Task 1 Part B: Lesson Plans for Learning Segment

LESSON PLAN # 1 Date / Week: February 20, 27, March 6, 20, April 3, 10, 2018
Student Teacher: Anna Bateman
Lesson Title: Visual Identity Lyrics Puzzle
Grade Level: 8th grade
Number of Students: 9 students
Time Available for this Lesson: Six 40-minute periods, 240 minutes total

Central Focus (Big Idea): Students will learn that analyzing music reveals many different
personal meanings, emotions, and experiences that can be represented through art that
visually communicates an individual identity.
i) interpreting art Students will learn that many artists express their identity through
interpretation of external experiences, issues, and interests in their own unique way through
text, symbolism, materials, color, and relation to location.
ii) developing works of art/design Students will learn that there are numerous mixed media
methods that can be used to visually represent the many elements to a song, including texture,
shape and line, abstraction and representation, and the investigation of composition.
iii) relating art to context Students will learn that analyzing a song of their choice and visually
translating the lyrics to represent their identity is an effective way to connect art, music, and
poetry.

Social Issues / Concepts of the Lesson

The concepts of this lesson are beneficial self-expression through visually representing
an individual’s identity through an interdisciplinary interpretation process and the
experimentation and purpose of materials.

Essential Questions:
• What is an identity?
• How complex can an identity be?
• Why is it important for an individual to express their identity?
• How does expressing an identity benefit the individual?
• How can art be used to express identity?
• How can a song be used to express identity?
• How can art and music be combined to express an identity?
• Why is it important to use music as a way to define an identity?
• What are some ways an identity can be visually represented?
• How does an identity relate to song lyrics?
• How can art be used to articulate this relation?
• Why is it important for art to be used a tool to express the complexity of an identity?
State Goals:
Goal #25.A: Understand the sensory elements, organizational principles and expressive
qualities of the arts.
25.A.3e: Analyze how the elements and principles can be organized to convey meaning
through a variety of media and technology.
25.B.3: Compare and contrast the elements and principles in two or more art works that
share similar themes.
In this lesson: Students will thoughtfully select a song of their choice that accurately
represents their identity to be visually portrayed through a mixed media puzzle,
thoughtfully interpret symbolism, emotion, adjectives, texture, and a personal experience
relating to selected lyrics through the Think Sheet, and creatively decide how they want to
 visually portray their own identity through interpretation of their song of choice.
Goal #26.A: Understand the processes, traditional tools, and modern technologies used in
the arts.
26.A.3e: Describe how the choices of tools/technologies and processes are used are
used to achieve different effects in the arts.
26.B.3d: Demonstrate knowledge and skills to create 2- and 3-dimensional works and
time arts (eg. Film, animation, and video) that are realistic, abstract, functional, and
decorative.
In this lesson: Students will creatively design the outline of their puzzle with at
least 5 pieces on 20” x 28” sheet of cardboard primed with gesso, students will
creatively design their visual identity lyrics puzzle, skillfully use at least four
of the provided mixed media materials and will cleanly and carefully cut out their
puzzle pieces with an X-Acto knife to become a functional puzzle.

1. Objectives: State Goal Codes

1.1 Conceptual/Cognitive Objectives:
OBJECTIVE I: Given a discussion and an exercise of song lyric IL25.A.3e
analyzation, students will insightfully select a song of their choice
that accurately reflects their identity to be visually portrayed
through a mixed media puzzle.

OBJECTIVE II: Given their selected song of choice, students will IL25.A.3e
successfully interpret symbolism, emotion, adjectives, texture,
and a personal experience relating to selected lyrics through the
Think Sheet.

OBJECTIVE III: Given the Think Sheet, examples and a IL25.A.3e

discussion of various artists and their methods of executing
personal interpretation, students will thoughtfully decide how they
want to visually portray their own identity through interpretation of
their song of choice.

1.2 Artistic Skill Objectives:

OBJECTIVE IV: Given examples of different puzzles with a IL26.A.3e
variety of shapes and arrangements, students will creatively IL26.B.3d
design at least 5 puzzle pieces using an Ebony pencil and a ruler,
if needed, on a 20” x 28” sheet of cardboard primed with gesso.

OBJECTIVE V: Given mixed media art materials, examples of IL26.A.3e

artists and their methods of manipulating materials, a IL26.B.3d
demonstration, and examples of mixed media elements such as,
texture, composition, contrast, and text, students will innovatively
design the content and composition of their own visual identity
lyrics puzzle.

OBJECTIVE VI: Given masking tape, fabric, acrylic paint, tissue IL26.B.3d
paper, construction paper, texture making tools, Sharpie, and
pens, students will skillfully include at least four of the listed
materials.

OBJECTIVE VII: Given a safety demonstration and their IL26.B.3d

 completed poetry puzzle, students will cleanly and carefully cut
out their puzzle pieces with an X-Acto knife to become a
functional puzzle.

2. Assessment Criteria:

OBJECTIVE I: Student insightfully selected a song of choice to be visually portrayed

through a mixed media puzzle.
OBJECTIVE II: Student successfully interpreted symbolism, emotion, adjectives, texture,
and a personal experience relating to selected lyrics through the Think Sheet.
OBJECTIVE III: Student thoughtfully decided how to visually portray own interpretation of
song of choice and the use of materials to reflect the elements described in the Think
Sheet.
OBJECTIVE IV: Student creatively designed at least 5 puzzle pieces using an Ebony pencil
and a ruler, if needed, on a 20” x 28” sheet of cardboard primed with gesso.
OBJECTIVE V: Student innovatively designed content and composition of their own visual
identity lyrics puzzle given various mixed media materials.
OBJECTIVE VI: Student skillfully included at least four of the following materials: masking
tape, fabric, acrylic paint, tissue paper, construction paper, texture making tools, Sharpie,
and pens.
OBJECTIVE VII: Student cleanly and carefully cut out their puzzle pieces with an X-Acto
knife to become a functional puzzle.

3. Learner Characteristics:

3.1 Developmental Rationale

According to F. Wachowiak (2009), middle school is a critical point of development for
adolescents. They are especially focused on establishing an identity, even though it will most
likely change within the next week. Adolescents are discovering their likes and dislikes and are
concerned with what vocational route they will take once they reach high school. Because of
this, Wachowiak (2009) writes, “their cultural horizons are expanding, and they may carry with
them for the rest of their lives the preferences and prejudices regarding art that they develop in
these middle school years” (p. 112). With eighth grade being their final year as a middle school
student, it is important for their final art lesson to be engaging and personally important to them.
Since they are focused on finding an identity, they are concerned with what mark they will be
leaving behind as they move forward into young adult ages. Referring to Chip Wood’s
Yardsticks (1994), music becomes a preoccupation for the eighth-grade age range. Music is
very personal, and specifically music taste is especially unique to the individual. Therefore,
introducing a music lyric visual analysis project to eighth graders will not only be engaging for
them, but also liberating in a sense that they will have a chance to express themselves through
the identity they wish to portray.
According to Wood (1994), adolescents in the eighth-grade age range become filled with
energy in which they need an effective route to release. Art is the perfect opportunity, more
specifically, a mixed media project which is what the Visual Identity Lyrics Puzzle entails.
Overall, this project is appropriate to the eighth-grade age range because of its ability to include
an identity exploration and a means of energy release through experimentation with materials.

Wachowiak, F. (2009) Emphasis art: a qualitative art program for elementary and middle
schools (9th Ed.). New York: Allyn & Bacon, Inc.
Wood, C. (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA: Northeast
 Foundation for Children.

3.2 Students with special needs

This lesson can easily be accommodated for students with special needs. I will provide
written examples of song lyrics in case there is a student who is hard of hearing or deaf and
does not experience music the way people with full capabilities of hearing do. This lesson
contains a variety of mixed media materials that are not tedious at all, therefore, making it easier
for a student with physical disabilities to be able to complete. I am providing artistic freedom for
the students to decide on their song as well as materials used to make it more adaptable to
students with ADHD and other learning disabilities. If there are any more mental or physical
disabilities, this project can be easily manipulated.

4. Literature and References

4.1 Rationale for this lesson

As discussed previously, a project centered around investigation of identity is needed
and highly beneficial for this age level. More importantly, this type of lesson can be adjusted for
all age levels through song selection, context, materials, tools, scale, and overall complexity.
For the middle level, in which this lesson has been designed for, is the most appropriate. Aside
from identity investigation, this lesson is beneficial in its freedom available to the student. The
student is able to choose their own song, design their own puzzle pieces, incorporate their own
colors and materials they wish. A lesson with as much freedom as this one does require more
attention to the meaning behind each mark, stroke, design and component to the project.
However, Walker (2001) writes, “Having students employ a single big idea with more than one
subject encourages them to investigate ideas in greater depth” (p. 11). Because this lesson is
interdisciplinary as the students are combining music lyrics with visual interpretation, it does
require critical thought. According to Walker (2001), because the students have more than one
subject to incorporate and study, they are placing more critical and creative energy within the
lesson. Through song lyric analysis, students are practicing a process similar to poetry analysis.
Through listening to the song and its identifiable components such as, the tone of the singer, the
energy of the instruments, the tempo, and understanding the mood, students are becoming
critical listeners and practicing a process valuable in communicating with others.
Material exploration not only allows more freedom for the student, but aids in the
investigation of self through an art experience. By doing so, art curriculum should be less
centered on expectations of skill and more on artistic growth through the exploration of
materials. This lesson involves high amounts of material exploration but more importantly
involves the students to communicate the intent of placement of materials, color depiction, and
line depiction. Material exploration is valuable once the students is able to develop a strong
intent and reason behind creative decisions. According to Lowenfeld (1987), “Art experiences
aid in the development of emotional growth…To be able to express sensitivity and to develop in
emotional growth, children need to identify with their own experience in the art” (p. 326).
Through material exploration, students are experimenting with their own creative style, a feeling
of liberation for many artists, as well as expressing their identity, not only through their style, but
through the intent of the materials portraying emotions and ideas. This lesson, Visual Identity
Lyrics Puzzle, is valuable for students because of the crucial need to investigate identity, the
artistic freedom, the interdisciplinary concept, the critical thinking, and the material exploration
and self-expression they will experience.

Lowenfeld, V. (1987). Characteristics of Drawing During the Gang Age. In Creative and Mental
 Growth: A textbook on art education (pp. 305-343). New York, NY: Macmillan.
Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davis Publications.

4.2 Background of the topic

Visual culture consists of what is seen, observed, and studied in the visual world around
us. Subjects such as what is portrayed in the media, music, advertising, film, packaging, and
other visual stimuli are extremely prominent in our lives, even more the lives of today’s youth.
Visual culture is happening globally and is available to be studied at a cultural level. Based on
the visual culture a region is subjected to results in how they perceive their world. The level of
visual culture is advancing whether we wish to avoid it or not, therefore, it is an art educator’s
job to teach youth how they can analytically process the visual world. Freedman (2003) writes,
“Less important is the narrow influence of individual objects and styles on subsequent fine art
and more important are the social influences and dynamics of cultural development” (p. 47).
She describes the old method of visual analysis in the art class as “narrow” because the short-
ended process of studying the visual elements of a work of fine art having no personal relation
to the student. Students want to understand how curriculum relates to them and through
analyzing visual culture and incorporating personal, social, and cultural central components, an
understanding will be accomplished.

Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics, and the social life of art.
New York: Teachers College Press.

4.3 Information about related artist, styles, movement or cultures

Jenny Holzer: Holzer is a female American neo-conceptual artist who delivers words and
ideas within public spaces. Holzer’s work is an effective example of site-specific textual
work. The social commentary she expresses through her words or phrases provides
compelling evidence of personal interpretation. Though she is interpreting her world around
her, experiences, and social issues, Holzer’s work is a great reference for the eighth
graders and their visual lyric analysis puzzle. If the students wish to incorporate text in their
puzzle, they will be advised to refer to Holzer’s work and observe how she textually depicts
what she is passionate about.
Helen Frankenthaler: Frankenthaler was a female American abstract expressionist
painter, known for her staining work, applying diluted acrylic paint onto raw, unprimed
canvas. Frankenthaler’s work is an example of expression through the use of color. She
studied color field and how color works together providing a composition and/or
establishing a mood. Students will be required to use color in ways that express their
identity and emotions and her work is more than appropriate for this.
Frida Kahlo: Kahlo’s work is exemplary in how to visual represent an identity through
symbolism. She is the most prominent Mexican female artist who is an insightful example
of how to grow from one’s trauma through art and self-expression. Kahlo’s surrealist
paintings hold many excellent examples of symbolism, color, composition, content, without
representing the literal issue on her mind. Since her work is symbolic of her own personal
strife, asking students to refer to her work for symbolism inspiration would be effective,
especially when representing their identity.
Robert Rauschenberg: Rauschenberg defined his work as Neo Dadaist, however,
because of his concepts within his early work, art historians consider him one of the most
prominent Pop Artists alongside Jasper Johns and Andy Warhol. He was a homosexual
artist whom educated himself of the arts through travels across the globe and therefore
produced many inspirational works. Rauschenberg’s mixed media and collage work will be
included as examples for the students to refer to for inspiration on manipulation of
materials such as layering, composition, alternation and display of materials, and texture.
 These are elements that are expected to be included in the students’ puzzles and by
incorporating Rauschenberg’s work as a resource, I believe it will strengthen their mixed
media processes.
Organic and Geometric Artists: Mary Saran successfully creates organic compositions.
Cherry Rahn successfully creates organic compositions. Rebecca Alston successfully
creates a geometric composition. Lea Basile-Lazarus’ work is an example of creating
balance in a composition. She also successfully combines geometric and organic within a
composition. All four of these female artists are or have been on exhibition at Woman
Made Gallery in Chicago that is non-profit and believes in the strength of diversity among
women artists and their artwork.
Investigating Identity: Identity being the way in which we perceive and express ourselves,
is complex, ever changing, and therefore difficult to represent. Factors that an individual is
born with, such as race, gender, and disabilities, can define how an individual perceives
their identity. Experiences have a large impact on an individual’s identity depending on how
they choose to react. Art is an effective and beneficial way in which one can investigate
their identity, especially through the aid of analyzing a song reflective of their own
emotions, experiences, and expression of self.
Abstract Art: Abstract art is a type of art making that is representative of shape, line, color,
and form to create a composition that does not initially represent a known object or form
that is recognizable. This type of art making is accomplished through abstraction, taking a
known form and reducing it to its fundamental components such as, shape, line, color, and
form.

4.4 Art Terms/Vocabulary/Higher Level Thinking Verbs

Abstract: A style of expression that consists of shape, color, and line to represent literal imagery
Analyze: Examine in detail a composition to establish meaning
Balance: An even distribution of visual elements among an artistic composition
Collage: A piece of art made by a collection of various art materials such as paper,
photographs, and fabric
Color: The vibrancy or saturation of a hue to accentuate a work of art
Composition: The arrangement of visual elements within a work of art
Concept: The overall intention an artist is trying to portray in a work of art
Contemporary Art: Art produced by (an) artist(s) living in the 21st century
Contrast: The enhancement of a visual element through providing a sharp difference in color,
value, shape, or texture
Describe: Verbally explaining various elements to a work of art such as content, composition,
scale, and materials used
Design: The arrangement of visual elements to complement artistic principles such as
composition and line
Dynamic: An energetic form or line with changing elements, typically diagonal or curvy
Element: Components to artistic design such as line, shape, color, texture, and balance
Expressionism: A style of art in which the artist visually expresses personal experiences
Form: The visual configuration of a subject matter within a boundary
Geometric: A sharp or precise form or line with straight elements
Interpret: Verbally or visually explaining a work of art after analyzation
Hue: The shade of a color
Layer: To arrange materials to overlap one another in a work of art
Line: A thin, narrow mark in a work of art that can be static, dynamic, organic, and/or geometric
Lyric: An expression of a writer’s personal experiences through musical poetry
Mask: To achieve an area untouched by a certain media through applying a blocking material
such as tape
Media: Any material or object used in a work of art
Mixed Media: The combination of two or more materials and/or objects in a work of art
Organic: A free-flowing form or line usually exemplifying nature or growth
Representational: An unchanged, literal depiction of an object, experience, or anything that has
been seen
Saturation: The intensity of a color
Shape: An outline of an area or form that consists of and enclosed line
Space: An accessible area that can be filled with visual elements in a work of art
Static: A lack of movement or change of a form or line, usually vertical or horizontal
Subject Matter: The topic represented through a work of art
Surrealism: An art movement in which artists depict firsthand experiences into dream-like
compositions usually consisting of symbolism
Symbolism: The representation of an idea or experience through depiction of another form other
than itself
Text: Written or printed words with consideration of font style or size
Textile: A material made of cloth, linen, wool, and/or other wearable materials
Texture: The visual tactile appearance of a surface described as smooth, rough, wet, dry, etc.
Transfer: A design on paper that can be moved or reflected onto another surface through
Pressure
Truism: A statement that is self-evident that requires no explanation
Unconventional: Not based on what has been done or represented
Visual: A depiction of something through the process of seeing

4.5 Description of visual examples

Visual Board- A display board containing an overview of vocabulary, artists, big idea of the
lesson, and color meaning.
Teacher Example- My own example I made to be used in the lesson to explain the many
steps and components the students will be doing.
PowerPoint- A presentation containing all necessary content to provide the students
contextual knowledge of the lesson.
Jenny Holzer
Protect Me From What I Want
Billboard-sized installation

This piece is an example of text being

placed into meaning. Holzer is known
for her truisms which are statements
that are self-evident and usually
require no explanation. Students will
understand that text can be a form of
interpretation if it is not an exact
repetition of what is being portrayed.
Jenny Holzer
Your Oldest Fears are the Worst Ones
Projection

This is an example of how Holzer

interprets the world around her and her
own individual experiences and
expresses these interpretations
through words. The scale and method
in which she projects the words adds to
her purpose.

Helen Frankenthaler
Radius
28”x28” acrylic on woodcut

This is an example of the

expressiveness of color. The
movement of the green is organic,
implying dramatic energy. The color
green varies in shade, from a dark
green, to a lightened blue-green, to a
dense yellow green. This is important
for students to understand that
manipulating a single color can add
more meaning.

Helen Frankenthaler
Adirondacks
Acrylic on canvas

This is an example of using color to

create contrast. The use of the deep
red and blue on the top that seeps into
the dense yellow creates an emotional
effect of tension, mystery, and
separation. It also can represent a sky,
or an emotional torment or conflict.
Frida Kahlo
Self Portrait Along the Border Line
Between Mexico and the United States
11 ¾”x13 ½” oil on tin

This piece is an example of use of

translating a literal object or experience
into a symbol. Kahlo includes multiple
examples of symbolism here such as
growth of flowers representing her
roots in Mexico and the crowed chaos,
and stress felt by Kahlo regarding the
United States is represented through
factories and industrialization.

Frida Kahlo
Self Portrait with Thorn Necklace and
Hummingbird
18 ½”x24” oil on canvas

This piece is an example of not only

creative use of symbolism, but
composition as well. She includes
foliage in the background to represent
femininity, a dead hummingbird around
her neck to represent bad luck
(opposite of Mexican good luck charm,
alive hummingbird), a crown of thorns
around her neck representing a cage
and entrapment, butterflies in her hair
representing constrained delicacy, and
a black cat representing bad lurking
behind her. Kahlo uses symmetry
through shape, scale, and color to
create a successful composition.
Frida Kahlo
Page of The Diary of Frida Kahlo: An
Intimate Self-Portrait

This is a direct page out of Frida

Kahlo’s diary in which she writes her
interpretation of color that she uses to
represent different emotions in her
work. It represents the diversity of color
and meaning. This will be used as an
aid for students in deciding color and
meaning in their identity puzzles.
It reads:
Green- warm good light
Magenta- Aztec. TLAPALI blood of
prickly pear, the brightest and oldest
Brown- color of mole, of leaves
becoming earth
Yellow- madness sickness fear, part of
the sun and of happiness
Cobalt blue- electricity and purity, love
Black- nothing is black- really nothing
Leaf green- leaves, sadness, science,
the whole of Germany is this color
Greenish yellow- more madness and
mystery, all the phantoms wear suits of
this color, or at least their underclothes
Dark green- color of bad news and
good business
Navy blue- distance, also tenderness
can be this blue
Red- blood? Well, who knows!
Robert Rauschenberg
Charlene
89”x112”x3 ½” oil, charcoal, paper,
fabric, newspaper, wood, plastic,
mirror, and metal on four Homasote
panels, mounted on wood with
electric light

This piece is an example of how to use

mixed media materials to add visual
texture, pattern, and overall a
successful composition. Notice how
nothing is directly centered and the
extensive amount of materials used.
Robert Rauschenberg
Rhythm
48 ¼”x41 1/8" fabrics, necktie, paper,
oil, enamel, pencil and synthetic
polymer paint on canvas

This piece is an example of an

effective way of arranging mixed media
materials for a successful composition.
Rauschenberg uses line and shape in
a visually sound way by dividing the
piece up into almost three different
segments.

Lea Basile-Lazarus
Stand Off
32x22” paper pulp painting

This is an example of creating balance

in a mixed media collage.
Lea Basile-Lazarus
Monotype
30x22” acrylic print on paper

This is an example of combining both

geometric and organic in a
composition.

Mary Saran
Gravitational Escape
48x48” acrylic on canvas

An example of an organic composition.

Cherry Rahn
Bright Water Over Stones
18x24” acrylic on canvas

An example of an organic composition.

Rebecca Alston
Referencing Simultaneous Contrasts
30x23” mixed media on paper

Example of geometric composition.

 Rebecca Alston
Solar Plexus I
18 ½” x 18 ½” mixed media on paper

An example of a geometric
composition.

4.6 List of references

Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics, and the social life of art.
New York: Teachers College Press.

www.fridakahlo.org Frida Kahlo

Kahlo, F., & Lowe, S.M. (2006). The Diary of Frida Kahlo: An Intimate Self-Portrait. Place of
publication not identified: Harry N. Abrams.: Page of Kahlo’s diary

Lowenfeld, V. (1987). Characteristics of Drawing During the Gang Age. In Creative and Mental
Growth: A textbook on art education (pp. 305-343). New York, NY: Macmillan.

www.moma.org Museum of Modern Art: Jenny Holzer, Robert Rauschenberg

www.rauschenbergfoundation.org Robert Rauschenberg Foundation: Robert Rauschenberg

Wachowiak, F. (2009) Emphasis art: a qualitative art program for elementary and middle
schools (9th Ed.). New York: Allyn & Bacon, Inc.

Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davis Publications.

www.womanmade.org Woman Made Gallery, Chicago, IL: Works by Lea Basile-Lazarus,

Cherry Rahn, Mary Saran, and Rebecca Alston
Wood, C. (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA: Northeast
Foundation for Children.

5. Integration/Connecting Links
5.1 Idea Mapping

Mindful
placement
of materials
Analysis Balance

Composition
Geometric
Lyrics

Color Organic

How others Visual Identity

perceive you Lyrics Puzzle
Texture

Rebecca
Alston Line Symbolism
Identity
Text

Mary Artists
Saran
How you Robert
perceive Frida Rauschenberg
yourself Kahlo

Helen Cherry
Frankenthaler Rahn
 5.2 Instructional Resources and Materials:

Jenny Holzer: Holzer’s work is an effective example of site-specific textual work. The
social commentary she expresses through her words or phrases provides compelling
evidence of personal interpretation. Though she is interpreting her world around her,
experiences, and social issues, Holzer’s work is a great reference for the eighth graders
and their visual lyric analysis puzzle. If the students wish to incorporate text in their puzzle,
they will be advised to refer to Holzer’s work and observe how she textually depicts what
she is passionate about.
Helen Frankenthaler: Frankenthaler’s work is an example of expression through the use
of color. Students will be required to use color in ways that express their identity and
emotions and her work is more than appropriate for this.
Frida Kahlo: Kahlo’s surrealist paintings hold many excellent examples of symbolism
without representing the literal issue on her mind. Since her work is symbolic of her own
personal strife, asking students to refer to her work for symbolism inspiration would be
effective, especially when representing their identity.
Lea Basile-Lazarus: Her work is an example of creating balance in a composition. She
also successfully combines geometric and organic within a composition.
Mary Saran: Saran successfully creates organic compositions.
Cherry Rahn: Rahn successful creates organic compositions.
Rebecca Alston: Alston successfully creates a geometric composition.
Robert Rauschenberg: Rauschenberg’s mixed media and collage work will be included
as examples for the students to refer to for inspiration on manipulation of materials such as
layering, composition, alternation and display of materials, and texture. These are elements
that are expected to be included in the students’ puzzles and by incorporating
Rauschenberg’s work as a resource, I believe it will strengthen their mixed media
processes.
Think Sheet: The Think Sheet will be filled out by the students on the first day to help them
understand the project as well as gain some inspiration and ideas of what song they want
to choose for the project. Students will select lyrics from the song, identify representational
words from the lyrics, identify adjectives and emotions to describe the lyrics, and identify a
personal experience relating to the lyrics, to ultimately establish a new way to visually
represent the lyrics and their meaning to the student.
Adjectives List: A list of adjectives will be provided for the students as an aid for filling out
the Think Sheet to emphasize the importance of using adjectives other than the basics,
happy, sad, funny, and angry. Students will be asked to use adjectives from the list.
Visual Board: Will provide examples of artists the project focuses on, examples of the
project, vocabulary, and an overview of the lesson.
Music Lyrics: Several songs will be provided for an analyzation activity on the first day as
well as the second day for any students who do not bring their own songs or fail to select a
school-appropriate song.
PowerPoint presentations: There will be a few PowerPoint presentations assembled for
the course of project. This is a step-by-step process project therefore, different artists
discussions will be shown for each step in the process.
Teacher samples: A teacher sample will be provided for the lesson as well as a
demonstration piece that will be worked on throughout of the course of the project.

Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics, and the social life of art.
 New York: Teachers College Press.
• An analysis of the importance of the integration of visual culture within art
curriculum, aesthetically, socially, and culturally.

Kahlo, F., & Lowe, S.M. (2006). The Diary of Frida Kahlo: An Intimate Self-Portrait. Place of
publication not identified: Harry N. Abrams.
• Page of Kahlo’s diary

Lowenfeld, V. (1987). Characteristics of Drawing During the Gang Age. In Creative and Mental
Growth: A textbook on art education (pp. 305-343). New York, NY: Macmillan.
• An analysis of student artistic development.

Wachowiak, F. (2009) Emphasis art: a qualitative art program for elementary and middle
schools (9th Ed.). New York: Allyn & Bacon, Inc.
• An analysis of developmental characteristics and artistic implications to take to
accommodate these characteristics in the classroom.

Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davis Publications.

• A book dedicated to art educators in teaching how artmaking should contain
meaning and to avoid the retired constructs of art curriculum that focused on the
visual elements and principles.

Wood, C. (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA: Northeast
Foundation for Children.
• Examples of research proven regarding what adolescents in the eighth-grade age
range are interested in and wish to express through art.

5.3 Art Materials for the Lesson:

• 20” x 28” sheet of carboard primed with gesso
• Scissors
• Hot glue
• X-Acto knifes
• Cutting boards
• Ruler
• Liquid Elmer’s glue
• Acrylic paint
• Watercolor paint
• Paintbrushes
• Cups of water
• Bucket for dirty water
• Paper towels
• Construction paper
• Tissue paper
• Masking tape
• Fabric
• Pens
 • Ebony pencils
• Sharpie
• Paint palettes
• Drying rack

6. Management and Safety Issues:

I will explain the safety rules for hot glue guns such as, do not let anything, besides what you
are intending to glue, touch the tip of the glue gun. Keep the glue gun away from the edge of the
table to avoid any accidents. If anyone repeatedly does not abide by these rules, they will not be
allowed to use the glue guns and will resolve to using only Elmer’s glue.

6.1 Organization of Supplies

After the first day of teaching, the tables will need to be covered before the start of the
lesson. There will need to be a space, such as a separate table, for mixed media supplies to be
placed for the students to use at their disposal. There will also need to be a designated table for
hot glue guns to be used. There will need to be two gallons of water for each lesson day for
clean water and water refills. Each student will need a 20” x 28” sheet of primed cardboard,
scissors, liquid Elmer’s glue, a cup of water, a paper towel, a paintbrush, a paint palette, a
Sharpie, a pen and an Ebony pencil. All other materials such as fabric, masking tape,
construction paper, tissue paper, tubes of acrylic paint and a bucket for dirty water will be placed
on the materials table for the students to share. X-Acto knives and cutting boards will be
provided for each student on the fifth day for cutting their puzzle pieces out.

6.2 Clean-Up of Supplies

The first day will only require collecting the Think Sheets and placing the outlined puzzles
in a pile to be returned to the following week.
The rest of the class days after the first day will require tasks. Because there are 9
students, clean-up will be divided into 3 groups. If a student is absent in a group, the remaining
members will be responsible for their work. There will need to be a drying rack for 9 pieces of art
work that will be constructed out of carboard to be carried to and from the school easily. One
group will be responsible for gathering each students’ work and placing it into each spot on the
rack. Another group will be responsible for putting away all materials that belong on the
materials table as well as dumping all water cups into the dirty water bucket and then stacking
them neatly. Materials will be expected to be organized neatly as they were at the beginning of
class, so they can be transported back to the supply closet easily. The third group will be
responsible for clearing the tables such as uncovering them, throwing away any non-reusable
materials, and cleaning up anything that fell onto the floor.

7. Vocabulary:

Abstract: A style of expression that consists of shape, color, and line to represent literal imagery
Analyze: Examine in detail a composition to establish meaning
Balance: An even distribution of visual elements among an artistic composition
Collage: A piece of art made by a collection of various art materials such as paper,
photographs, and fabric
Color: The vibrancy or saturation of a hue to accentuate a work of art
Composition: The arrangement of visual elements within a work of art
Concept: The overall intention an artist is trying to portray in a work of art
Contemporary Art: Art produced by (an) artist(s) living in the 21 st century
Contrast: The enhancement of a visual element through providing a sharp difference in color,
value, shape, or texture
Describe: Verbally explaining various elements to a work of art such as content, composition,
scale, and materials used
Design: The arrangement of visual elements to complement artistic principles such as
composition and line
Dynamic: An energetic form or line with changing elements, typically diagonal or curvy
Element: Components to artistic design such as line, shape, color, texture, and balance
Expressionism: A style of art in which the artist visually expresses personal experiences
Form: The visual configuration of a subject matter within a boundary
Geometric: A sharp or precise form or line with straight elements
Interpret: Verbally or visually explaining a work of art after analyzation
Hue: The shade of a color
Layer: To arrange materials to overlap one another in a work of art
Line: A thin, narrow mark in a work of art that can be static, dynamic, organic, and/or geometric
Lyric: An expression of a writer’s personal experiences through musical poetry
Mask: To achieve an area untouched by a certain media through applying a blocking material
such as tape
Media: Any material or object used in a work of art
Mixed Media: The combination of two or more materials and/or objects in a work of art
Organic: A free-flowing form or line usually exemplifying nature or growth
Representational: An unchanged, literal depiction of an object, experience, or anything that has
been seen
Saturation: The intensity of a color
Shape: An outline of an area or form that consists of and enclosed line
Space: An accessible area that can be filled with visual elements in a work of art
Static: A lack of movement or change of a form or line, usually vertical or horizontal
Subject Matter: The topic represented through a work of art
Surrealism: An art movement in which artists depict firsthand experiences into dream-like
compositions usually consisting of symbolism
Symbolism: The representation of an idea or experience through depiction of another form other
than itself
Text: Written or printed words with consideration of font style or size
Textile: A material made of cloth, linen, wool, and/or other wearable materials
Texture: The visual tactile appearance of a surface described as smooth, rough, wet, dry, etc.
Transfer: A design on paper that can be moved or reflected onto another surface through
Pressure
Truism: A statement that is self-evident that requires no explanation
Unconventional: Not based on what has been done or represented
Visual: A depiction of something through the process of seeing

8. In-Class Activities:

Day One
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

Project the title slide of the project introduction

PowerPoint.

3 minutes The class will begin with student introductions as

I pass out nametags and the song Landslide by
Fleetwood Mac. Student will answer my
icebreaker questions followed by me introducing
myself:
What is your name?
What kind of music do you listen to?

5 minutes Topic Question: Students will begin to

What is identity? understand the project
concept by associating
Association Questions: music with art
Who can tell me why they listen to music? expression.
(To relieve stress, express myself, be productive,
understand myself, learn about myself,
understand other perspectives)

Who can tell me how people express

themselves?
(creating art, playing music, dancing, singing,
acting, fashion, makeup)

Project Introduction
Relate the two together by introducing the project
through teacher sample. Explain the song of
choice and how it is important. Refer to the
shape of the puzzle and its pieces.
1. Does my puzzle appear to be a Students will understand
conventional puzzle? the emphasis I will place
The puzzles we will be creating will be a on creating an
collection of shapes you design yourself. unconventional puzzle.
Looking at and talking about ART
5 minutes Show the PowerPoint with examples of Color and
Meaning, Jenny Holzer, Helen Frankenthaler,
Frida Kahlo, Robert Rauschenberg, Lea Basile-
Lazarus, Mary Saran, Cherry Rahn, and
Rebecca Alston.
1. How can color and line be used to
express the emotions and connection Students will understand
of identity in your puzzle pieces? that color and line play a
2. Do colors only represent a single big role in the expression
emotion? of emotion.
3. What are some approaches you could
take in choosing color and line in your
puzzle piece design?
8 minutes Go around and have each student read out loud
each designated part of Landslide by Fleetwood
Mac.
1. Who can tell give me a line of lyrics in
the song with good descriptive words? Students will be given the
(Can I handle the seasons of my life?) opportunity to understand
2. Who can tell me some representational how to begin the breaking
words in this line? down and interpreting of
(seasons, life) song lyrics to be visually
3. Who can give me some adjectives or represented.
emotions they gathered from these
lyrics?
(patient, youthful, beginning, naïve, confusing,
growing, transitional)
4. Think of a personal experience you
may be able to relate to the lyrics.
Would anyone want to share a memory
or experience?
(Also share my personal experience; choosing to
become an art teacher was a transitional step in
my life.)
8 minutes
Reverse the PowerPoint back to beginning with
Holzer.

1. How does Jenny Holzer express her

interpretation of her personal
experiences through her art?
(truisms- words, phrases, or statements that are Students will understand
self-evident and do not require explanation) that there are many ways
2. Does Kahlo directly represent what of interpretation through
she is feeling in her art? text, symbolism, texture,
(symbolism) and color.
3. How is her use of symbolism
successful?
(it does not directly represent her ideas or
experiences)
4. How does Rauschenberg represent
texture?
(thickness of paint, layering of materials, pattern)
5. How are Rauschenberg’s
compositions successful?
(color, texture, space, and shape are distributed
successfully among the piece)
6. What are the differences between
geometric and organic?
7. What colors would represent
optimism? Aggression? Remorse?
(yellow/orange, red/orange, blue/green)
8. Who can give me an adjective of what
 a rough texture would represent? A
smooth texture? A gritty texture? A
cushiony texture? A hard texture?
(rough- anger, negativity, smooth- calm,
peaceful, gritty- uncomfortable, annoyed, hard-
3 minutes stability, entrapment)

Refer to the Song Landslide by Fleetwood Mac

1. Who can tell me possible colors that

could represent the lyrics based on the
adjectives we used to describe them?
(yellow, orange, green)
2. Who can tell me possible textures that
could represent the lyrics?
(soft, gritty)
3. Who can tell me a possible symbol
that could represent the lyrics?
(deer, storm, sunrise)
Visualization:
Think about what song you will choose. How you
will represent it through shape, color, texture, and
symbolism?
Think about being surrounded by a certain color,
such as green, how would you feel? Same with a
gritty texture, how would you feel?

Transition:
What identity will you portray through your song
choice on your puzzle?
Presentation/Explicit Instruction: Students will learn how to
(11 Breakdown of the song Landslide by Fleetwood analyze lyrics through a
minutes, Mac break-down process.
already • Students take turns reading aloud
accounted Landslide
for) • Teacher-guided activity to help students
understand how to analyze song lyrics

Structured Practice/Exploration: Students will be able to

Breakdown of the song Landslide by Fleetwood practice analyzing lyrics
Mac and gain perspective and
• Students take turns reading aloud inspiration of how they
Landslide want to select a song of
• Teacher asks guiding questions for the their choice. By relating
students to answer about the song the lyrics to a personal
8 minutes Song analyzation exercise and worksheet experience and identifying
• Students will work in pairs and be given a adjectives, they will
song to analyze understand how important
• Students will fill out worksheet answering it is to select a song that
the same questions as the Landslide is unique to themselves.
 breakdown
Guided Practice/Feedback: Guiding questions will be
Breakdown of the song Landslide by Fleetwood designed to promote
Mac critical thinking as well as
• Students take turns reading aloud understand the emphasis
Landslide placed on a deeper
• Teacher asks guiding questions for the analysis of song lyrics.
students to answer about the song
Independent Practice/Application:
Song analyzation exercise and worksheet
• Students will work in pairs and be given a
song to analyze
• Students will fill out worksheet answering
the same questions as the Landslide
breakdown

3 minutes Closure Students will be tested on

I will ask one question regarding the exercise to their knowledge of the
each pair of students to ensure their project before starting it
understanding. on Day Two. Questions
Guiding Questions are a review of concepts
• Who can tell me some approaches in and important artists
designing their puzzle pieces? relating to the project.
• Who can tell me Jenny Holzer’s
method of interpretation?
• Who can tell me the idea of
symbolism?
• Who can tell me how Frankenthaler
expresses emotion?
• Who can tell me different ways of
visually expressing song lyrics and
their meaning?
Explain their task of bringing in their own song
lyrics for next class, either printed out or
handwritten neatly. Explain that if they choose a
song that is not school appropriate, they will be
given a song of my choice. Explain they will be
provided a song if they forget, but it is important
they select their own to express their individual
identity.
Collect worksheets as clean-up.
Day Two
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
1 minute PowerPoint slide starting at Helen Frankenthaler
open.
Hand out name tags.
Hand out Think Sheets and Descriptive
 Adjectives sheets to each student

3 minutes Review of Day One A review will refresh their

Topic Question: understanding of what we
Who can tell me the importance of shape and started on Day One.
color when designing these puzzle pieces?

Association Question:
How can emotion be represented in the shape
and colors of your puzzle?

Transition Question: Students will begin to

Can a song contain several different meanings think about their selected
and emotions? Can a song trigger several song and how many
different personal experiences or memories? different ways it can be
represented.
3 minutes Look at and talking about ART
Go over the PowerPoint, vaguely refreshing their
memory on the imagery.
1. How is Helen Frankenthaler important? Students will begin to
2. How do Mary Saran and Cherry Rahn’s think about how they will
compositions appear organic? design their puzzle
3. How does Rebecca Alston’s work pieces and what colors
appear geometric? they will incorporate.
4. Would watercolor or acrylic paint be
the best way to represent an organic Students will understand
composition? Why or why not? that even the art medium
5. How can acrylic paint be manipulated can represent emotion.
to appear organic?
6. Who can tell me how different design
elements can be used to express the
interpretation of the song?

8 minutes Teacher and assistants will go around and check

each student’s song selection to make sure it is
school appropriate. Student will be asked to
select from my collection if we cannot allow them
to use their song.

Handout Song Analyzation worksheet from Day A refresher as well as a

One. reference.

8 minutes Filling out Think Sheet Students will analyze

• Write the name of the song at the top of their own song and
the page develop possibilities for
• Choose at least 5 song lyrics that best their 5 puzzle pieces and
represent student’s identity and analyze how they cohesively
using Song Analyzation worksheet as define the student’s
guidance identity.
• Fill out the worksheet
8 minutes Students will get a
Teacher Demo firsthand experience with
• Teacher will have her own Think Sheet how to go about
and a sheet of sketch paper on a new designing their puzzle
song pieces by making
• Describe how to make successful design decisions about
decisions when drawing the outline of geometric and organic
puzzle pieces based on knowledge of line and color.
geometric and organic
• Explain how to work from the Think Sheet
to decide how each piece will be
represented in terms of color and line
• Demonstrate how to manipulate
watercolor and acrylic in an organic
expressive way; watercolor and acrylic in
a geometric and clean way
• Fill in a couple pieces exemplifying
geometric and organic composition
reflecting lyrics from the Think Sheet
(paint only)
• Notice how dark I am making the
dividing lines between each puzzle
piece. The lines should remain visible
until we cut the pieces out on Day
Four.
• How have I reflected my adjectives
describing the song lyrics in the
outline of the puzzle pieces? Students will understand
that a textual element is
• I would like to add a text element, what
not copying the lyrics.
would be effective? Think of Holzer.
12 minutes
Explain what will happen next: For the
Creating a sketch of their
remaining time…
puzzle will be helpful for
• Once approved by the teacher, complete
the students to gather
a sketch of their puzzle to map out the
their visual ideas as a
organization of the puzzle pieces as well
sketch before starting the
as describe what each piece will mean
final. Students will be
• Each piece must be something different required to have each
• Once approved by the teacher, they may piece contain something
grab a sheet of cardboard primed with different. If they want to
gesso and design their puzzle pieces with include an element to
an Ebony pencil connect each piece, that
• Once approved by teacher, students may is accepted.
begin laying down color with acrylic
and/or watercolor paint

Students design the outline of the puzzle pieces

(at least 5) and begin to lay down color in
expressive ways.
(8 minutes) Presentation/Explicit Instruction:
 • Review of Frankenthaler, Saran, Rahn, Students will understand
and Alston the effectiveness of
• Demonstration on how to design the geometric and/or organic
puzzle pieces and color decisions based line and its meaning with
on Think Sheet a review and demo.
Structured Practice/Exploration:
• Think Sheet Students will understand
• Sketch of puzzle design that because this project
• Demo sample that will be built upon contains a lot of content,
through the remaining project days so planning is important for
students understand the creative process design and content
of the project exploration.
Independent Practice/Application:
• Demo on design of puzzle pieces and With a demo provided
color application with questions and
• Sketch of puzzle design interaction, students will
develop a better
understanding and skill of
how to begin designing
and expressing personal
identity.

5 minutes Closure Team clean-up allows for

Clean-up will consist of teams, 3 groups of 3 a quicker and more
Group 1: organized clean-up,
• Gathering student work to be carefully resulting in more time for
placed into a spot on the drying rack reflection.
Group 2:
• Gathering paint trays and tubes that are
on desks and placing them on materials
table. Cleaning brushes by moving them
around clean water and placing them
back in the box, dumping dirty water in
bucket and stacking cups neatly, wiping
any paint on palettes with paper towel
Group 3:
• Uncovering tables and throwing any used
paper towels away, cleaning up floor
Who can tell me how line can relate to
emotion and your interpretation of your
song?
Who can tell me how I would represent the
adjective peaceful using line? What about
chaotic?
Transition Question:
How could you combine what you learned
about line and color with symbolism?
 Day Three
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
5 minutes Cover all tables
Set up materials table
Pass out nametags
Have the puzzle designs held in a drying rack
Pass out Think Sheets and sketches
Have PowerPoint open to Jenny Holzer slide

Review
3 minutes Topic Question:
Who can tell me how text is significant? These two topic and
Who can tell me what symbolism means? association questions will
allow the students to
Association Question: understand the next step
What decisions will you make regarding text in the project.
inclusion in your puzzle?
How will you translate lyrics into symbolism?

Looking at and talking about ART

PowerPoint of Holzer and Kahlo:
• Brief reminder of Holzer’s ability to reflect Understanding Holzer’s
experiences and ideas into text textual art as a form of
• Brief reminder of Kahlo’s symbolism not symbolism is a
being a literal representation successful way for
Teacher Demo students to think about
10 minutes • Use Think Sheet as reference, how they can represent
representational words, symbolism, color, their song through text
shape without copying lyrics.
• Explain the requirement of everyone must
add symbolism and text
• Use paint and Sharpie to represent
symbolism and a textual element
• Who can remind me of what the
combination of black and white Combining black & white
means? with color is a design
(memory) element students should
Familiarize the students with where supplies are; understand.
2 minutes tubes of paint, palettes, brushes, paper towels,
cups of water, Sharpies, and pens

Students will finish their expressive color from

18 minutes Day One, then move on to text and symbolism
using color, Sharpie, and pen.
Presentation/Explicit Instruction:
(10 • Demonstration of text and symbolism
minutes) • What elements of your song should be Abstraction vs.
 abstracted? What elements should be Representational is
representational? important for the students
to understand.
Structured Practice/Exploration:
• Teacher demonstration sample will be
worked on to keep up with progress of the
project
Guided Practice/Feedback:
• What is the overall meaning of the song? Guiding questions for the
• Why do you choose to listen to the song? student to find a relation
What emotions are you looking to feel? between the project and
• This is more than choosing your favorite the song is an effective
color way for the student to find
new inspiration.
5 minutes Closure
Clean-up
Group 1:
• Gathering student work to be carefully
placed into a spot on the drying rack
Group 2:
• Gathering materials, cleaning brushes
by moving them around in the water
and placing them back into the box,
dumping dirty water into bucket and
stacking cups neatly, wiping any wet
paint on palettes with paper towel,
place Sharpies and pens in cup
Group 3:
• Uncovering tables and throwing any
used paper towels in the garbage
Who can tell me different ways to represent
and interpretation with text?
Who can tell me what is important about the
process of producing symbolism?

Transition Question:
How do you think color, text and texture are
related?
 Day Four
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
5 minutes Cover tables
Set up materials table
Pass out Think Sheets and sketches of puzzle
design
Open PowerPoint to Rauschenberg’s slide

3 minutes Topic Question:

What is the significance of texture?

Visualization Question: Visualizing yourself

If you were surrounded by a gritty texture, surrounded by a texture
how would you feel? is an effective way to feel
If you were walking on a cushiony texture, sensory emotions.
how would you feel?

Looking at and talking about ART

• Rauschenberg PowerPoint slides

10 minutes Teacher Demo: Providing students with

• Masking
• layering with paint and tissue paper
• introduction of fabric
• hot glue gun safety
• overview of materials’ locations in the
classroom
Looking at my example, how have I used
texture? Was I mindful of where I placed
as many techniques as
possible for the time
constraint is important.
They will be given more
artistic freedom in how
they want to execute
texture and mixed media.
 materials? I manipulated the materials to follow
the forms I have created on my puzzle.
5 minutes
Material Exploration
• Students will be provided with various
mixed media materials and construction
paper to explore materials and application
before starting on their puzzle
15 minutes
Students will continue to paint their puzzles while
incorporating elements of texture.
Presentation/Explicit Instruction:
• Demonstration on material exploration
and mixed media techniques
• Demonstration and discussion of how to This is important for
compositionally and mindfully place students to notice as they
materials should be learning how to
make successful creative
decisions that are
compositionally
conscious.
(5 minutes) Structured Practice/Exploration: This is a successful way
• Material exploration on construction paper for students to explore
with materials before
diving into the puzzle
which may lead to
frustration for the student.
Guided Practice/Feedback:
• Variation of texture is successful
Independent Practice/Application:
• Material exploration on construction paper

5 minutes Closure:
Clean-up will consist of the same groups as Day
Three.
Group 1:
• Gather puzzles and place them on drying
rack
Group 2:
• Gather materials and place them where
they were before on the materials table.
Group 3:
• Uncover tables. Pick up any materials or
trash off floor. Save any reusable
materials.

How can texture resemble emotion or

personal experiences?
How can we be compositionally conscious?
Transition Question:
 How can you add more content to your
puzzle?

Day Five
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
5 minutes Cover tables
Set up materials table
Pass out Think Sheets and sketches of puzzle
design
Open PowerPoint to Holzer

3 minutes Looking at and talking about ART

Overview of PowerPoint and refer to the
completion of puzzles
5 minutes Teacher Demo:
• Cutting puzzle pieces out
• X-Acto knives and explanation of safety
rules, explanation of importance of cutting
boards

5 minutes Establishing Pattern Students will understand

What are some repeated colors and shapes in that there are ways to
your puzzles? briefly create a design
How can they be represented in a pattern? element as an aid for the
puzzle.
Introduce puzzle boards for exhibition
• Create a vessel for the puzzles to be
presented through
• Condense visual elements into a simple
pattern using acrylic paint
• Frame
• Board
• Provide premade teacher example
20 minutes Finishing puzzles, must be cut out by end of
class
Starting puzzle board
Presentation/Explicit Instruction:
Demonstration on cutting pieces out:
X-Acto knives and explanation of safety rules,
explanation of importance of cutting boards
Structured Practice/Exploration: A finished teacher sample
• Teacher sample of puzzle will be finished provided at the beginning
• Teacher sample of puzzle board will be of class will not only allow
finished for more class time, but a
clear objective for the
puzzle board that will not
have as much time spent
on making.
Guided Practice/Feedback:
• How are texture, shape, color, and text These questions will
working together? guide students into the
• Do you want each piece to the puzzle to right direction of the
appear different from one another or project.
unified?
• How will you achieve a unified puzzle?
• How do you want you puzzle to appear at
exhibition? How will it be framed with the
board?
5 minutes Closure:
Clean-up will consist of same groups
• Group 1: Gather puzzles and boards and
place them on drying rack
 • Group 2: Gather all materials and place
them back where they were before.
• Group 3: Uncover tables. Pick up
materials and trash off floor. Save any
reusable materials.
These questions will allow
How has shape been represented in your the students to evaluate
puzzle? the decisions they made
How has color, black & white, and text? in designing and
How has texture? assembling their puzzle.
What are some significant symbolism in your
puzzle?

Day Six
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
5 minutes Cover tables
Materials table; paint supplies only
Pass out Artist Statement handout

2 minutes Teacher Demo

• applying Velcro strips to board

10 minutes Finishing Puzzle Boards

• Painting
• Cutting, if needed
• Placement of Velcro strips for exhibition

5 minutes Puzzle interaction

• All students should at least have finished
cutting out puzzle pieces
• Students scramble up their own puzzle This activity allows
pieces students to assemble
• Students move around the room and each other’s puzzles and
interact with each other’s puzzles learn from each other.

10 minutes Group critique

• Students placed in new groups of 3
• Each group given discussion questions to
cover with each other
• one member of each group will share
another group member’s work to the class
8 minutes
Students will then fill out Artist Statement
worksheet which will be displayed with their work
at the exhibition.
Presentation/Explicit Instruction:
 Group critique
• designed to be more intimate, so students
aren’t shy about sharing their work
• better ability for students to share more
content about their work; class critique
only allows a short amount of time spent
on each work
Structured Practice/Exploration: This allows students to
• Students will explore each other’s finished understand the different
puzzles approaches their
classmates took with the
project.

Guided Practice/Feedback:
• Critique questions These will be designed for
• Artist Statement worksheet the students to gain
closure with the project as
well as a stronger
understanding of music
analysis.
3 minutes Closure: Students will understand
• How can the use of materials express the outcome of the project
emotion? and gain a higher
• How can a song represent your personal knowledge of mixed
identity? media materials and
techniques as well as
design elements and
symbolism.
 Day Six/Seven (Critique)
Time Learning Activities Purpose
*Depending on the access of boards, whether
the students do not have to make a board or
not, the sixth day should be dedicated to a
critique*

Orientation/Engagement/Motivation:
5 minutes Cover tables
Materials table; paint supplies only
Pass out Artist Statement handout

2 minutes Teacher Demo

• applying Velcro strips to board

10 minutes Finishing Puzzle Boards

• Painting
• Cutting, if needed
• Placement of Velcro strips for exhibition This activity allows
students to assemble
5 minutes Puzzle interaction each other’s puzzles and
• All students should at least have finished learn from each other.
cutting out puzzle pieces
• Students scramble up their own puzzle
pieces
• Students move around the room and
interact with each other’s puzzles
10 minutes Group critique
• Students placed in new groups of 3
• Each group given discussion questions to
cover with each other
• one member of each group will share
another group member’s work to the class
8 minutes
Students will then fill out Artist Statement
worksheet which will be displayed with their work
at the exhibition.
Presentation/Explicit Instruction:
Group critique
• designed to be more intimate, so students
aren’t shy about sharing their work
• better ability for students to share more
content about their work; class critique
only allows a short amount of time spent
on each work
 Structured Practice/Exploration: This allows students to
• Students will explore each other’s finished understand the different
puzzles approaches their
classmates took with the
project.

Guided Practice/Feedback:
• Critique questions These will be designed for
• Critique discussion to urge students to the students to gain
use academic language and to focus on closure with the project as
the meaning of the project (identity, color well as a stronger
and meaning, texture and meaning, refer understanding of music
to the artists, organic and geometric line, analysis.
any inspiration)
• Artist Statement worksheet
3 minutes Closure: Students will understand
• How can the use of materials express the outcome of the project
emotion? and gain a higher
• How can a song represent your personal knowledge of mixed
identity? media materials and
techniques as well as
design elements and
symbolism.

9. Critical Comments and Reflections:

9.1 Successes:

My greatest surprise was one of my students, Anna. At the start of the six weeks, she was
very difficult to work with as she would deliberately show no interest in the project. This not only
challenged myself as a teacher to gain patience and not get angry with her, but to also not give
up on her. I gave her more attention, smiled more, tried to get to know her, and as a result
urged her to personalize her work. The surprise was during the critique, when she explained her
work to the class. In her piece, she had broken popsicle sticks and placed them on her board,
created a yellow circular piece in the center with yellow strokes of paint radiating from the
center. She had stated how the songs title is “Hurricane” and is about a man describing his life
and hardships. The popsicle sticks were broken to represent the emotions he felt during his
hardships, and the yellow is representing not only the song’s title but the chaos of his hardships.
I was surprised to hear how much she had been understanding from the project, how to analyze
a song and interpret meaning from it, and how to use materials to symbolize emotions and
events in one’s life. Anna provided a lesson for me to listen to the students and inform them with
my actions that I am invested in what they bring forth in the art classroom.
The students collectively surprised me with the quality of knowledge they gained from this
project. I was hesitant on the first day, and nervous, because I was not expecting the students
to fully understand the identity component of the project. I did not want the class to think it was
only about analyzing a song, but to understand that it is a way to connect back to what makes
them who they are. However, after the first day of introduction and discussion, through the
students’ dialogue, questions, and responses, I knew they were understanding. They were all
clearly engaged as they were attentive and wanting to participate in the discussion. Student
showed clear understanding of geometric and organic and how they reflect different types of
emotion, and how color represents emotion. Through viewing Frida Kahlo’s work, students
were able to deeply understand how one’s identity can be symbolized through objects, color,
and composition. Their understanding was collectively observed through the quality of their
work during their critique. Students were fully understanding how to represent their identity
through their own visual interpretation of a song. Through reading their artist statements, even
the students that struggled with craftsmanship and weren’t fully able to communicate through
their project were able to clearly explain the meaning of their piece in writing.

9.2 Problems:

My greatest struggle with this class was the rowdiness, especially towards the end of the
Six weeks. I mentioned how surprised I was with the outcome of the project and how much the
students had proven they understood because of their behavior during the designing and
making of their pieces. I had to call for silent work time during a couple instances when they
were being very loud and were losing focus on the project. Another issue was many of the
students did not want to open up in front of their peers. Students would make jokes about their
piece, or would tell me how they have no reasoning for adding blue or adding sand paper. After
learning of how much they had understood during the final critique, I have decided to
incorporate a process critique if I were to repeat this lesson. After learning about the reasoning
behind many of their creative choices, I feel as though if they had experienced this critique in
the middle of the lesson, the resulting student work would be advanced.

9.3 Adjustments:

I am nothing but impressed with the students. Management was an issue in the beginning,
but after calling for silent time, and earning the students’ respect through demonstrating my
care for their projects, I was able to resolve the issue and develop a productive learning
environment. Since I only taught this class for six weeks, and the students had never met me
before, it was difficult for the students to open up for this lesson. I stated a working critique
would be helpful, meaning in the middle of the progress of the project, students would gather
into small groups and talk about the process and meaning behind their work. This would be
helpful because they would not feel pressured in front of an entire room of their classmates and
would learn more about their work, as well as a working critique would improve the overall
quality and outcome of their work.
I will definitely carry this lesson with me in the future of my teaching and feel as though it has
the potential to help students understand how music and art are greatly related in how they are
both expressive, especially of an individual’s identity. This lesson was appropriate for all
students, even Anna who was very difficult. The students were fully engaged and learned the
many meanings to line, such as organic and geometric, color in that it is representative of
emotion, and texture in that it is symbolic of emotions and actions. I feel as though this lesson
could also be adjusted to be engaging for high school students, as well as an expressive
experience for elementary students. This lesson was overall successful, and I can’t wait to see
what else it will bring creatively to students in the future.

Task 1 Part C:
Attachments:
1. Scoring rubric and assessment tools

Assessment Rubric
Objective Above Average Average Below Average
I: Insightfully select a Student insightfully Student selected a Student selected a
song of choice to be selected a song filled song with little song with no content
visually portrayed with content that content that allows allowing for a
through a mixed allows for a detailed for a detailed visual detailed visual
media puzzle visual interpretation interpretation mixed interpretation mixed
mixed media puzzle. media puzzle. media puzzle.
II: Successfully Student successfully Student successfully Student did not
interpret symbolism, identified all the identified a few of the successfully identify
emotion, adjectives, components to the components to the any components to
texture, and a Think sheet. Think Sheet. the Think Sheet.
personal experience
relating to selected
lyrics through the
Think Sheet
III: Thoughtfully Student made Student made some Student did not make
decide how to successful creative successful creative any successful
visually portray own decisions of how to decisions of how to creative decisions of
interpretation of song visually portray their visually portray their how to visually
of choice own interpretation of own interpretation of portray their own
their song of choice. their song of choice. interpretation of their
song of choice.
IV: Creatively design Student creatively Student designed an Student did not use
outline of puzzle designed the outline outline of their puzzle any creativity in
using an Ebony of their puzzle and using some creativity designing the outline
pencil with at least 5 included at least 5 and/or included less of their puzzle and/or
pieces on 20” x 28” pieces. than 5 pieces. included less than 5
sheet of cardboard pieces.
primed with gesso
V: Innovatively Student innovatively Student used some Student did not use
design content and designed the content innovativeness in any innovativeness in
composition of mixed and composition of designing the content designing the content
media visual lyrics their mixed media and composition of and composition of
puzzle visual lyrics puzzle. their mixed media their mixed media
visual lyrics puzzle. visual lyrics puzzle.
VI: Skillfully use at Student skillfully used Student Student did not
least three of the at least four of the demonstrated some demonstrate any skill
following materials, listed mixed media skill in the use of in the use of any of
masking tape, fabric, materials. three-four of the the listed mixed
acrylic paint, tissue listed mixed media media materials.
paper, construction materials.
paper, texture
making tools, Sharpie
and pens
VII: Cleanly and Student cleanly and Student completed a Student did not
carefully cut out carefully cut out their few clean and careful complete any clean
puzzle pieces with an puzzle pieces with an X-Acto knife cuts and/or careful X-Acto
X-Acto knife to X-Acto knife to when cutting out their knife cuts resulting in
become a functional become a functional puzzle pieces, a nonfunctional
puzzle puzzle. resulting in a puzzle.
somewhat functional
puzzle.
2. Handouts
 Artist Statement

The song I chose that I identify with is: ______________________________________________

______________________________________________________________________________
The lyrics I most identify with from the song are: ______________________________________

______________________________________________________________________________
______________________________________________________________________________
This song and its lyrics represent my identity because: _________________________________

______________________________________________________________________________
______________________________________________________________________________
The materials I used in my puzzle

are:_______________________________________________

______________________________________________________________________________
I used color as symbolism

by:______________________________________________________

______________________________________________________________________________
______________________________________________________________________________
I used texture as symbolism by:

____________________________________________________

______________________________________________________________________________
______________________________________________________________________________
I am most proud of: _____________________________________________________________

______________________________________________________________________________
______________________________________________________________________________
Something I learned artistically or about myself from this project is: ______________________

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________