5, Objective 2: De-
scribe how some characteristics could give a
species a survival advantage in a particular envi-
ronment.
Science 7th grade Standard 4, Objective 2: Relate
the adaptability of organisms in an environment
to their inherited traits and structures.
Science 9-12th grade Biology Standard 5: Students
will understand that biological diversity is a re-
sult of evolutionary processes.
Fine Arts Standard 1 (Creating), Objective1 & 2
Fine Arts Standard 2 (Perceiving), Objective 1 & 2

MATERIALS
Visual examples of camouflaged bugs and animals
(see Sources below for good websites to find im-
ages to make a PowerPoint)
Photocopies of blank butterfly patterns (included White and Black Peppered Moths
in this lesson packet) Photos by Olaf Leilinger
Colored pencils CC-BY-SA-2.5 and GNU FDL
Scissors http://en.wikipedia.org/wiki/Peppered_moth_evolution

105
After the growth of the Industrial Revolution, the
tree trunks darkened due to soot and grew less
lichen because of the pollution, benefitting the
darker moths in hiding from prey. By the 1950s,
the dark moths made up over 90% of the pep-
pered moth population (see sources for more
information on the peppered moth). Now, with
reduced rates of pollution, the white peppered
moths have increased in numbers.
A fun activity for the students might be to see a
few images with camouflaged bugs or animals
and see if they can spot them. There are some
pretty amazing adaptations out there that have
helped species hide in their environment.
Explain the theory of evolution and terms such as
camouflage, mimicry, adaptation, and fitness. See
PowerPoint included in this packet and sources at
the end of this lesson.
Dead Leaf Butterfly
Activity: To help them remember what they’ve
learned about natural selection, their assignment
will be to create a butterfly/moth that can blend
into the classroom. Show them some student
examples included in this lesson. Students will
have to try to imitate color, pattern, and texture of
an area in the room. This could be the floor, ceil-
ing, cupboards, counter, bookshelves, books, or
106
even posters in the room (white walls don’t count
– you know some of the students are thinking of
that).
Hand out the photocopy patterns of blank butter-
flies. Suggest to them that they think-it-through
and plan their butterfly using a graphite pencil
and light markings, before they tackle the draw-
ing with colored pencils. It helps if they place
their butterfly paper right on the area they intend
to camouflage it into to so they can match the sur-
roundings. It is ok if it is an unrealistic situation
of mutation and natural selection – meaning, that
the butterfly could be made to blend into one spe-
cific spot, and if it moved a little, it would be cited.
Have fun with it! See how well they can hide their
butterflies! Stress to the students that they will
be graded on how well colors and textures match
their surrounding. (See “Extensions” for an idea
to prep them for this.)
Sometime before, during, or after the activity,
teach the students the differences between moths
and butterflies. See Sources for good websites
that teach this.
Connection to Contemporary Artists: Show them
images of two contemporary artists: Liu Bolin and
Cayetano Ferrer. They both use camouflage as
the main concept of their work. Liu Bolin paints
people to blend into the surrounding elements.
Cayetano Ferrer will paint boxes in corners so
that it appears you are seeing right through them.
This would be a lot harder than simply camou-
flaging a flat piece of paper, as in the case of the
butterfly assignment. How do you think they
accomplish this? They aren’t using any computer
or photography tricks, it is all done with paint.
You would have to take into account that it only
works when viewed from one specific angle. If
the viewer were to move, it would no longer line
up to match the surroundings perfectly.
Class discussion: See this website: http://
www.dailymail.co.uk/news/worldnews/ar-
ticle-1201398/Now-you-dont-The-artist-turns-
Invisible-Man.html to learn more about what
inspired Liu Bolin to do his work. He talks about
being shut out of his studio by the Chinese gov-
ernment, and so this was a way of taking his stu-
dio out into the open, and “hiding.” He says this
is his protest against the government and his way
of revolting. Have a class discussion on what they
think – does it work? He also talks about having a
feeling of alienation and loneliness at a time of his
life. Do these works express that? How?
ASSESSMENT
Rubric for Camouflaged Butterfly is included at
the end of the lesson.
SOURCES
Nice website talking about the peppered moth
and natural selection: http://www.techapps.net/
interactives/pepperMoths.swf
Short article on the peppered moth:
http://www.mansfieldct.org/schools/mms/staff/
hand/genNaturalselection06.htm
Natural Selection:
http://en.wikipedia.org/wiki/Natural_selection
http://evolution.berkeley.edu/evolibrary/article/
evo_25
http://evolution.berkeley.edu/
EXTENSIONS
If you have the time, you could have an exercise
previous to making the butterflies, where stu-
dents cut out small swatches of color out of maga-
zines, glue them on a paper, and they have to try
their best to match that same color with colored
pencils. All colors from a magazine will have to
be imitated by mixing or overlapping different
colored pencil colors.
You could also discuss the biological differences
of moths and butterflies to educate the students a
little more about them.
Along with camouflage, you could discuss mim-
icry as a way for species to protect themselves
from predators. Mimicry is when a species, over
time and through natural selection, looks a lot like
a similar species that is bad tasting.

Simple explanation of differences between moths

and butterflies:
http://library.thinkquest.org/J002124/moths.
htm
http://insects.about.com/od/
learningaboutinsects/a/butterflyormoth.htm

Great Liu Bolin art images website:

http://www.ekfineart.com/html/artistresults.
asp?artist=82
Article on Liu Bolin and large images of his work:
http://www.dailymail.co.uk/news/worldnews/
article-1201398/Now-you-dont-The-artist-turns-
Invisible-Man.html

VARIATIONS
Instead of camouflaging butterflies, the assign-
ment could be to make their wings look like Owl butterfly at the London Butterfly House in Syon
something else. As in the case of butterflies scar- Park, by wwarby
ing off predators with a design on their wings that Creative Commons Attribution-Share Alike 2.0 Generic
http://www.flickr.com/photos/26782864@N00/1584811381/
simulates eyes.

107
ASSESSMENT
Use the rubric below to assess student work or have your students help you create one.

Criteria 5 4-0
-textures or patterns are imitated well. -poor job of imitating the textures or
Camouflage -colors match the surroundings. patterns in its surroundings.

-colors don’t match very well.

-butterfly is neat and in good condition -butterfly paper is damaged in some

(not folded, wrinkled, or ripped). way (folds, wrinkles, or rips)
Craftsmanship -used color pencils to color in solid (ap- -coloring is done too lightly, or too
plying some pressure and covering up scribbled so that it is not smooth or
all the white paper). solid/ white paper can be seen.
-student was observed to not be work-
-student used their time wisely in class. ing on the project the whole time/ too
much socializing/ not focusing on it.
Effort -chose a texture or area of the room
that created a challenge (not some- -picked a camouflage area that was
thing too easy). too easy (such as a black cupboard, or
something that was mostly white).

You can use this butterfly pattern or

have the students draw their own.

108
 Art & Science Connected
You have two sides to your brain
– now use it!
Middle School Visual Art & Science Lesson students can get a feel of who he was, and why
by Patty Taylor every child born in the 40’s – the 60’s all thought
he was their other grampa. There are jillions of
OBJECTIVES sites that show his art, but I always go to Disney.
Students will be able to perceive differences in com and find a plethora of ways to show current
various brain functions as they create, evaluate and archival examples of what he and his “Imagi-
and discuss artworks. neers” did and are doing.

UTAH STATE CORE OBJECTIVES
Standard 1 MAKING—Students will assemble and
create works of art by experiencing a variety of
art media and by learning the art elements and
principles.
Objective B: Create works of art that show the clothing or bring items from home to show how
use of the art elements and principles.
Standard 2 PERCEIVING—Students will find
meaning by analyzing, criticizing, and evaluating
works of art.
Objective B: Evaluate works of art.
• Evaluate works of art based on how they
were created, effective use of the art
elements and principles, fulfillment of
functions, and expressive qualities.
Visual Culture: Ask for examples of Disney char-
acters in various media, including television,
film, marketing, etc. Explain that three touching
circles are pretty much known worldwide, as
a form of Mickey Mouse, and ask them to wear
big the Disney brand is in their own worlds, for
extra credit, of course, and have them share these
items with the class. Go to various websites to
show examples of online marketing, examples
where Disneyesque items have been used in other
media, etc.

Standard 4 CONTEXTUALIZING—Students will

find meaning in works of art through settings and
other modes of learning.
Objective A: Analyze art.
• Analyze the impact of culture on works of
art.

ACTIVITY Image by Feld Entertainment

Fair Use of a copyrighted image because this is a small image
Art History: Walt Disney, the person, and Disney used only to facilitate discussion in an educational setting
– the company are introduced. This is a great http://blog.syracuse.com/entertainment/2009/04/best_bet_
time to talk about Disney as an artist – to discuss sunday_april_5_playho.html
the many times he tried and failed in his art and
business adventures, perhaps bring up a video
interview, or show a clip of him introducing a seg- Criticism: Evaluate, interpret and describe their
ment of “The Wonderful World of Disney,” so that drawings and the drawings created by profession-
109
al animators. This can be held as a class discus-
sion, a co-op assignment or an individual assign-
ment. I usually make this part a class discussion,
as we view their display and talk about other
characters created by Disney, et.al..
Aesthetics: Ask questions about what is right or
wrong about people who don’t own the copyright
using Disney images in their web sites, artistic
creations, or other media or design works. Write
in a reflections journal summing up the class
discussion and the student’s personal feelings
on the subject. This two-part lesson is part of a
Fake Disney characters used in China during the
Olympics
http://www.japanprobe.com/2008/07/24/fake-
mickey-mouse-statues-at-the-beijing-olympics/
basic shape introduction unit. The emphasis on
the unit is using basic shapes to block in a draw-
ing. There are many drawing skills discussed and
practiced throughout the unit with emphasis on
students checking their work for correctness in
creating drawings using size comparisons, check-
ing angles, seeing and using the correct shapes,
and always placing items and lines correctly.
After discussing Disney and his beginnings as a
graphic designer and talking about how we use
and see Disney products now (see AH and VC
above), we begin by
asking the students to fold a 8.5x11 sheet a paper
into fourths (fold hamburger, then hotdog). They
then put their name in the lower right hand cor-
ner, and in the outside corners, label each section
110
a-d. They then make a cross on the small draw-
ing of Mickey “blocked in” on the attached sheet,
and label the outside corners of the small draw-
ing with an a-d in the outer corners. Students
have now divided their paper and the worksheet
drawing. This is a simple graph drawing method
which easily enables them to draw what they see
in section a on their paper, then b, c, and end with
d. I demonstrate the drawing on the board, show-
ing them how to recreate the “blocked in” Mickey,
always paying close attention to size – shape –
angle and placement.
After a quick assessment to check the big four
– they go on to copy the other drawing and cre-
ate Mickey as Disney did. I tell the students that
we are not making Melvin Mouse, we are making
Mickey Mouse – and they need to do so correctly.
I explain that there are times when it’s okay to
copy another artist’s work and times when it is
called plagiarism and neither legal nor nice to do.
If students finish early, they can “give Mickey a
place to live,” meaning they can create a back-
ground and thereby tell a story, by creating a set-
ting to go along with their character.
The second part of the drawing involves the
RIGHT/LEFT BRAIN THEORY idea of drawing
from the left side of the brain. There are a ton of
ideas and pros – cons, opinions of opposing and
appeasing forces when you bring up brain theory,
as discussed in such classics as Edwards, Betty.
The New Drawing on The Right Side of the Brain.
Penguin Putnam. ISBN 0874774241
There are any number of theorists willing to dis-
cuss the possibilities of improving drawing abili-
ties by using the brain differently.
I don’t do anything too scientific – I just like to get
the kids thinking – so we begin with a little skit to
have some fun and get them involved in discuss-
ing themselves and others.
I take a couple of student volunteers in the hall,
read through the skit with them, let them practice
for five minutes and then they come in and per-
form the following skit, or their variation of it, for
their classmates.
Props:
-two posters dividing the drawing on the next page or one similar to this illustration in half and
labeling each with a big R or L, the L in heavy block print and the R in something pretty and flowing.
-a small poster that says NARRATOR

Script:

Narrator: Welcome ladies and gentlemen to this segment of “Inside your Head” – a wildly popular tell-
all show which explores the things that we REALLY think!!!! We have with us Right Brain and Left Brain
– who have decided to come on the show and share with us some of their deep dark personal secrets…
Tell us Right Brain –

Right Brain: Oh just call me RB – all my veins do!!!!!!!

Narr. : Ok – works for us – Why are you seated slightly behind Left Brain?

RB: Well, I do take a back seat in brain functioning – because Left Brain likes to control things.

Left Brain: That is Right. I am in charge!!! I know about so many things and I am very good at every-
thing I do.

RB: That is right – he/she is in charge - but I am much more creative and sensitive. I can really dream
too. Ohhhhhhhhhhhhhhhhhhhhhhhhhh…..

LB: I am no dreamer! I am awake. I am conscious of what is happening at ALL times!!!

RB: Yeah, you are always telling me that I am late, or early, and that I have no sense of time.

LB: That is because I keep track of time, and all you do is think of colors to paint the clock and how to
design it prettier…..

RB: Oh yeah – I love to do that!!!! There is never a dull moment with me – I am so happy or
sooooooooooooooo sad. I am Mad – or I am singing Joyously!!!!! Lalalalalalalalalalalala

LB: Oh I am not emotional!!!! Logic is my game. I put names on things. I make Lists. I put things in
Categories. I like to reduce ideas and simplify projects.

RB: Not me!!! I like to make things fancier. When I remember things I see lines, shapes, darkness and
light. I remember things by thinking about smells, sounds, colors, details and – oh yes – emotions!!!!

LB: Silly you. Memory should be words – words and more words. Words are the key. I use verbal
communication at all times.

Narr: Wow!!!!!! You two sure are different. It is good that you work together so well – in most people
anyway….
Thank you for coming today and letting us get to know you better.
Let’ give them a big hand!!!

111
The teacher lists under a drawing of each side of
the brain the various concepts learned from the
performance. There are comparisons made and
questions asked about which side of the brain
each student feels is more dominant in their
thinking and learning styles. There is also a dis-
cussion around the fact that students who talk a
lot are using the left – less creative – side of their
brain when they talk – so they should be quiet in
their art class so they and their neighbors can cre-
ate better.
They are then instructed to cover up the top part
of their worksheet, fold their paper in fourths
and label it as they did before. After a demo on
the board they are instructed to draw Mickey
again, following the same steps they did on the
right side up drawing. They groan, complain, and
threaten, and then – in complete silence, or with
Handel’s “Water Music” playing, draw Mickey
again – looking at their upside down model from
the worksheet.
112
When finished, they compare the two and put a
smiley face next to their name, by the one they
like best.
Their works are displayed on a bulletin board,
and later that week, we go on a “Gallery Stroll,”
push the tables back, sit on the floor and have a
“kind criticism” session.
ASSESSMENT a possible rubric is included on the
last page of the lesson.
EXTENSIONS
Cartoon strips can be created from the main char-
acter and background.
Students can create a graphic novel using their
own original cartoon character and text from a
story written in their English class.
Page below is from http://disney.go.com/partners/
print-center/coloring-page-widget/index.html
and is shown here so you understand the idea.
113
Student example of assignment

Assessment: Mickey Up and Down

Name ________________________________________________________________________ Period ___________

How well did you So Good – 5 Huh? – 4 Not so much – 3 Nope –2

do?
1. Shapes
2. Size
3. Angle
4. Placement
5. Creativity
6. Neatness
7. Completeness

Total: ________________

114
 Art & Science Connected
Right Brain /Left Brain
Secondary Visual Art & Science Lesson
by Joanne Smith-Seale and Patty Taylor
Graphite Composition:Identifying and Working
with Opposites in Life and Art
OBJECTIVES
Students will be able to identify pairs of opposites
in their life and in works of art. Students will also
be able to sort and pick and combine opposing el-
ements to create a work of art that expresses bal-
ance, harmony, and beauty. This project teaches
students how to use pencils/graphite in very
creative ways. It also “hides” subject matter in a
manner that becomes an enjoyable, visual game.
State core links; Standard 1; obj.1 b, obj.2 a & b,
Standard 2; Obj.1 a & b, Standard 3; Obj. 1 b & c,
Standard 4; Obj. 1 c Obj. 3 b.
MATERIALS
#2B and #4B soft lead pencils, electric pen-
cil sharpener, or handheld or xacto blades for
sharpening pencils, a variety of erasers, blend-
ing stumps, 80 lb. 9” x 12” drawing paper, rulers,
spray fixative. You will also need each student to
have 4-7 previous practice drawings of ordinary
objects using the Blind Contour Line method.
Drawings need to be original to the student and
drawn from observation.
LESSON
You will need for the lesson: Right Brain/
Left Brain readers’ theater printouts, various art
work images that students can see obvious use
of opposites, examples of student art works done
previously or your own example. A chart listing
5 elements of art (Line, shape, texture, value and
color may be add as the 6th element, space as in
positive and negative space) and a chart listing a
few of the design principles.
115
PROCEDURE
Begin lesson by asking a girl and boy to partici-
pate in a readers’ theater with you. Give each
a copy of the dialogue and read it through. Ask
students to name qualities of right brain thinking
and qualities of left-brain thinking. Make a list
on the board or have an overhead transparency
ready. Have them identify activities that might fit
either way of thinking and processing. Discus-
sion could include advantages and disadvantages
of both. Summarize that a balance is necessary
for healthy living. Reference the word “balance”
on a chart of the principles of art (unity, balance,
contrast, emphasis, repetition, etc.)
Have students apply the concept of dualism to art.
Show a few images of art in which students can
identify pairs of opposites like lights and darks,
complimentary colors, warm colors and cold col-
ors, hard edges and soft edges, geometric shapes
and biomorphic shapes, quiet areas and busy
areas, open places and closed places, straight
lines, curved lines, etc. Summarize by saying that
works of art can be harmonious or beautiful when
the opposing elements are balanced, the same as
in healthy living.
Image suggestions (Springville Museum collec-
tion, on CD): Abstract II by Carlos J. Andreson,
Towards Thebes by Wolf Barsch, Coke At The Fair
by Jerry Yazzie, Century’s End by Micheal Mogus,
George II by Lee Deffebach, The Dance by Edith
Roberson, Card Players by Alvin Gittens. Pablo
Picasso’s Guernica is also a good image to use for
this project as are Kandinsky’s and Mondrian’s
art.
ACTIVITY/ART PROJECT
Begin project by handing out pieces of 80 lb.
paper to students with rulers and #2B pencils.
Tell them to draw a grid that is a 3:4 proportion
rectangle with 12 equal squares and that is
smaller than the 9” x 12” paper. Give them
time to work out this mathematical prob-
lem ( left brain) and when a few have it,
show the rest and have them teach others.
Each student should have a grid drawn on
paper that is smaller than the paper. The
squares represent half of one of the first
pairs of opposites. The other half will come
from the drawings students have previ-
ously drawn as blind contour line practice
(right brain). They are to choose 2 or 3 of
the best of their drawings to trace onto the
grid system. The tracing of their own work
is OK and not “cheating.” Large windows in
class or light tables are used for tracing.
When the class has finished tracing, the
next task is to “edit” each square or erase
out unnecessary lines and make shapes
of “dangly” lines. Demonstrate this for
the students. Each square must be made
simple enough say, 3 to 9 shapes, so that
pencil/graphite rendering will be possible.
Demonstrate pencil use; difference be-
tween 4B and 2B, “eraser drawing,” pattern
making, a variety of grays and solid black
and some white areas.

VARIATIONS AND EXTENSIONS

Bigger paper, more complex subject draw-
ing, warped grid, add limited colors, use
faces and figures for blind contour draw-
ings, use pen.

116
117
 Readers’ theater for Right Brain/ Left Brain

Narrator: Welcome Ladies and Gentlemen to this segment of Inside your Head, the
program dedicated to exploring the fascinating world inside our heads. We have with
us today, Left Brain and Right Brain, who have agreed to let us ..er, pick their brains and
share with us their deepest, darkest secrets. Thank you for joining us today. Tell us,
Right Brain….
Right Brain: Oh, just call me R.B. all my veins do.
Narrator: Ha! That’s very clever, all right…..now, why are you seated in back of Left
Brain?
R.B.: Well, I take a back seat in brain function because it’s easier to let L.B. control
things.
L. B.: That’s right! I’m in charge! because I know everything and I’m so good at it!
R.B.: He may be in charge…..but I’m the one that is more creative and sensitive. I can
really dream too.
L.B.: Oh, I’m no dreamer….I’m awake, I’m conscious of what’s happening.
R.B.: Yeah, You’re always telling me I’m late or early and that I have no sense of time.
L.B.: That’s because I keep track of time and you dream of different colors to paint the
clock!
R.B.: And what’s wrong with that? There’s never a dull moment with me. I’m so happy
or soooo sad. I’m mad or I’m singing joyously! I’m Emotions with a capitol “E”!
L.B.: I’m not emotional…..Logic is my game. I put names on things, and I make lists and
put things in categories. I like to reduce ideas and simplify projects. I like symbols.
R.B.: Not me! I like to make things fancier. When I remember things I see lines, shapes,
darkness and lightness. I remember in smells, sounds, colors, details and emotions.
L.B.: How ridiculous! Memory should be words, Words and more WORDS!
Narrator: WOW! You two are sure different. It’s a good thing you work together well,
at least in most people. Thank you for coming on our program today. Audience, didn’t
they do well? (applause)

118
 Suggested list of opposites to use after the readers’ theater

Pairs of Opposites

Emotional Intellectual
Right Left
Organic Geometric
Fluids Solids
Spontaneous Premeditated
Chaos Control
Intuition Reason
Accidental Planned
Timeless Time awareness
Dreaming Conscience
Creative Logical
Dionysian Apollonian
Syncopation Rhythm or beat
Random repetition Ordered replication or Pattern

ASSESSMENT
Rubric for assignment:
1. Does the grid drawing have 12 equal squares? Is the grid smaller than the paper, leaving an
equal white border?
2. Did I trace my best drawings onto the grid in such a manner that there are no more than 3
squares that have no other shapes?
3. Are there 2 or 3 drawing parts that exceed the grid into the border?
4. Does each square have 2 or more other shapes created by the drawings?
5. Have the extra lines and detail been made into shapes or erased? (editing)
6. Have I used a balance of light, medium and dark grays? Plus some white and some black areas?
(pair of opposites)
7. Have I created some patterns or textures (busy areas)? Is there a balance of plain and busy
areas? (pair of opposites)
8. Around the edge of the grid are there at least 2 open areas that allow white to come in? (open/
closed pair of opposites)
9. Is there a balance of soft edges and hard edges around the gird? (pair of opposites)
10. Is the whole composition balanced?

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 Art & Science Connected
Bone Up on Science with ART
Secondary Visual Arts and Science Lesson
By Cindy Clark

OBJECTIVES
1. Students will carefully observe the skeleton of
the human body and name the major bones.
2. Students will use searching lines to draw the
skeleton.
3. Students will use CONTOUR lines to draw a
skeleton.
4. Students will apply understanding of WARM
and COOL colors to create depth in a skeleton
drawing.
5. Students will assess their drawings using a
rubric.
6. Students will use scientific processes and
thinking skills.

Use Science Process and Thinking Skills

a. Observe objects and report their observa-
tions.
b. Sort and sequence data according to a
given criterion.
c. Make simple predictions and inferences
based upon observations.
d. Compare things and events.
e. Use instruments to measure.
f. Conduct a simple investigation when given Junior high school student example
directions.
g. Develop and use simple classification sys-
tems.
h. Use observations to construct a reasonable
explanation. MATERIALS
Collect bones of animals
STATE CORE LINKS A human/plastic skeleton if possible (these can
1. Students will use a variety of media, techniques be borrowed from district media centers)
and processes to create art. Paper, pastels, white chalk, colored markers, black
2. Students will use scientific processes and paper
thinking skills (SEE ABOVE) A handout that includes the names of the major
3. Students will use a classification system to bones
label and understand the names of bones.
121
ACTIVITIES fine the skeleton. Students could even add values
1. For about a month in advance, collect bones at this time if they are able. (See samples) They
from meals, i.e. chicken bones, pork chops, ribs, have used SEARCHING lines to help define form.
fish, etc. or any other bones from hunters, or
farmers. Boil them to remove any “meat.” Find
tools for students to use to cut and scrape the
bones, i.e. compasses or dissecting needles or
even push pins. Put the small “objects” into egg
cartons.

2. MAKE A KWL. (Divide a paper into three

columns. In the first column write K which rep-
resents what you KNOW already. “W” tops the
second column and stands for what you WANT to
know or questions you have, and “L” on top the
third column represents what you LEARNED).
Ask students to think about and record every-
thing they KNOW about bones. Then hand out
some “bones” to each student. Have them feel,
break, scrape, and examine the bones.

3. In the W column, (What do you WANT to know)

ask students to record any questions they have
about the bones.

4. Have a discussion about the discoveries and

questions. In the L column (learn) have students
write anything new that they LEARNED about
bones. A good website that explains about bones Junior high school student example
is http://kidshealth.org/kid/htbw/bones.html

5. Show a skeleton of the human body. You could
give a worksheet that names the bones and have
students point them out at this time. (One is
included at the end of the lesson. There also is a
large version on the CD)
6. Have students draw an interesting SECTION of
the human skeleton. (More than just the skull).
Have students begin using SEARCHING, sketchy
lines with a light colored marker ie. Yellow. When
they have their drawing completed, have them go
OVER it with a little bit darker marker ie. Orange.
This time they can refine the lines and fix propor-
tions. Look even more carefully. Next go over the
skeleton again with an even darker marker ie.
Red. This time they can fix any errors they made
on the first two tries. Finally, ask them go over it
again with an even darker maker, and further de-
(A teacher demonstration really helps).
7. Another way to study the bones is to draw a
section of the skeleton using contour lines. Try
using WHITE chalk on black paper. (CONTOUR
LINES show edges and ridges, are slow, and show
careful observation. They DO NOT use sketchy
lines like the searching line project did).
8. After doing the contour drawings, discuss
WARM and COOL colors. Show students how to
blend pastels. Have them use WARM colors on the
bones that come FORWARD, and COOL colors on
the bones that go AWAY. (See samples).
9. Display the drawings. Ask students to label the
bones on their drawings.

122
Examples of searching line drawings in marker

Examples of contour line drawings with pastel,

more on next page Diagram of a human female

123
124
ASSESSMENT DaVinci and his CODE of writing upside down and
backwards in his notebook because dissecting hu-
1. KWL is completed. man bodies was against the law.

2. Students can label the major bones of the body

by filling in a worksheet.
3. Searching lines: Students showed careful
observation by fixing proportion and drawings
throughout the process. Changes are evident.
4. Contour/warm color pastels: Contour draw-
ings show careful observation, and do not use
sketchy lines, textures, or values. Warm colors
advance and cool colors recede. Students drew an
interesting PORTION of the skeleton.
5. Students participated in the discussion.
RESOURCES
KWHL Chart---see http://www.ncsu.edu/
midlink/KWL.chart.html
Critical Questions:
· What do we already know? What do we
want to find out? How are we going to find
out? What primary and secondary re-
sources can we access?
· What attributes or characteristic should
we focus on?

IMAGES
Included

SOURCES
http://www.innerbody.com/image/skelfov.html
www.proteacher.com/cgi-bin/poutsideesite.
cgi?id_8929&ex (grade levels 2-3)

VARIATIONS
See websites

EXTENSIONS
Drawing any subject in science helps students
increase their observation skills, helps them re-
member in a visual way, and cements their learn-
ing.

Mr. Goodbody does a great DANCE of the bones,

and explains what bones are connected to what
bones. It would be fun for students to dance using
their BONES.

Leonardo DaVinci’s notebook shows his drawings

of a skeleton. It might be interesting to discuss
125
 Diagram of a human female skeleton
Mariana Ruiz Villarreal, 3 January 2007
Public domain
http://en.wikipedia.org/wiki/
File:Human_skeleton_front_en.svg

126
 Art & Science Connected
Becoming an Art Scientist

Secondary Visual Art & Science Lesson Or show another watercolor painting that shows
By Amanda Toler various watercolor techniques for students to
analyze.
OBJECTIVES
Students will be able to: Have each student take a small piece of water-
-Analyze watercolor processes and try to recreate color paper or regular drawing paper and a
them watercolor set. Using watercolors and water, have
-Apply the Scientific Process to explore various students experiment with the watercolor to try
media techniques inspired by a contemporary and recreate some of the effects seen in Mary Ann
artist or and artist of their choice. Free Smith’s painting. Explain that certain effects
-Reflect on experimentation and use findings to can be made with salt, alcohol, masking tape, or
create desired effects on an artist-inspired art- crayons. Have students use these materials and
work. decide which may be the most useful in recreating
Mary Ann Free Smith’s painting.
STATE CORE LINKS Standard 1
(Making): The student will explore and refine the
application of media,
techniques, and artistic processes.
Objective 1: Explore a variety of art mate-
rials while learning new techniques and
processes.
Objective 2: Predict the processes and
techniques needed to make a work of art.
Standard 2 (Perceiving): The student will ana-
lyze, reflect on, and apply the
structures of art.
Standard 4 (Contextualizing): The student will
interpret and apply visual arts in
relation to cultures, history, and all learning.

MATERIALS
-Image of Grey Squares by Mary Ann Free Smith
-Watercolors
-Various art mediums and supplies for students
to experiment with (e.g. flour, water, salt, alcohol,
chocolate syrup etc.)

ACTIVITY

Art History: Start the lesson by showing the

painting Grey Squares by Mary Ann Free Smith.
127
Most students will find that the masking tape
would be most useful because they would be able
to use it to mask of the area of the flowers while
they painted the squares in the background. Or
they could use if to create straight lines on the
squares. The salt would create little star shapes,
which are not seen in the original piece, alcohol
would create little light circles, and crayon shows
through the paint, also not really useful for recre-
ating this image.
Aesthetics
After the watercolor exercise, discuss that the
study of how artworks are created is important in
learning how to create artworks yourself. Many
times, when looking at an artwork, it’s difficult
to understand how the artist used a particular
medium to create specific effects in an artwork.
Explain that the students will be using the sci-
entific process to help them discover some new
ways of creating art.
Criticism/Production
The Scientific Process:
Ask a Question
Do Background Research (These can be summa-
rized as “Observation,” as well)
Construct Hypothesis
Experiment
Analyze Results/Draw Conclusions
True/False
Report Results /New Hypothesis
There are a few different ways students can use
the Scientific Method in the art classroom. First,
students could explore any question, it would not
have to relate to art, and they would report the
journey and findings through an artwork. Sec-
ondly, students may use the method to explore
how a known artwork was created or simply to
experiment with new techniques. This lesson will
focus on how a student may look at an artwork
she is interested in and use the scientific method
to figure out how to recreate some of the desired
effects seen in the artwork and apply those meth-
ods in her own artwork, using only the materials
available in class.
128
The Process
Students may use the for included in the lesson
or just write the information on a sheet of paper.
The form or report should be turned in as part of
the assessment of the lesson.
Observation/ Research: Have students do re-
search in the library or online. Have them search
various contemporary artists that they like and
find one that has a style or technique they find
interesting and would like to imitate in their own
artwork. They must find three different tech-
niques they would like to recreate.
Construct Hypothesis: Students should brain-
storm all of the possibilities they can think of
for how to recreate the desired effects. Could
they add water, salt, alcohol, oil, flour, heat ,or
any other manipulations of the media? Students
should pick the six they think will work the best.
Have students write a hypothesis for what they
believe will happen when they manipulate their
media with all the materials they listed.
Experiment: Students then experiment with the
different media and actually see what happens.
The results should be recorded as they experi-
ment.
Analyze Results/Draw conclusions: Once all
experimenting is through, the students must
analyze the results. Was their hypothesis correct?
Which materials worked the best to create the
desired effect?
If needed, students may go back through the pro-
cess to experiment with other media and manipu-
lations.
Once the student has decided on the best fit, the
student then must create an artwork using the
chosen techniques. The artwork must be inspired
not only by the techniques of the chosen artist but
also by that artist’s themes, ideas, or style.
ASSESSMENT Assess the discussions formatively with participation points and the studio project with
the following or a similar rubric:

Becoming an Art Scientist

Criteria 1 2 3 4 5
Craftsmanship No use of Little use of Average Strong Extremely
craftsmanship, craftsmanship neatness craftsmanship, well crafted;
very messy neat work; demonstrates
well-designed mastery of
artwork technique(s) as
well as artistry
Follows the Shows no Little under- Shows under- Finishes all Follows the
Scientific understanding standing of standing of aspects of Scientific
Method of the Scientific Scientific Scientific the Scientific Method and
Method Method, skips Method, Method goes beyond
or misses steps doesn’t com- expectations
pletely follow
through
Reproduction Artwork does Artwork shows Artwork shows Artwork Artwork
of artist’s work not relate to little a definite clearly clearly
chosen artist’s relationship to relationship to demonstrates demonstrates
work, themes, chosen artist’s chosen artist’s chosen artist’s chosen artist’s
ideas, or style work, themes, work, themes, techniques as techniques as
ideas, or style ideas, or style well as themes, well as themes,
ideas, or style ideas, or style
and is a unified
artwork on its
own
Creativity Very little Little creativity Average Strong Very strong
creativity in creativity creativity creativity
design is shown in com-
shown pleted artwork
Use of class Does not use Works but Average use of Good use of Very good use
time class time talks and is class time class time of class time.
wisely often off track Finishes
assignment
in good time
while keeping
good quality
and showing
understanding
Totals
Total for
Assignment

129
 Becoming an Art Scientist

Name _________________________________________________________________ Class _____________________

Observation/Research Artistic Effect #1 Artistic Effect #2 Artistic Effect #3

(Artist’s name)

Construct Hypothesis 1. 1. 1.
(Possible ways to create
desired effects)

2. 2. 2.

Report Experiments 1. 1. 1.
(What was the result of
each experiment?)

2. 2. 2.

Analyze Results 1. 1. 1.
(Was each hypothosis
correct?)

2. 2. 2.

Draw Conclusions
(Which materials
worked best?)
Put Results to Use
(How will I use my
research in my
artwork?)

130
VARIATIONS
The scientific method can be used simply to just
experiment with different types of media in the
classroom and to come up with newer and more
creative ways of using them. It does not have to
be tied to an artist nor a specific style.

EXTENSION
Students who may want to go further could try
and recreate the painting they observed as exactly
as they possibly can, using only the materials
available to them. While this approach may re-
duce the amount of creativity in the assignment,
it will help the students understand the skills
and processes of the artist better and provide an
improved set of techniques for future creative
projects.

131