Complete Thesis.2

Unit Plan: Identity
by Kristie Keenon
National and State Standards for Unit
STANDARD: Understand the sensory elements, organizational

IL.25.A
principles and expressive qualities of the arts.
STANDARD: Understand processes, traditional tools and modern

IL.26.A
technologies used in the arts.
STANDARD: Apply skills and knowledge necessary to create and

IL.26.B
perform in one or more of the arts.
STANDARD: Understand how the arts shape and reflect history,

IL.27.B
society and everyday life.
NAEA.VA.9- CONTENT STANDARD: Understanding and applying media,
12.1 techniques, and processes
NAEA.VA.9- CONTENT STANDARD: Reflecting upon and assessing the
12.5 characteristics and merits of their work and the work of others
3
Objectives:
Students will be able to (SWBAT):
-Construct a proportionately correct human face using different media.
-Discuss aspects of their identity and how it relates to their peers and society.
-Work collaboratively together in groups to meet mutual goals.
-Identify their own uniqueness and that of their peers.
Unit Rationale
This ten-week unit plan was designed for 9th—12th graders in a Visual Arts class that
focused on developing the student's identity: self identity and identity in the context of
society. Transpiring each student's experience and interests effectively engaged students
in the direct and indirect learning encountered through this unit plan (Delacruz, 1997).
The Arts guided students through the unit as a way to offer them a corridor for owning a
perspective of their identity and for expressing their ideas through various avenues
(Hetland, Winner, Veenema, etc., 2007). In order to do so, students learned various
characteristics and forms, different structures, and analyzed different media in relation to
personal expression. They also experimented with creative writing as a way to develop
their writing skills and to materialize their thoughts. Throughout the unit, students refined
their thoughts and ideas on paper and canvas, developed their writing and artistic skills as
they worked to produce preferred results, worked with technology as a way to expand
their scope of artistic media and lastly, worked together with fellow students to complete
the culminating project of showcasing their self identities.
4
The unit was designed to funnel their learning from broad-based ideas to more personal
attitudes to their perception in and of society as it relates to identity and the student. We
began the unit with students exploring ideas about identity in the larger context within a
society first by incorporating basic portraiture. As a way to scaffold the level of comfort
students have with expressing their ideas and their confidence with drawing themselves, I
began the unit with the essential components of drawing a face to encourage students to
connect with and understand the content before going in depth into the unit (Simpson,
Delaney, Carroll, etc., 1998). I wanted students to be comfortable with the anatomy of the
head and face before I asked them to begin dissecting the complicated idea of identity
and the daunting task of doing a self-portrait. After I asked students to look
introspectively at their own identity by reflecting on their personal philosophy and
creating a symbol that captures how they view themselves, we explored the idea of
identity as we impose it on others in society. In the culminating project at the end of the
unit, the Gallery Walk Project, students worked in groups of 4-5 to display a visual
representation of themselves and collectively as a group. Collaboration, communication,
and group accountability for their actions were among a few notable skills that students
employed to successfully execute this project (Weiss & Lichtenstein, 2008).
This unit incorporates my philosophy of teaching-responsible scholarship, community
building, and respect for diverse learners-by encouraging students to view each other as
unique individuals that fit nicely together in the makeup of the school and classroom
community they belong to. I wanted them to see each other as positive resources
necessary for molding themselves into the individual they wish to become and to be held
accountable for their own success as well as that of their classmates. Also, I wanted them
5
to examine the concept of identity to become more aware of the persona they impose on
others and I would like for students to question the importance of their physical
differences and how within a time and society where image is so simply distorted we are
more similar to one another than ever before. The gaps separating us are getting smaller.
This is a tool necessary for students to then unlearn biases and begin relearning about
others they have unknowingly discriminated against (Santrock, 2008). Especially in the
social turmoil of lower socioeconomic schooling, students are bound to face issues of
peer pressure, struggles finding their own niche in the school, and others that are
overwhelming enough to plague the mind of a young adult, it is essential that students use
each other as a crutch, not enemy, to meet the same mutual goals in an environment that
invites everyone's unique identities.
6
References
Carroll, K. L., Delaney, J. M., Hamilton, C. M., Kay, S. I., Kerlavage, M. S., Olson, J. L.,
et al (1997). Creating meaning through art: Teacher as choice maker (1 ed.).
Alexandria, VA: Prentice Hall.
Delacruz, E. M. (1997). Design for inquiry: Instructional theory research & practice in
art education (Point of View Instruction). Reston, VA: National Art Education
Association (Naea).
Hetland, L., Sheridan, K. M., Veenema, S., & Winner, E. (2007). Studio thinking: The
real benefits of visual arts education. New York: Teachers College Press
Santrock, J. W. (2007). Adolescence (12 ed.). New York: McGraw-Hill
Weiss, C., & Lichtenstein, L. (2008). AIMprint: New realtionships in the arts and
learning. Chicago: Columbia College Chicago.
7
Description of Projects in the Unit
Lesson 1: In the Face of . . .
(1 week)
Students learned about the basic proportions of the face and the anatomy of the head.
Each student brought in pictures from magazines of people they identified with or who
they had some sort of daily interaction with as far as seeing their image on a daily basis.
Students used their image as a reference point, but were not required to duplicate that
image; they had free reign on drawing any face as long as it was proportionately correct.
As this lesson was in progress, students reflected on why they chose the image they did
and wrote a rationale in their journal accompanied by a poem incorporating language and
the perspective of their chosen image. Students were asked if the picture they drew was
influenced by their chosen image; if not, then where did your ideas arise from and if so,
how does that affect how you view the world and the people in it? Why did you choose
that particular person, why did you draw that particular person?
Lesson 2: The Different Hats I Wear
(2 weeks)
In this lesson, students reflect on how self-portraits can give a viewer insight into the
artist’s life and self-perception. After examining several Lucian Freud self-portraits,
students will create their own painted self-portrait that reflects an aspect of their identity
only using the primary colors.
8
Lesson 3: Technology Manipulation in the Arts
(3 weeks)
Students took pictures of themselves with their camera phones and of their
surroundings. I also took pictures in the classroom of each student with a digital camera.
Over the period of 3 weeks, students learned the basics of Photoshop and downloading
photos into the computer and how to save them on jump drives. Throughout the 3 weeks
students finished exercises to show understanding of essential tools needed for the final
project.
During the 3 weeks, students also spent time inside and outside class observing their
community and society: advertisements, media, social networks, etc.; and journaling their
findings with reflections. They focused on cultures and subcultures that exist within their
immediate and larger social systems and the impact of media. Every day over the 3
weeks class began with a brief discussion on the students’ observations.
Lesson 4: Who Do We Wanna Be?
(2 weeks)
Students were split into 10 groups of 3 and spent a week developing a theme based on
their observations and manipulating their personal photo in Photoshop correlated to the
group’s chosen theme. Students manipulated a picture of themselves in the fashion of
what theme the group chose. Within the groups, students also developed and wrote a
rationale based on research.
9
Lesson 5 (final): Me, Myself and Us
(2 weeks)
Students projected their final manipulated images onto a large surface and painted them.
At the very end of the project, each group presented their pieces and discussed with the
class what theme they chose and how their work reflects their theme. As a class, we
discussed how attitudes were changed about themselves, their society and other cultures.
Assessment of the Unit
Rubrics
Mastery (50) Accomplished (40) Developing (30) Beginning (20)
Discuss aspects of
Final project and Final project and Final project and Final project and
their identity and
presentation presentation presentation presentation
how it relates to
reference a reference 3-4 reference 1-2 reference no outside
their peers andminimum of 5 outside resources. outside resources. resources. Makes no
society. (1, 33%)
outside resources. Makes nearly clear Makes unclear or very unclear
IL.25.A IL.26.A Makes clear connections between connections between connections
IL.26.B IL.27.B connections between final piece and final piece and between final piece
final piece and groups chosen groups chosen and groups chosen
groups chosen theme and can speak theme and has theme and has
theme and can speak on topic with few trouble speaking on trouble speaking on
on topic interruptions.Needs topic. Needs help topic. Needs help
thoughtfully. little help recognizing the role recognizing the role
Recognizes the role recognizing the role they played in they played in
they played in they played in group, relating to group, relating to
group, relates to group, relating to group and group and
group and identifies group and identifying how the identifying how the
how the group and identifying how the group and the self fit group and the self fit
the self fit into group and the self fit into society. into society.
society. into society.
Work Student plays an Student contributes Student contributes Student doesn't
cooperatively imperative role in to group offering ideas and solutions contribute to the
together in groups the group structure ideas and solutions. to the group when group effort.
to meet mutual offering ideas and Works well with prompted by other
goals. (1, 33%) solutions. Works other students but is members. Remains
IL.25.A IL.26.A well with other slightly close more close minded
IL.26.B IL.27.B students and remains minded to new when listening to
open to new ideas. ideas. others ideas.
Identify their own Final presentation Final presentation Final presentation Final presentation
uniqueness and and piece strongly and piece reflects and piece reflects and piece doesn't
that of their peers. reflects research and research and research and reflect any research
(1, 33%) observations of observations of observations of or observations of
IL.25.A IL.26.A society and of him society and of him society and/or of society or of him or
IL.26.B IL.27.B or herself. or herself. him or herself. herself. Doesn't
10
Contributes Contributes to class Contributes when contribute to the
thoughtful insights discussion of their asked to class class discussion and
to class discussion work and that of discussion of their doesn't recognize
of their work and their peers on how work and that of the similarities or
that of their peers on they recognize the their peers on how differences between
how they recognize similarities and they recognize the them, their peers
the similarities and differences between similarities or and their society.
differences between them, their peers and differences between
them, their peers and their society. them, their peers and
their society. their society.
A = 91-100 B = 81-90 C = 71-80 D = 61-70
Resources
Dove Evolution http://www.youtube.com/watch?v=iYhCn0jf46U
Kristie Keenon http://www.kristiekeenon.com
NGA Classroom Self-Portraits http://www.nga.gov/education/classroom/self_portraits/
11
Breaking Out of the Box: Breaking Down Stereotypes
Adapted 4MAT Unit: 3 Lessons
Grade level: 9-12
Subject areas: Visual arts, Dance, Music, Sociology, Language arts, Community
involvement.
Unit Overview:
This unit opens with students coming to class and randomly receiving a lifestyle profile
from one of 66 created by the marketing research company, Claritas. From this profile,
students will create a character that they think fits the mold of the information provided
in the profile. As a class we will brainstorm questions to be answered of the character,
e.g. where do I live? what food do I like and where do I eat? am I male or female? how
old am I? etc.
Students will learn elements of photography, how to listen for messages and themes in
music, history of different dances and their elements and different aspects of stereotyping
in media and in the world around them.
Over a period of 12 classes students will research, collect and create a final portfolio.
The final portfolio will contain their photography, a chosen magazine, a music piece, a
dance piece, a 1 page paper describing each component (3 papers) and a 1-2 page
reflection paper describing their feelings and experiences about the project.
At the end of the 12 sessions, members from each of the prescribed profiles will come in
and speak with the students. This will give an opportunity for the students to see an
actual manifestation of their character and ask questions.
12
The assessment will be done in reviewing the final portfolio (see rubric).
Unit Purpose:
The purpose of this unit is to have students discover how labeling and stereotyping
influence how people look at and understand the world around them and in the media.
Does labeling and stereotyping influence how we look at and understand the world? By
having students walk in a different pair of shoes of their own stereotyping they will draw
parallels of their own stereotypes and how media influences that.
Essential Questions:
- How can the arts break down stereotypes?
- How are the arts connected to each other and to social justice?
Unit Objectives and Standards:
Students will be able to:
‐ Create a photographic body of work with a partner consisting of elements and
aspects of chosen character’s assumed surroundings by using a disposable point-
and-shoot camera and incorporating photographic elements of harmony, balance
or composition.
‐ 26.B.4d Visual Arts: Demonstrate knowledge and skills that communicate clear
and focused ideas based on planning, research and problem solving.
13
‐ Choose a song to accompany chosen character that reflects the theme, lyrics and
musical elements and writing a 1-2 page paper describing how the song relates to
the chosen character.
‐ 27.B.2 Identify and describe how the arts communicate the similarities and
differences among various people, places and times.
‐ Choreograph and perform a 1-2 minute dance with a partner that relates to chosen
character by using traditional steps associated with student specified dance using
balance, composition and harmony, adding an 8-count of related but originally
produced dance steps that portray historical aspects of specified dance, using
appropriate music for the dance.
‐ 26.B.4a Dance: Create and perform a composition communicating clear and
focused ideas based on planning, research and complex problem solving related to
specific guidelines.
‐ Reflect on their experience living as their stereotyped character and how media
targets them as well as their misconceptions of stereotypes by writing a 1-2 page
paper.
‐ 27.A.4b Analyze how the arts are used to inform and persuade through traditional
and contemporary art forms.
14
Unit Details:
Materials:
- point-and-shoot cameras (24 roll)
- 50 pk. of blank cds
- use of internet
- journals
- writing utensils
- cd player
Vocabulary:
‐ harmony
‐ balance
‐ composition
Time Frame:
Class time: 6 weeks (12 -- 45 minute class periods)
Resources:
‐ Goldberg, RoseLee & Nikki S. Lee. Nikki S. Lee: Parts. Ostfildern, Germany:
Hatje Cantz Publishers, 2006. ISBN: 9783775716727
‐ Guiding dance artists Armand Fields and Erin Jackson of Second City
15
‐ http://www.claritas.com/MyBestSegments/Default.jsp?ID=30&SubID=&pageNa
me=Segment%2BLook-up (Claritas website)
Unit Sequence of Learning:
Throughout unit:
Imagine/Extend/Refine – Students will keep a journal of television, magazine and
billboard advertisements they observe in their everyday life and within what context they
see it in i.e. in what neighborhood, magazine or during what television shows.
Assessment:
Students will have 3 or more examples per week recorded in their journals of different
advertisements they observed and where they observed them. By the end of the unit,
there will be 5 or more tear examples from various publications with the publication
noted and 18 examples observed.
Lesson 1:
(Class 1,2 and 4)
Connect/Attend – Students will be shown a wide spectrum of headshots of various
people and asked to identify which social class they belong to: upper, middle, lower,
under. Each social class will be defined and written on the board, as a class we will
decide which category to place each picture.
16
Teacher will then randomly distribute a Claritas profile to each student. Two or three
students, depending on the number of students in the class, will receive the same profile
and work together to create two (or three) separate yet similar characters based on the
profile.
Imagine – As a class, we will create a list of questions for the character to answer: What
gender am I? Where do I live? What ethnicity am I? What food do I like and where do I
like to eat out? Etc.
After a list of questions has been formed, the teacher will have students examine the work
of Nikki S. Lee. Teacher will explain Lee’s technique of using a point-and-shoot camera
and her process of immersing herself within different cultures and subcultures.
Inform/Practice/Extend – Teacher will pass out disposable point-and-shoot cameras to
each pair/group of students; the students will take pictures over the next 1-2 weeks from
their character’s perspective and of them as their character. Teacher will instruct the
students how to use the cameras, though most students will already be savvy.
Teacher will discuss the importance of and explain the elements of harmony, balance and
composition in photography. We will look at fine art photography and advertising
photography for examples, students will have been asked to keep an eye out for pictures
they like in different magazines and bring them in.
Perform – Each pair/group of students will create a way in which to display their photos
e.g. a photo album, poster board, frames, etc. and present it to the class. In their
presentation, they will choose 5-7 photos to talk about and a brief class discussion will
ensue.
17
Assessment:
1, 2, 3, 4, 5 Requirement of Assignment
1. Identified and portrayed 5 or more appropriate elements based on the
character e.g. food, car, books, residence, etc.
2. Included a “self-portrait” with 3 or more appropriate elements e.g. hair
style, clothing, jewelry, etc.
3. Employed 1 or more photographic elements: composition, harmony,
and/or balance in 3 or more pictures.
Lesson 2:
(Class 3)
Connect/Attend/Inform – The class will begin with the teacher playing a popular song
that the kids are familiar with and follow up with a discussion. First, the teacher will ask
the students what the song makes them think of, how it makes them feel and any personal
experience they have with the song, how they connect with it. The teacher will play the
song again in parts and break down what the artist is saying, the theme of the song and
the composition, harmony and balance the song entails. We will compare and contrast
the elements of harmony, composition and balance between photography and music.
Imagine/Practice – The students will write a paragraph reviewing the song from their
character’s perspective.
Extend/Refine/Perform – Students will be instructed to search for a song that their
character would relate to and write a 1-2 page paper explaining why they chose that song
based on the theme and at least one element of the song.
Assessment:
Yes or No Requirement of Assignment

1. Explained how the song’s theme reflects your character.
2. Explained the use of harmony, composition and/or balance used in the
18
song.
3. Identified a radio station or venue where this song may be heard and
why.
Lesson 3:
(Class 5-7)
Connect/Attend/Inform – Two dance artists will put on a short performance that
incorporates various popular dances. The students will be asked if they recognize any of
the dances and whom they think would employ the different dances. The dance artists
will give a brief overview of the history of the dances they performed and as a class, we
will discuss the balance, harmony and composition of different dances and again compare
and contrast these elements with that of visual art and music.
Imagine – Students will brainstorm in their journal about what type of dancing their
character would do and then get together with their partner/group to discuss what dance
they would like to perform.
Extend – Students will research different dances and decide on one to perform for the
class. They will research their chosen dance’s history and incorporate an original 8-count
step related to their dance and its history to be put into a 1 minute performance. They
will pick a song that compliments their dance or they will choose 1 of the 2 or 3 songs
from the prior assignment.
Practice/Refine – Students will brainstorm, practice and refine their dance steps for final
performance.
Perform – Each pair/group will perform a 1 minute dance performance.
Assessment: (Peer Review)
19
Yes or No Criteria Explanation
1. Was there balance, How?
composition and/or harmony?
2. Based on what you know of Why?

the characters, were you convinced
that they would dance this dance?
3. Did you notice the original 8- Was it related to the rest of the
step dance move? dance?
Unit Wrap-up:
(Class 8-12)
Practice/Refine – Students will spend 2 class periods continuing to research and perfect
each element of their final portfolio (dance performance, song choice paper, journals,
photographs and final paper).
Connect/Attend – Members from the community and abroad who are actually apart of
the assigned Claritas profiles will come into the class to answer student questions. After
the students have a Q&A with the panel, the class will decide who they think belongs to
what profile, see if they are right and if the character they created was close to or way off
from the person before them.
Perform – Students will present their final portfolio in any coherent fashion preapproved
by the teacher and perform their final dance performance. Parents will be invited to this.
Assessment:
Yes or Criteria of portfolio and dance
20
No
1. Explained in a 1-2 page typed paper their experience as their character,
their stereotypes of their character and the effects of media on stereotypes.
2. Performed a 1 minute danced using appropriate music, incorporating an
original 8-step dance step and employing composition, harmony and/or
balance.
3. Included a (re)written 1-2 page typed paper explaining the reason of a
chosen song (previously written).
4. Developed a journal consisting of 18 or more observations of
advertisements from billboards, television or magazines and 5 or more tear
examples from magazines. Each example accompanied by where it was seen
or heard.
5. Created, edited and included 5-7 photographs that employ balance,
harmony and/or composition and reflect chosen character.
6. Produced a readable and coherent portfolio where everything is in order,
stapled where needed and neatly organized.
Involvement of parents and community:
Community is described under “connect/attend” in the unit wrap-up; the parent
involvement is included under “perform” in the unit wrap-up.
21
36 Views of Farragut
by Kristie Keenon
I. Introduction:
Introduction to Lesson
A. The Subject Area: Printmaking, Art History
B. The School: Farragut Career Academy
C. The Grade Level: 10-12
D. Description of the lesson: Students will make a linoleum relief block print from a
sketch that is derived from a session of brainstorming surrounding the concept of their
high school. We will be looking at Hokusai's 36 Views of Mt. Fuji and Damien Hirst's
work. Students will replicate working in a factory while creating prints of their block and
then will be hand binding them in a book.
E.1. Overarching Understandings: Students will understand the process of relief block
printing, the history of Japanese landscape prints especially those of Hokusai, the many
perspectives of a single object or concept and the relevance of community. Students will
also be introduced to the idea of commodity within the art world and how that can relate
to conceptualization.
22
E.2. Essential question(s): How are ideas and concepts related to form a bigger picture?
II. National & Illinois Standards and Grade Level Descriptors
National/Illinois Standards & Grade Level Performance Descriptors
National Art Standards
NAEA.VA.9- CONTENT STANDARD: Understanding the visual arts in relation to
12.4 history and cultures
Illinois Standards
STANDARD: Understand the sensory elements, organizational principles and

IL.25.A
expressive qualities of the arts.

IL.26.A
STANDARD: Apply skills and knowledge necessary to create and perform in

IL.26.B
one or more of the arts.
IL.27.B STANDARD: Understand how the arts shape and reflect history, society and
23
everyday life.
Grade Level Performance Descriptor(s)
> Analyze and evaluate student and professional works for how aesthetic
IL.25.A.5
qualities are used to convey intent, expressive ideas and/or meaning.
> Visual Arts: Analyze and evaluate how tools/technologies and processes
IL.26.A.4e
combine to convey meaning.
> Analyze and classify the distinguishing characteristics of historical and

IL.27.B.4a
contemporary art works by style, period and culture.
> Analyze how the arts shape and reflect ideas, issues or themes in a
IL.27.B.5
particular culture or historical period.
III. Desired Result(s)
A.
Students will know: What a concept map is and how to create one.
Students will be able to: Create a concept map by beginning with a central idea and
branching off many ideas in a systematic fashion.
B.
Students will know: The work of Hokusai, the basic characteristics of Japanese
landscapes; and the work of Damien Hirst, the characteristics of conceptual artwork.
24
Students will be able to: Recognize the basic differences between Hokusai's woodblock
prints and the work of Damien Hirst by comparing works of both artists in written
statements.
C.
Students will know: The tools and processes of relief printmaking.
Students will be able to: Create a linoleum relief block using the proper tools to produce
an image of a chosen community landmark (Farragut Career Academy) from a sketch.
D.
Students will know: The process of relief block printmaking.
Students will be able to: Create an edition of the number of students in the class by using
proper printmaking techniques as demonstrated by the teacher.
E.
Students will know: Basic bookbinding techniques.
Students will be able to: Construct a book of 30-35 images using basic bookbinding
techniques.
Assessment:
A. Student created a concept map?_____(5pts.)
• central idea?_____(1pt.)
• 3 (at least) branches?_____(3pts.)
• 9 (at least) twigs?_____(3pts.)
1.) 3 different sketches of concepts?_____(3pts.)
2.) Final sketch for transfer to lino block?_____(5pts.)
*20 pts.
25
B. Analyzing art worksheet )?_____
*10 pts.
C. Transferred image to lino block?_____(5pts.)
Cut image neatly into lino block?_____(15pts.)
*20pts.
D. Made an edition of ___ identical and clean final prints?_____
*30pts.
E. Neatly hand bound book with ___ images and a handmade cover?_____
*30pts.
**Total: 110 pts.
A = 99-110 pts. B = 88-98 pts. C = 77-87 pts. D = 70-76 pts.
Prerequisite learning
Students have done basic relief cuts and are aware of the negative effect i.e. black is
white and white is black. Students have also learned how to use printmaking tools so all
learning in this area will be review.
IV. Materials and Technology
Materials and technology resources
- paper
- pencil
- digital camera (optional)
- computer
26
- projector
- printer
- charcoal (for transferring to block)
- newsprint
- heavy/nice paper
- speedball printing ink
- brayers
- relief cutting tools
- ink-rolling surfaces
- newspaper (for table protection)
- bookbinding thread
- bookbinding needles
- beeswax
- awls
- rulers
Resources
Analyzing Art
http://www.scribd.com/doc/28689692/Analyzing-Art-Questions
Blog
http://mskeenonsartcorner.blogspot.com/
36 Views of Mt. Fuji
27
http://www.manpai.com/Grandes_series/Hokusai_Fuji36/Hokusai_36_vistas_monte_fuji.
htm
Damien Hirst
http://www.gagosian.com/artists/damien-hirst/exhibitions/
V. Procedures
1) Teacher's preparation
Class 1:
Create a blogspot for students while they are in the computer lab.
Class 2:
Gather images of Hosukai's 36 Views of Mt. Fuji and have them prepared for a slideshow
on a computer projector (see resources).
Gather images of Damien Hirst for a slideshow (see resources).
Gather paper (computer paper is fine) and pencils - 1/student, set them at each table.
Do a personal concept map for an example.
(45 minutes)
Vocabulary
concept map
commodity
Class 3:
Gather newsprint, paper, charcoal, pencils, linoleum blocks, linoleum cutting tools -
1/student, set them at each table.
(5 minutes)
28
Vocabulary:
relief print
block printing
Lino
Lino cutter
Class 4 & 5:
same as class 2
Class 6:
Set up for printing demo.
Make a print of original sketch for an example.
Set out brayers, ink, ink-rolling surfaces at a printing station.
Set out newsprint for practice prints.
(30 minutes)
Vocabulary
print
brayer
edition
factory
Class 7:
Same as class 4 + nice paper for final prints, no need to make another print.
(15 minutes)
Class 8-10:
Same as class 5.
29
Class 11:
Sort prints so each student has one of each in a packet.
Gather bookbinding thread, beeswax, awls, bookbinding needles, rulers, pencils - 1
each/student except beeswax and awls 1/table.
Make a book as an example.
(45 minutes)
Vocabulary
Score
Five-stitch bookbinding
Class 11-13:
Same as class 11 except for making an example.
(10 minutes)
2) Methodology
Whole class __X___ (class discussions)
Cooperative groups______
Pairs__X__ (students will switch relief block with another student for printing)
Small group(s)__X____ (students will have small group discussions)
3) Set/Hook
Class will begin with a quick game of "Where's Mt. Fuji?" while looking at the 36 Views
of Mt. Fuji by Hokusai. Rattle off a few quick facts about Mt. Fuji and have a map handy
30
to show the students where it is located. Also, go into some history of Hokusai, his wood
prints and the importance of Mt. Fuji in Japan.
Take students' prior experiences and knowledge into account (4):
Students are familiar with "Where's Waldo," the series of books where the viewer is to
find Waldo amongst a sea of people, I am asking the students to find Mt. Fuji in
Hokusai's woodblock prints much like that of finding Waldo.
Student participation
Students will be engaged silently trying to find Mt. Fuji and aloud as they verbally
announce the location of Mt. Fuji.
Anticipated Time: 10 minutes
4) Teacher Explanation/Modeling
1.) Students will begin by being introduced to the Japanese printmaker, Hokusai.
Continuing from the hook, it will be explained why Hokusai spent a good portion of his
life creating prints of Mt. Fuji and how their school similarly represents an anchor of
community because it is a meeting point for each of them everyday.
2.) Next, students will be instructed to create their own view of their school, but their
view can be very abstract or conceptual; what they finally decide on for their final sketch
may be something seemingly unassociated with the school itself, it's the about the path
they took to get there. The path will be made through concept mapping, which we will
originally do as a class so they can get an idea of how it flows. Once they decide on an
31
image, they can begin to sketch it, but let the students know that while sketching, they
may be led in another direction and that is ok.
3.) The students will then be introduced to the contemporary artist, Damien Hirst. We
will look at some of his pieces in a slide show and discuss the conceptual framework
behind Hirst's work: how he doesn't really make his own work and how the final piece
juxtaposes the original concept. We will have a discussion around the idea of a "factory"
and how Hokusai did all of his own wood cutting but did not print them all in contrast to
Hirst who doesn't do anything but hires people to make his art for him.
4.) After the discussion, students will work in small groups while looking at a projected
image of a Hokusai print to answer some questions (see resources); then they will look at
a Hirst image and do the same, then the students will compare the 2 images.
5.) Students will work on their sketches and begin transferring to their lino block.
6.) Students will watch a demo on lino-cutting.
7.) Students will work on their lino block.
8.) Students will watch a demo on printing their lino block. When students are ready to
begin printing, they will be instructed that they are to trade with a classmate so they are
not doing their own work imitating the "factory" both of Hirst and Hokusai. Students
may or may not trade more than once, but they may not print their own block.
9.) Students will continue printing.
10.) When all the students have printed and there are at least 30 prints of each image, the
class will bind the images into books with a blank cover. The book will be entitled, The
____ Views of Farragut Career Academy with each student creating their own illustration
for the cover.
32
11.) Students will trade their book with a classmate who will sign the book so every
student will have a book they did nothing with but sign.
Teacher modeling
1.) Teacher will demonstrate safe lino-cutting techniques and explain the nuances of
reliefs.
2.) Teacher will demonstrate printing their relief block:
• how to make a registration
• the proper amount of ink to use
• what a brayer is and how to properly roll the ink with the brayer
• how to roll the brayer over the lino block
• how to safely use the printing press and what to do when the press is unavailable
(use a wooden spoon)
3.) Teacher will lead the class in doing a five-hole bookbinding stitch
• cut enough thread to bind your book and coat it with beeswax
• thread the needle
• clip the pages of the book together so movement will occur while you are stitching
• measure the paper on the side you wish to bind on
• using a ruler, make 5 even dots marking where the holes for the stitching will go
• use an awl to punch holes where you have put the marks
• begin sewing
33
Connections to Previous Learning:
Students are learning about the mass production process that printmaking can be useful
for. They have made zines and mail-art for wider distribution. With this lesson, they are
learning how artists use production and mass production for distribution and
commodification but also how printmaking can be used to pay homage to a communal
landmark.
Because this is an involved and abstract lesson, it is best to stop and ask students if they
are following and if they are not or they looked confused, I will backtrack and try to
explain my train of thought. The most important thing that students understand is that
they are to put pencil to paper to create an image that somehow represents their school,
no matter what that image may be. While the students are sketching, I am walking
around the room making sure they are on task and asking questions about their sketches
to get them to push or expand their thinking. During lino-cutting, printing and
bookbinding, it is imperative that students are clear on the instructions and procedures.
To make sure this is happening, I need to be constantly walking around the room and
monitoring the students' progress. I will allow the students to assist me in my
demonstrations and try for themselves before working on their project.
I expect students to talk to me if they are stuck on or questioning something; this is an
environment where people feel comfortable. I also expect students to respect the people
around them and the property they are using so the classroom remains a safe place.
I anticipate a final book that is hand bound and full of conceptual images made by the
class.
34
Anticipated Time: 4-5 weeks
5) Guided Practice
There are ample occasions for discussions and questions in this lesson. Students will be
asked to thoroughly analyze works of art based on a series of questions (see resources),
there will be a class wide and small group activities where I will be facilitating
conversation. While students are analyzing the works of art, if they get stuck, I will point
out shapes I see and show them to spark other ideas.
Monitoring and adjusting
I will constantly be moving throughout the room to ensure that students are on task,
getting the task and are doing the task properly and safely.
Feedback during the lesson
Through every step I will be offering feedback in the form of questions or statements. I
will let students know that the image they choose is relevant as long as they can explain
to me their path in getting there. Always let students know that their work doesn't have
to be a masterpiece.
Plan for Differentiated Learning (i.e. non-reader, ELL-levels, gifted)
Description of challenged learner:
They are physically and mentally challenged, they need step-by-step instructions so they
do not get flustered.
Description of how lesson has been adjusted
35
As is part of the lesson: the students can draw whatever they want, this makes it easier for
the easily frustrated student to not worry so much about their image and whether or not
they can draw. Ask the student what they are good at or enjoy drawing, it could even be
words. There is always a list on the board of instructions, for students who get
overwhelmed; it is helpful if they have step-by-step instructions with them that they can
check off as they go.
Plan for Interpretive Creative Learning
1.) I am willing to accept any bookbinding technique that does not use staples.
2.) I am willing to accept students adding to the image they have printed.
Closure
Each student will do a "self" assessment with a checklist, I put self in quotes because it is
not actually their work in the end. Everyone will exchange books at least once, and the
book they end up with will be the one they will assess with the checklist and hand in for
credit.
Homework or Independent Practice
Homework or independent practice for student related to the lesson.
Students will be encouraged to look at the media to find conceptual as opposed to literal
images.
36
VI. Reflection
The students started this lesson strong, though it took them a one-on-one
explanation to grasp the concept of a concept map. Once it occurred to me to show them
an elaborate example of a concept map and go to each student showing and explaining,
each student took off with it and really enjoyed the freedom to concoct whatever they
wanted so long as they could trace the steps of how they got there. In the future, I would
begin with an example of the concept map.
The next step in the lesson was to carve the linoleum block with a tracing of their
chosen image, some students who were absent or late missed this demo and we ended up
with a few cuts. Following classes will have a system implemented where they must be
instructed before having access to the tools. I will use a checklist with each student’s
name and refer to it prior to passing out tools. After carving, the students printed; again,
some students missed instruction and consistently had inky prints. To amend this, I will
have a demo everyday until the students are absolutely accurate with their printing skills.
Lastly, we bound the books. I first stood around the class and demoed as all the
students followed me. This was daunting and the next day I decided to do a demo first
and then helped each student as needed. This proved to be the best way: demo first,
instruction as needed. This was much more efficient.
In assessing, I found that some students were unclear or missed instruction on
printing. Most of the students who fell short during assessment were the students who
were consistently late or absent. So, to reiterate, I would do a demo everyday during
different times to ensure that all students repeatedly have instructions ground into their
brains. Repetition is key for success in certain instances.
37
Enlarging the Influence of Women
by Kristie Keenon
I. Introduction:
Introduction to Lesson
A. The Subject Area: Visual Art/Social Science/Language Arts
B. The School: Farragut Career Academy
C. The Grade Level: 9-12 (Art 1)
D. Description of the lesson: Students will choose a living woman who is currently and
internationally influential from a list and enlarge an image of the chosen woman using a
graphic design technique.
38
E.1. Overarching Understandings: Students will understand the basics of enlarging an
image using simple lines and rulers. They will experience the concept of shrinking and
expanding manually, without a computer. Students will also understand the importance
of women around the world and the metaphorical correlation between the woman they
choose, how she has enlarged herself and the actual procedure of enlarging the image.
E.2. Essential question(s) When there is no computer, how can you enlarge an image?
What are some strides women are currently making around the globe?
II.National & Illinois Standards and Grade Level Descriptors
National/Illinois Standards & Grade Level Performance Descriptors
NAEA.VA.9- CONTENT STANDARD: Making connections between visual arts
12.6 and other disciplines
Illinois Standards
STANDARD: Use correct grammar, spelling, punctuation, capitalization and

IL.3.A
structure.
39
STANDARD: Understand the roles and interactions of individuals and groups
IL.18.B
in society.

IL.25.A

IL.26.A
STANDARD: Analyze how the arts function in history, society and everyday
IL.27.A
life.
Grade Level Performance Descriptor(s) [Indicate stage(s)]
> Produce grammatically correct documents using standard manuscript

IL.3.A.5
specifications for a variety of purposes and audiences.
> Use methods of social science inquiry (pose questions, collect and
analyze data, make and support conclusions with evidence, report

IL.18.B.5
findings) to study the development and functions of social systems and
report conclusions to a larger audience.
> Analyze and evaluate the effective use of elements, principles and
IL.25.A.4 expressive qualities in a composition/performance in dance, drama,
music and visual arts.
40
> Visual Arts: Analyze and evaluate how tools/technologies and
IL.26.A.4e
processes combine to convey meaning.
> Analyze how careers in the arts are expanding based on new
IL.27.A.5
technologies and societal changes.
PROFICIENT: Students apply media, techniques, and processes with

NAEA.VA.9-
sufficient skill, confidence, and sensitivity that their intentions are
12.1.P.1
carried out in their artworks
PROFICIENT: Students conceive and create works of visual art that

NAEA.VA.9-
demonstrate an understanding of how the communication of their ideas
12.1.P.2
relates to the media, techniques, and processes they use
PROFICIENT: Students compare the materials, technologies, media,

NAEA.VA.9-
and processes of the visual arts with those of other arts disciplines as
12.6.P.1
they are used in creation and types of analysis
PROFICIENT: Students compare characteristics of visual arts within a

NAEA.VA.9-
particular historical period or style with ideas, issues, or themes in the
12.6.P.2
humanities or sciences
III. Desired Result(s)
A.
Students will know: How to enlarge an image using a manual, simple grid technique
used by graphic designers.
41
Students will be able to (define by audience, behavior, conditions): Enlarge an image of
any dimension by using a straight edge and a pencil.
B.
Students will know: The definition of value and how to identify value.
Students will be able to (define by audience, behavior, conditions): Create a value scale
using different techniques such as cross-hatching and stippling with a Sharpie marker.
Students will be able to (define by audience, behavior, conditions): Create an enlarged
image using a grid that emphasizes value in the form of patterns.
C.
Students will know: Different women throughout the world who are making a significant
impact.
Students will be able to: Write a grammatically correct and correctly spelled short essay
about the woman they chose to research and enlarge.
42
Assessment:
A. Completed value scale worksheet ______
- worksheet successfully goes from white to black using crosshatching_____
- stippling_____
- patterns______
B. Made a grid on original image and an identical grid on larger paper ______
*Section A & B = 30 pts. (6 pts. each)
C. Completed final enlarged image (on time)_____
- student shows understanding of value by incorporating many patterns representing
value_____
- final image closely resembles original image_____
- final piece is clean and neat_____
*Section C = 40 pts. (10 pts. each)
D. Wrote a short essay (1 full paragraph)(on time)_____
- At least 5 sentences_____
- Grammar_____
43
- Spelling_____
- Pertinent information about chosen woman_____
• Who?_____
• What?_____
• When?_____
• Where?_____
• Why?_____
*Section D = 30 pts.
**Total pts. = 100
A = 91-100 B = 81-90 C = 71-80 D = 61-70
Prerequisite learning
Students are familiar with using Sharpies and rulers. Students also know how to write a
paragraph with a beginning, middle and end.
IV. Materials and Technology
Materials and technology resources
- Sharpies=1/student
- scissors
- rulers
- pencils
- nice paper (any heavier stock paper)
- computer
44
- projector
- Xerox machine
- printer
- Internet
Resources
Leonardo: Anatomy
By: Marco Cianchi
Arts and Activities http://www.artsandactivities.com/Page/Itworks/A090226a.html
Magazine: Project “Close to Mosaics”
By: Paul Zabos,
24 hours in 4 minutes, speed painting portrait - Eduard Piel
http://www.youtube.com/watch?v=cTDxuc8mj18&feature=related
Time Magazine's 100 Most Influential People 2009
List of Women
V. Procedures
1) Teacher's preparation
Assemble materials:
-gather names and images of women
-print and copy images of women
45
-get Youtube video ready to project
-make value scale worksheet, make copies
-create list of women, make copies
-begin an example, use for demonstrations
-reserve time in the computer lab, for research
-gather rulers, pencils, Sharpies, paper
-make transparency grid for differentiated learning
Practice procedures beforehand
-begin an example to use for demonstrations
New vocabulary:
value
stippling
crosshatching
horizontal
vertical
perpendicular
parallel
contour
Organize workstations
-Reserve time for the computer lab
2) Methodology
Whole class __X___ (whole class discussions)
46
Cooperative groups __X___ (closure-students have a small group critique)
Pairs______
Small group(s)__X____ (students work in small groups)
3) Set/Hook
Students come into class as a video of an artist painting a grid painting to music is
projected onto a wall.
Take students' prior experiences and knowledge into account:
Students are familiar with the music playing in the video, their attention will definitely be
toward the video. They have some experience with grid painting, so watching a video
sped up to see someone doing it rapidly will catch their attention as well.
Student participation:
After all the students are seated and everyone has a chance to see a minute or two of the
video including the ending, I will turn it off and ask the class if they know what the artist
was doing, did they like it, did they notice the different stages of development, what the
artist thought was important, etc.; we will talk about it briefly and discuss the upcoming
project.
4) Teacher Explanation/Modeling
Students will first be instructed to complete a worksheet dealing with value (see
resources), this is to brush up on what they already know but may have forgotten. The
worksheet also introduces the concept of using pattern as a form of value. When students
are finished with their worksheet, they will decorate a sheet of paper with different
47
patterns they can use during their project. Because there are so many squares to fill up in
this project, it is good to have a cache to refer to while working.
When students have covered a sheet with pattern ideas, they will be given a list (see
resources) of 12 descriptions of women or women's names and instructed to choose one.
There will be questions from the students about who is who on this ist, the students know
they are women, but I want it to remain vague; if they know who each is it may bias their
choosing. As a class, we will briefly discuss women's history and highlight that March is
Women's History Month; it will be explained that each woman on the list may or may not
be someone they have heard of but they are all women who are currently and
internationally influential.
Next, we will take a look at the artist Chuck Close and see how he has employed the grid
throughout his long, productive and prosperous career. We will look at about 5 images
and a couple of images of Close's work in progress. During work time (this will be a
very intensive project), I will chunk it to be interrupted with periods of research and
video clips so the students don't lose interest in the project. A quarter of the way through
the project, I will show some clips of Chuck Close in action; about half way through, I
will take the kids to the computer lab where they will research their chosen woman; and
toward the end I will interject the writing portion.
Teacher modeling
After we look at Chuck Close, we will begin our own grid; this will be done step-by-step
as a class until everyone gets the hang of it. There is basically no measuring involved
with this form of enlarging! but the students need to pay attention so they get it right;
once they've got it, it's so easy!
48
Enlarging procedure:
1. Take original picture and set it in the lower left corner of the sheet of paper where the
final image will be.
2. Use a ruler or straight edge, place it in the corner of the original image and extend it
to the opposite diagonal corner of the larger sheet of paper.
3. Remove the original image, extend the missing part of the line (where the original
image was).
4. Wherever you decide to lop off the enlarged image is where the diagonal line ends,
make an identical diagonal line going the opposite way making an "X."
5. Draw a straight vertical line through the center of the "X", then a horizontal line
through the "X."
6. Now there are 4 boxes with a diagonal line going through each, repeat setp 4 & 5 until
you are satisfied with the size of the grid.
7. Everything you do to the large paper, do to the original image
When everyone has completed their grids to their satisfaction, I will demonstrate how to
use pattern in place of shading as a value tool.
Connections between previous and current learning:
Students have learned the elements and principles of design; I will reiterate them as we
go along particularly in emphasizing different patterns to use. Ask the students to recall
previous projects where design was involved; use line, shape, texture, etc. Point out that
the elements of art are used in everything, everywhere. Students also are familiar with
value; this is a way to "hit it home."
49
Checking for understanding of procedures, expected behaviors, and anticipated products:
There is a checklist (see assessment) for every step of this project. If students are having
trouble, I will be able to catch it in time to fix it.
I expect students to be here everyday and on time to best understand the project (this is
highly unlikely). I also expect students to complete each part of the project on time and
to the best of their ability.
As stated in the assessment, students will complete a worksheet, an enlarged image of a
current influential woman and an accompanying paragraph.
5) Guided Practice
Continuously ask the students about the woman they chose: what they know about her,
why she is important; what other women are influential; do they see a connection
metaphorically about enlarging this woman?
50
Monitoring and adjusting:
Constantly monitor to ensure that students are doing the grid right; if one is wrong, it's all
wrong! If they are having trouble "not" seeing the image, have them turn it upside down.
Feedback:
This is a cool project because when done right, an image "magically" appears. Let the
students know how talented they are and that they CAN draw!
Plan for Differentiated Learning (i.e. non-reader, ELL-levels, gifted)
There are a few students who have a hard time grasping concepts and one student who
has an aide, he has a really hard time grasping things.
For the student with the aide, I will have him do a different grid that I have put onto a
transparency so he doesn't have to worry about making his own. For the other students, I
will just make sure that they are in small groups with MKOs.
Plan for Interpretive Creative Learning
I would accept:
- a woman not on the list I have given so long as there is an accompanying reasonable
image and she is currently influential.
- students who wish to add touches of color - not too much though.
51
Closure
Students will be given the rubric I am grading them with and have a chance to grade
themselves and supply a reasoning. This sheet is worth points as well.
Homework or Independent Practice
Though homework will not be required, I would encourage students to pay attention to
women in the media and ask themselves how are they represented, how many female
leaders are there, etc.
VI. Reflection
This lesson was a slow, meticulous and rigid process. The next time I teach it I will
introduce a small practice component so students more clearly see the importance of
concentrating on a single row and the values and shapes in that row. This will help
students begin to erase what they think they know about the human face i.e. how eyes are
shaped, how a nose is drawn, etc. I will also provide a wide library of patterns and more
examples of finished pieces, especially now that I have a selection of finished pieces.
I originally thought that because students were more into the project after I introduced
India ink and fatter Sharpies that I would begin the lesson with those as options along
side the thin Sharpies; but I like how some students worked with and liked the thin
Sharpies, maybe another class might all take to the thin Sharpies and not need the extra
motivation. If another class does seem to need the motivation, the other options are nice
to include as a “surprise.”
52
After both the formative and summative assessments, I think I will continuously offer
points/day for ___ number of boxes completed and set realistic goals of where the
drawing should be on certain days. This way all students will be on the same page. For
students who rush through, I will assign another so they will be more focused on doing a
good job for the original piece. This is a simple project so long as the students get over
the “I can’t draw” or “this is too hard and boring” hump.
For the students who struggled in meeting the requirements, I will spend more time with
them one-on-one to ensure they are taking their time and they understand the process. It
is a delicate balance to spend the time needed with struggling students and with the rest
of the class, but in order for the struggling students to meet the requirements, it is
necessary for them to slow down and grasp the concept.
53
Enlarging the Influence of Women
by Kristie Keenon
TEACHER ARTWORK SAMPLE
Education
Department
Educational Studies
Graduate Programs
Name: Kristie Keenon Cohort: 17
School & Grade: Farragut Career Academy, Art 1 (9-12)
Subject: Art 1
Date: Spring 2010
I. Contextual Factors:
A. The Community
Farragut Career Academy is located on Chicago's Southwest side on the cusp of the
North Lawndale and Little Village neighborhoods. The immediate surrounding
community is primarily Latino and low-income.
54
B. The School
The student population at Farragut Career Academy consists of a primarily Latino
community with 80% followed by African-American at 19%. It is a neighborhood school
meaning it is not a school of choice and therefore has no required testing for admission.
The drop out rate is around 50% and college enrollment upon graduation below 25%.
There is a dress code. A significant amount of students are English language learners and
98% of the students receive free lunch. Also, many of the students are parents.
C. The Classroom
The classroom averages around 30 students per class. There is one teacher with no aide.
The classes are 47 minutes long. The arrangement is a grouping style, 9 tables with an
average of 4 seats at each table. Supplies are relatively plentiful; there is plenty of paper,
ink for printmaking, acrylic paints, paintbrushes, etc. There are 2 sinks, a computer for
the teacher (mainly for taking attendance), a large drying rack, 5 large cabinets, 2 large
shelving units, skylights and florescent lighting. Posters and students's work are
displayed throughout the room. There are 2 boards where the agenda is written for all
classes. During the 1st period, many students are tardy and though truancy is not too big
of an issue, absences are frequent due to suspensions.
II. Instruction: Implications of Contextual Factors:
When designing a lesson plan, it is important to keep in mind the number of absences in
55
each class. Though in theory a lesson should take 1 week for instance, it will take 3
weeks and therefore there needs to be set in place a plan to ensure all students have the
ability to complete and understand an assignment. Also, many of these students are
lacking basic design knowledge and, though it may have been covered previously in the
class, simple techniques, skills and vocabulary need to be repeated.
For this particular lesson, Enlarging Influential Women, the process was a daunting
endeavor. First students had to choose a current internationally influential woman, I pre-
chose 12 women because a majority of the students would have chosen a relative or
media celebrity; my intention was that they learn about someone they knew nothing or
little about and given the time restraints this seemed improbable in a timely fashion.
Next, they were to enlarge the woman from a picture, again, due to limited resources,
time restraint and most students’ lack of knowledge with photo technology, I provided
the pictures. After the enlargement was underway, students used Sharpies to create
patterns throughout the gird that shaped their chosen woman. As this process progressed,
the students seemed to be getting bored, so India Ink and fatter pens were introduced.
Also, a paper was required for this assignment and because there are many students
struggling with English and writing, I only asked for one paragraph and provided the
outline for the paragraph.
Lesson’s Desired Results:
Description of the Lesson:
56
Students chose one of 12 internationally influential women from a list of descriptions and
enlarged a provided black and white image of the woman using a graphic design
enlarging technique. Concentrating on value, students fill in their enlarged grid with
patterns that reflect their chosen woman.
Established Goals:
Students will learn how to enlarge an image, use design patterns to represent value and be
able to explain the importance of the woman they chose.
Understandings:
Students will have an in depth understanding of value. Students will understand the
metaphorical connection between literally enlarging a woman and how she has become
influential as well as how patterns used to represent value can also represent aspects of
their chosen woman. Students will also understand the vast diversity among influential
women in the world today and how they, too, can be influential and/or have a new found
respect/appreciation for the profound strength of women.
Essential Question(s):
How are women influential in today's world?
Objectives:
A.
Students will know: How to enlarge an image using a manual, simple grid technique
used by graphic designers.
57
Students will be able to: Enlarge an image of any dimension by using a straight edge
and a pencil.
B.
Students will know: The definition of value and how to identify value.
Students will be able to: Create a value scale using different techniques such as cross-
hatching and stippling with a Sharpie marker.
Students will be able to: Create an enlarged image using a grid that emphasizes value in
the form of design patterns.
C.
Students will know: Different women throughout the world who are making a significant
impact.
Students will be able to: Research and write one paragraph based on the one women they
chose.
III. Assessment Evidence:
Pre-Assessment of:
Student A:
58
Students in this section, (most developed) consistently showed an advanced knowledge of
design and value as well as how to use a grid for replication.
Student B:
Students in this section (developed) showed an understanding of using a grid and value,
but struggled with the idea of design.
Student C:
Students in this section (least developed) failed to complete the pre-assessment and/or did
not show an understanding of value, pattern or using a grid for replication.
59
Post Assessment:
Assessment:
A. Completed value scale worksheet ______
- worksheet successfully goes from white to black using crosshatching_____
- stippling_____
- patterns______
B. Made a grid on original image and an identical grid on larger paper ______
*Section A & B = 30 pts. (6 pts. each)
C. Completed final enlarged image (on time)_____
- student shows understanding of value by incorporating many patterns representing
value_____
- final image closely resembles original image_____
- final piece is clean and neat_____
*Section C = 40 pts. (10 pts. each)
D. Wrote a short essay (1 full paragraph)(on time)_____
- At least 5 sentences_____
- Grammar_____
- Spelling_____
- Pertinent information about chosen woman_____
• Who?_____
• What?_____
• When?_____
• Where?_____
60
• Why?_____
*Section D = 30 pts.
**Total pts. = 100
Student A:
This group excelled in areas A, B and C of the post assessment. In the "pattern" portion
of area A, students showed variation in pattern while showing complete understanding of
value. All students in this section mastered area B. One student struggled with the
drawing of the grid, but once they asked and were showed one-on-one they were
proficient and completed the grid effortlessly. In are C, each student excelled in every
subarea; they went beyond expectations to include patterns that incorporated personal and
metaphorical designs.
61
Student B:
These students met the requirements of areas A, B and C. In the "crosshatching" and
"stippling" subareas this group was seamless, but the "pattern" subsection lacked
differentiation. Area B was a mixture of results, some students in this group excelled at
the grid while others struggled. The students who struggled tended to be more involved
while working on the image while the students who exceeded were easily distracted
working on the image. Again, in area C there was a mixture of outcomes, though slight.
The students who excelled at drawing the grid got tired of creating the image and rushed
through; the students who had some trouble with the grid really enjoyed the design
pattern process and produced a creative and clean final piece.
62
Student C:
This group struggled with all areas. In area A this group showed an understanding of
value with stippling and crosshatching, but could not translate value into patterns. With
drawing the grid, area B, these students had to be showed more than one time and some
had to have a majority of the grid done for them. If the students in this group completed
the assignment, it lacked likeness of the original image, was rushed, did not show clear
comprehension of value and did not use much if any variation of design patterns.
Possible Explanations
Student A:
The students in this group excel in art and/or academics in general. They understand the
concept of value and how that can translate into design and further, how design can be
representative. The tendency to think beyond the requirements is typical because they
aim to do more than fulfill the requirements. Also, because this was a very rigid and
mechanical process, some students in this group were better geared toward this type of
intricate work and took it one row at a time.
63
Student B:
Group B was a blend. The students who enjoyed making the grid were excited that they
were good at doing the repetitive process, they became fearful when they began having to
think while making value into design. This group also could not get themselves to look
at the original image one row at a time concentrating solely on the value; they were
concrete at seeing the whole picture and trying to draw what they thought they knew.
Student C:
Again, group C was stuck drawing what they thought they knew instead of looking at
value and shapes. This group also tended to rush, mainly to get it done because of
absences.
IV. Reflection and Prescription for Next Steps to Enhance Student Learning
Student A:
Being that this group excelled in all areas of skill and technique, it would be best to push
them in delving into the essential question: "How are women influential in today's
world?" Perhaps discover an art technique specific to the country of their chosen
woman's origin and somehow incorporate that into their own art. Or in the case of Tina
Fey, attempt to contact her and ask her personal questions. I would encourage these
students to really extend themselves beyond the requirements. Though the students as a
whole lack self-discipline and motivation, it is imperative that I, the teacher, instill the
motivation. Within this class, the main motivation stems from points, but with the
64
students in group A who are getting good grades anyway, they are less likely to be
persuaded by points. So, I might begin researching myself to find a cool art technique or
attempt to contact Tina Fey and show the students just how cool these endeavors can be.
Student B:
I want these students to become more excited about the project in general. Not every
project can stimulate everyone; some students just did not like the intricate-ness
involved. I provided other outlets to speed along the process and once those were
introduced, most students took a better attitude toward the project thus improving their
work. One student was particularly indifferent during the project however, once I asked
that she add 3-D and color, she outdid herself. I asked another student in this group what
he would prefer to do for an art project and his response was to just paint whatever he
wanted, however he wanted; (un)fortunately, that is not the point of art instruction. If
these students were more aware of the reason we do things in class, they may be better
inclined to work harder. So, if I spent more time introducing art history and theory
throughout the lesson, a better understanding could lead to better work for students in this
group.
Student C:
Most students in this group were plagued with absences and/or learning disabilities.
Some lacked the concentration while others lacked motivation. To bring these students
up to the next level would require better attendance and for some of these students,
absences were out of their control. These students are the ones who need plenty of one-
65
on-one attention, which I am happy to accommodate so long as they are. These are the
students who are motivated by points. It is important to let them know that expectations
are high and the result is satisfying. It's getting them to an exemplary result.
CLASS PROFILE
To be used in conjunction with the Teacher Work Sample (TWS)
Name____Kristie Keenon______________School____Farragut Career Academy_
School Address___2345 S Christiana Ave______City____Chicago____________
1. How many students in the class? Total_31__Males_16_Females_15__
2. What is the age range of the students? __14–17____
3. Identify the number of students in each category.
English language proficient____25_____
English language learners_____6_____
4. How many students have been designated with the following:
Gifted______ Learning Disabled__10__
Physically Disabled ______ Emotionally/behaviorally Disabled __10__
Blind/Visually Disabled _____ Deaf/Hearing Disabled _____
Developmentally Disabled _____ Traumatic Brain Disabled _____
Other (Please describe) _________________________________
5. How many students in each of these ethnic groups?
66
White, non –Hispanic_____ African American, Black, non-Hispanic_5__
Puerto Rican _____ Asian/Pacific Islander _____
Mexican American or Chicano __26__ Native American, Inuit, Aleut_______
Other _________(describe)
Multi racial/ethnic _____
Standards
NAEA.VA.9- CONTENT STANDARD: Making connections between visual arts
12.6 and other disciplines
Illinois Standards
STANDARD: Use correct grammar, spelling, punctuation, capitalization and

IL.3.A
structure.
STANDARD: Understand the roles and interactions of individuals and groups

IL.18.B
in society.

IL.25.A
67
IL.26.A
STANDARD: Analyze how the arts function in history, society and everyday
IL.27.A
life.
Grade Level Performance Descriptor(s) [Indicate stage(s)]
> Produce grammatically correct documents using standard manuscript

IL.3.A.5
specifications for a variety of purposes and audiences.
> Use methods of social science inquiry (pose questions, collect and
analyze data, make and support conclusions with evidence, report

IL.18.B.5
findings) to study the development and functions of social systems and
report conclusions to a larger audience.
> Analyze and evaluate the effective use of elements, principles and
IL.25.A.4 expressive qualities in a composition/performance in dance, drama,
music and visual arts.
> Visual Arts: Analyze and evaluate how tools/technologies and

IL.26.A.4e
processes combine to convey meaning.
> Analyze how careers in the arts are expanding based on new
IL.27.A.5
technologies and societal changes.
68
PROFICIENT: Students apply media, techniques, and processes with
NAEA.VA.9-
sufficient skill, confidence, and sensitivity that their intentions are
12.1.P.1
carried out in their artworks
PROFICIENT: Students conceive and create works of visual art that

NAEA.VA.9-
demonstrate an understanding of how the communication of their ideas
12.1.P.2
relates to the media, techniques, and processes they use
PROFICIENT: Students compare the materials, technologies, media,

NAEA.VA.9-
and processes of the visual arts with those of other arts disciplines as
12.6.P.1
they are used in creation and types of analysis
PROFICIENT: Students compare characteristics of visual arts within a

NAEA.VA.9-
particular historical period or style with ideas, issues, or themes in the
12.6.P.2
humanities or sciences
Resources
Leonardo: Anatomy
By: Marco Cianchi
Arts and Activities
http://www.artsandactivities.com/Page/Itworks/A090226a.html
69
Magazine: Project “Close to Mosaics”
By: Paul Zabos,
24 hours in 4 minutes, speed painting portrait - Eduard Piel
http://www.youtube.com/watch?v=cTDxuc8mj18&feature=related
Time Magazine's 100 Most Influential People 2009
List of Women
70
Lesson Adaptations
All students are unique and are best served by teachers who teach to the multiple
intelligences. However, there is a percentage of students who are special needs and their
special needs require modifications to the classroom and activities so that they may
achieve the same objectives as their peers. Some of these students are in special
classrooms (self-contained) or some may spend a majority of their day in resource rooms
away from the general population of the school or some may even attend a special
school; but a majority of these students are mainstreamed into the general education
classroom with modifications. All students who request modifications have an individual
education plan (IEP) or a “504” plan that has been set in place by a team consisting of a
special education teacher, parent and any other professional who may contribute valuable
information on the student’s behalf. The IEP and “504” plans are to be made known to
all the student’s teachers so each teacher is aware and can make the proper adjustments.
As an art teacher I will give examples of multimodal approaches that are more
generally related to the art classroom; however, every student is different and
modifications will be individualized as needed. For more specific modifications, I have
included individualized adjustments in my lesson plans (see Lesson Plans). Again, what
I am putting forth in this section is general and is there to ensure a classroom of success.
Classroom Environment:
• Set student in an area with little to no distraction – this may be at a group table
with students who are more studious workers or at a place that is generally nearer
to the teachers desk.
71
• Use a personalized checklist for the students so they may keep it with them; this
list should include each step to be completed for the project.
• Allow the student frequent breaks if necessary or have a visual cue that the
student needs to leave the classroom.
Time Management & Transitions:
• Allow shorter work periods and frequent breaks when necessary.
• Allow an extended due date.
• Have a specific and consistent place for turning in assignments/projects.
• Inform student with several reminders, several minutes apart, before changing
from one activity to the next.
• Allow for a reduced or adjusted workload that still covers the objectives of the
lesson.
Presentation of Materials:
• Provide a model of finished project, both for the class and a copy for the students
to keep with them.
• Modify expectations based on students’ needs.
• Break assignments into segments of shorter tasks.
• Give alternative assignments rather than long written assignments.
• Provide written and verbal direction with visuals if possible.
• Break long assignments into small sequential steps, monitoring each step.
• Number and sequence steps in a task.
• Explain learning expectations to the student before beginning a lesson.
• Limit the number of concepts presented at one time.
72
• Provide incentives for beginning and completing material.
Assessment:
• Place heavier emphasis on following the directions.
• Refer to the checklist provided to the student. Was it followed?
Behavior:
• Avoid confrontations and power struggles.
• Provide an appropriate peer role model.
• Develop a system or code that will let the student know when behavior is not
appropriate.
• Ignore attention-seeking behaviors that are not disruptive to the classroom.
• Arrange a designated safe place that student can go to.
• Develop a code of conduct for the classroom and visually display it in an
appropriate place where all students can see it and review it frequently.
• Develop a behavior intervention plan that is realistic and easily applied.
• Provide immediate reinforcers and feedback.
If each of these general modifications is put into action, the classroom will be a place
for success. Overall, lessons are easily modified when the classroom is effective.
Lessons, I have found, need no more than a step-by-step checklist and adjusted rubric to
accommodate students with special needs.
73
Grouping Arrangements
There are numerous grouping arrangements available for the classroom and
numerous research studies to argue for or against each one. As an art teacher, I believe
the most effective grouping arrangement to be that of small groups, 4-5 students per
table. As the teacher, I am the facilitator of learning rather than the authority; I am rarely
at my desk or in the front of the classroom, but throughout the classroom talking with
students or leading a discussion from multiple areas in the room. I promote ownership of
student work and the discussion with peers to push or elaborate personal work. For the
objectives I wish to meet as the art teacher, the most productive grouping arrangement is
that of small, cooperative groups. For this section, I will discuss the benefits of
cooperative groups, how I have used small groups and how I have graded cooperative
group assignments.
Art is a class where students are constantly working on a multitude of projects
requiring a lot of movement both by them and by me, the teacher. I weave in and out of
groups discussing with each student his or her project, or I am weaving throughout the
class while leading a discussion. This gives me the opportunity to see each student and
have each one see me; it also allows for me to actively engage in and be part of the class
rather than an authority who stands front and center facing rows of students.
Opportunities for discussion arise more often because the grouping styles invite dialogue
both in their groups while I am having one-on-one discussions with other students and as
a class while I am leading discussions. Students benefit from feedback from their peers.
By being in groups, the openings for discourse are readily available in a comfortable
atmosphere. Aside from feedback, students are also encouraged to converse with one
74
another during class discussions allowing for more diverse opinions and viewpoints to
add to the class discussions. Not to mention, cooperative groups promote classroom
community.
I use small groups on a daily basis because that is how I have arranged the
classroom. However, though there are times when students are working independently in
small groups there are also times when students are working collaboratively in small
groups. An instance when I had students working collaboratively was during a project
where groups of 3-4 were assigned a “role”; this was an adequate group project because
there were only seven “roles” to choose from. Each “role” had to create an historical
political cartoon that answered one of two questions, transfer that cartoon to a linoleum
block, carve it and print it in an edition of three. To successfully accomplish this lesson,
students had to be aware of the dynamics of working within a group, i.e. assigning
appropriate tasks, cooperation, listening skills, etc. With the students already having this
skill, it was an easy task to accomplish and continue to the project.
When I graded the students on the group work, I discussed with each group how
they assigned each task to ensure all students contributed an equal amount. I recorded
each student’s task and observed the activities during each class, making sure everyone
was doing what it is they were supposed to be doing. At the end of the project, each
student did a self- and group-assessment that was handed in with the project. I read each
assessment, compared it to what I observed and graded accordingly each individual and
each group. Typically, if the group received a high grade each student in that group
would receive the same grade the group received; in rare instances a student will either
get a better or worse grade than the group depending on the effort noticed during the
75
project. For the project used as an example, each student received the same grade as the
group. Along side the academic grade, students are also graded on their collaborative
skills.
Grouping arrangements in the classroom play a vital role in the overall
atmosphere. Small, cooperative groups encourage discussion, community and ownership
of individual work or group work. In the art classroom where there is plenty of
opportunity for movement and feedback, small groups prove to be the most rewarding
arrangement both for independent group work and collaborative work.
76
Using Technology
In today’s world, the use of technology is vital in all areas of life but especially in
the classroom. There is such an array of resources to be utilized; resources that make
learning more enjoyable, enhance comprehension, aid disabled students, build students’
technological literacy, globalize the classroom and make students competitors in the
growing global economy. However, technology may also be harmful. Students may lose
their ability to have healthy human interaction, become dependent upon technology for
education or encounter inappropriate material. It is with proper guidance, discussed in
this section, that technology fosters student development of higher order thinking skills. I
will briefly discuss the ways I will effectively use technology in the classroom:
integration, multimedia art, communication, research; and then elaborate one way I used
technology throughout a unit, specifically in one lesson.
Technology can be defined as a way humans can change or control their
environment. With the plethora of digital outlets, students can enhance, manipulate, slow
down or speed up time and quickly transfer this information into other media. For
instance, to integrate science I could simply employ a digital microscope to project the
contents of a cell onto a large screen for students to observe and duplicate. They could
then scan their image into a computer, manipulate the image using a software program,
print the manipulated image and continue to enhance or manipulate the image
indefinitely. The possibilities are endless.
As an art teacher, the multimedia component serves as the most exciting aspect of
technology and is the area in which I will discuss specifically how I will use technology
in a lesson. Because technology is an ever-evolving and progressive resource, it is
77
important for students to realize how it can be used in the visual arts. In the art
curriculum, traditional art skills are strongly emphasized: painting, drawing, sculpture,
printmaking, etc.; but any of these disciplines can be combined with technology. This
brings me to the unit plan used to illustrate how I have integrated technology, the Identity
Unit (see Units). A brief overview outlines that students will be using digital cameras
(still and motion), Photoshop and a projector. Students spend ten weeks exploring what
identity means through multiple media with one lesson focusing on manipulating their
identity with Photoshop. Based on a chosen subculture, groups of 3 students manipulate
photos they took of each other to represent that subculture; e.g. if students chose “nerds”
as their subculture, each group would manipulate their photo to represent a “nerd.” They
then project their manipulated image onto a large surface and paint it. Not only has
technology been incorporated with traditional painting, but students also spend ample
time exploring what identity means and how easily it is manipulated both literally and
figuratively.
In addition to creating and manipulating reality, students also have the ability to
become apart of an alternative reality, or virtual reality. An example is Virsona.com, a
website that allows students to interact with people who are no longer living as well as
create avatars. Beyond creating avatars and virtual worlds, students can also take virtual
field trips to the Louvre or the Uffizi, places where students would otherwise not be able
to take a fieldtrip.
The Internet offers immeasurable possibilities for the classroom: research, blogs,
forums, social networking, free publishing of any media; it is an integral aspect of
communication today. Communication is the last method for technology I will refer to in
78
this section. I plan to create class blogs for updates, homework, events and classroom
news and I will use e-mail as a primary source of contact with parents. Students will also
have occasions to create their own blogs and publish their art as well as use the Internet
as a research catalyst and way to communicate with other students around the globe.
In sum, the use of technology is endless, inevitable and imperative. The world is
changing at an astounding rate due to technology and it is our duty as educators to keep
up, use it as a resource and aid our students in becoming productive, global participants.
79
Domain A Reflection: The Choreographer of Instruction
When I decided to return to school to receive my Master’s in Art Education, I had
only a handful of teaching experience; but each experience was valuable in its own way
and served as the catalyst for my journey toward a teaching career. Nothing, however,
prepared me for the tedious efforts involved when managing a classroom full of thirty
plus students. Not to mention remaining organized enough to sustain classroom
management and developing lesson plans that would hold the attention of each student.
Each student brings a unique dynamic to the classroom; I have learned that the most
effective teacher maintains organization and presents engaging lessons that capture the
interest of every student in the classroom. This is a key contributor to preserving overall
classroom management.
During the many hours I spent observing various art teachers throughout Chicago,
I mentally noted strategies I liked as well as those I disliked. I was the silent detective
who sat in the classroom looking for clues that would tell me why one teacher’s
classroom lacked control while another’s displayed a sense of respect and peaceful
learning. Of course, I associated myself with the teacher who kept a reverent classroom.
80
I thought to myself how I would have done things differently than the teacher who failed
to keep an orderly class. It was not long before the wind was knocked out of my sails for
that ill-conceived notion. All I can say is, it’s a good thing I didn’t choose detective work
as my career path.
Throughout the first year of studying educational philosophy as a graduate
student, we discussed classroom strategies and lesson planning on an intellectual level,
but it was not until I was actually in the classroom that I, as a future educator, became
fully aware of the struggles involved with the noble profession of teaching. In my first
week of student teaching I had my cell phone stolen, was called inappropriate names and
found myself talking to the backs of my students’ heads. Seemingly, not one of those
shining faces was pointed in my direction, waiting breathlessly to hear what I had to say.
Clearly, all the educational philosophy and classroom management strategies I was armed
with were no match for a real, live classroom.
I spent the first seven weeks of my student teaching in a magnet elementary
school serving grades K-8. Fortunately, my mentor at this school was notorious for his
25 years of classroom management, organization and integrated lesson plans. Initially I
was skeptical of his management strategies. They seemed more fear-instilling than
productive, but I quickly recognized his reasoning and noticed that he genuinely cared for
his students. He was also passionate about his lessons and consistently organized. There
were 720 students that went through my mentor’s class per week; the classes ran
smoothly because each student was celebrated and thus engaged. Each class was
carefully prepped, so all available time was used effectively.
81
After the first week of chaos, the following weeks progressively improved. My
phone was returned, I had a conversation with the student who used inappropriate
language toward me, and by the last week I was teaching to a classroom full of engaged
faces.
Moving on to high school for my last seven weeks of student teaching, I deluded
myself into thinking that seven weeks of practice somehow enlightened me to all the
nuances of education. By now I was certain I knew all there was to know. I really didn’t
need that last seven weeks of student teaching; I was ready for a classroom of my own.
What was I thinking? You don’t have to remind me. I wasn’t and again, I was duped.
Not only is teaching a life-long learning process, but there is quite a difference between
the young mind of an elementary-aged student and the mind of an adolescent. In fact,
there is no comparison, and furthermore there is another whole set of rules to follow.
It was only my second day when I ran into one of these snags. Two young
gentlemen in my class were carrying on a conversation of there own, oblivious to me. I
let my frustration get the better of me as my elementary mentor had done occasionally. I
sent the students out into the hallway so I could finish my lesson without distraction. I
planned to have a personal conversation with the two disruptors later.
As it turns out, this is not an option with high school students and they simply left
the school with my unintended consent. This incident certainly did nothing to reinforce
my classroom management skills to the rest of the students. With younger children, this
strategy may be effective; with older students quite the opposite is true. Thankfully, my
cooperating teacher was in the room and quickly diffused the situation. The next day, I
82
had a conversation with the students and the three of us came to a friendly yet firm
agreement, and they were never disruptive in class again.
As a result of this occurrence, I realized many things. Most importantly I learned
that failure to plan for every possibility leads to disengagement. Disengagement is the
result of poor organization and classroom management. Once students lose interest, it is
an extremely difficult task to regain their attention. Throughout my remaining time, I
never had a moment where the students were uninvolved. I planned for everything and
ensured that students knew what was expected of them at all times. Everyday, I wrote the
agenda and objectives on the board. When I noticed students showing signs of boredom,
I facilitated a discussion that let me know how to redirect their energy. By the end, I
somehow managed to produce a class of enthusiastic, engaged and grateful students.
Classroom management, organization and engaging lesson plans are by far the
most difficult aspects of teaching to master. Together, they make for a dynamic
classroom; if one is missing the other two suffer. Keeping this triangle in balance is a
lifelong process, and in my fourteen weeks of trial and error, I became acutely aware of
the importance each leg plays in the overall choreography of instruction.
83

Complete Thesis.2

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Complete Thesis.2

Hochgeladen von

Copyright:

Verfügbare Formate

Unit Plan: Identity

National and State Standards for Unit

STANDARD: Understand the sensory elements, organizational

STANDARD: Understand processes, traditional tools and modern

STANDARD: Apply skills and knowledge necessary to create and

STANDARD: Understand how the arts shape and reflect history,

NAEA.VA.9- CONTENT STANDARD: Understanding and applying media,

12.1 techniques, and processes

NAEA.VA.9- CONTENT STANDARD: Reflecting upon and assessing the

Students will be able to (SWBAT):

-Construct a proportionately correct human face using different media.

-Work collaboratively together in groups to meet mutual goals.

-Identify their own uniqueness and that of their peers.

the culminating project of showcasing their self identities.

introspectively at their own identity by reflecting on their personal philosophy and

representation of themselves and collectively as a group. Collaboration, communication,

employed to successfully execute this project (Weiss & Lichtenstein, 2008).

This unit incorporates my philosophy of teaching-responsible scholarship, community

invites everyone's unique identities.

et al (1997). Creating meaning through art: Teacher as choice maker (1 ed.).

Alexandria, VA: Prentice Hall.

Santrock, J. W. (2007). Adolescence (12 ed.). New York: McGraw-Hill

learning. Chicago: Columbia College Chicago.

Lesson 1: In the Face of . . .

Lesson 2: The Different Hats I Wear

only using the primary colors.

weeks class began with a brief discussion on the students’ observations.

Lesson 4: Who Do We Wanna Be?

group’s chosen theme. Students manipulated a picture of themselves in the fashion of

rationale based on research.

Assessment of the Unit

Dove Evolution http://www.youtube.com/watch?v=iYhCn0jf46U

Kristie Keenon http://www.kristiekeenon.com

NGA Classroom Self-Portraits http://www.nga.gov/education/classroom/self_portraits/

Adapted 4MAT Unit: 3 Lessons

Grade level: 9-12

in the profile. As a class we will brainstorm questions to be answered of the character,

in media and in the world around them.

actual manifestation of their character and ask questions.

parallels of their own stereotypes and how media influences that.

- How can the arts break down stereotypes?

Unit Objectives and Standards:

Students will be able to:

‐ Create a photographic body of work with a partner consisting of elements and

aspects of chosen character’s assumed surroundings by using a disposable point-

and-shoot camera and incorporating photographic elements of harmony, balance

and focused ideas based on planning, research and problem solving.

the chosen character.

differences among various people, places and times.

balance, composition and harmony, adding an 8-count of related but originally

appropriate music for the dance.

‐ 26.B.4a Dance: Create and perform a composition communicating clear and

targets them as well as their misconceptions of stereotypes by writing a 1-2 page

and contemporary art forms.

- point-and-shoot cameras (24 roll)

- 50 pk. of blank cds

Class time: 6 weeks (12 -- 45 minute class periods)

Hatje Cantz Publishers, 2006. ISBN: 9783775716727

me=Segment%2BLook-up (Claritas website)

Unit Sequence of Learning:

Imagine/Extend/Refine – Students will keep a journal of television, magazine and

see it in i.e. in what neighborhood, magazine or during what television shows.

noted and 18 examples observed.

D. Made an edition of _ identical and clean final prints?___