Narrative in Art: Level 3: ART 309 & Student Teaching

Level 3: ART 309 & Student Teaching
Narrative in Art
Central Focus This unit teaches students about narrative in art through comics, graphic novels, illustrated books,
and story based artworks
Grade Level 10-12
Class Size TBD
Time 3 weeks
Class Demographics NA
National Visual Arts Standards Addressed

VA:Cr1.2.IIa
b. Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and
design.
VA:Re.7.2.IIa
b. Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences.
VA:Pr5.1.IIa
a. Evaluate, select, and apply methods or processes appropriate to display artwork in a specific place.
VA:Pr6.1.IIa
a. Make, explain, and justify connections between artists or artworks and social, cultural, and political history.
Common Core State Standards Addressed

CCSS.ELA-LITERACY.W.11-12.3
Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and
well-structured event sequences.
CCSS.ELA-LITERACY.W.11-12.3.A
Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or
multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.
CCSS.ELA-LITERACY.W.11-12.3.B
Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences,
events, and/or characters.
UNIT OVERVIEW
In this unit students will learn to develop a narrative through visual artwork. Students will develop a personal narrative using
visuals and text. Students will engage in character development, character interaction, the elements of a story and elements of
a plot. The students will create their own book to contain the story. Students are learning how to create a narrative in art
because many students desire to tell a story with their artwork.
Forms 2D 3D 4D
Frames Cultural Subjective Structural Postmodern
Conceptual
Artwork Artist Audience World
Framework
Student Prior Knowledge and Conceptions

 Students will use their knowledge learned from books read in their lives to inform their visual narrative creation
 Students will use their knowledge of illustration based stories, such as comics, books, childrens books, or tv and movies to
create a visual narrative
 Students may believe that visual stories are not as in depth or simpler than purely written text, this unit will teach them the
complexity of visual narratives
Interdisciplinary Connections
 English
 Social studies (censorship and possibly depending on the content of their narrative)
 Psychology (possibly depending on the content of their narrative)
UNIT OBJECTIVES
EE = Early Elementary grades K-3 • LE = Late Elementary grades 4-6 • MS = Middle School grades 6-9
EHS = Early High School grades 10-11 • LHS = Late High School grade 12
As a result of this lesson, students will be able to:

1. Students will evaluate the effectiveness of character design, page layout, text, and visuals in artists work as well as
their own
2. Students will develop at least 2 unique characters for their narrative with at least 5 variants of each character drawn and
developed before choosing a final character design.
3. Students will create storyboards of at least 10 pages of their book. At least 2 pages should be segmented.
4. Students will list the elements of their narrative that correspond to the elements of a story/plot on their handouts
5. Students will include character interaction in their narrative
6. Students will include text in their narrative or explain why they have chosen not to. Text should enhance the narrative.
7. Students will create a 40-page book using learned bookbinding techniques.
8. Students will create a clear visual narrative in their book that contains at least 2 unique characters, character interaction,
text, the elements of a story, and at least 10 pages completed by the end of the unit.
TEACHER MATERIALS
 Powerpoint  Vocabulary posters  Pencils
 Graphic novels  Handouts  Pens
 Comics  Whiteboard  Artwork examples
 Children’s books  Video demonstrations
 Bookmaking materials
STUDENT MATERIALS
 posters  Blank paper  Needles
 Graphic novels  Cover  Pencils
 Comics  Embroidery thread  Pens
 Childrens books  Awl  Possible: watercolor
 Handouts  Glue  Possible: markers
 Internet  erasers  Possible: colored pencils
ARTISTS IN CONTEXT
Key Artists https://www.npr.org/2017/07/12/533862948/lets-get-graphic-100-favorite-comics-and-graphic-
novels
https://art21.org/artist/chris-ware/
Jillian Tamaki
Quentin Blake
Shel Silverstien
Jan Brett
Lemony Snickett-David Handler illustrator- Brett Helquist
Tomer Hanuka and Asaf Hanuka
>>>>
Key Artworks Jillian Tamaki, This One Summer, 2014
Jillian Tamaki, SuperMutant Magic Academy, 2015
Jillian Tamaki, They say Blue, 2018
Key Critical Questions 1. How does the style of the comic connect to the subject?
2. Why might she have made the characters mutants?
3. How might the characters being mutants change the way they experience high school?
4. Could it be easier or harder for readers to connect?
5. This One Summer is illustrated entirely in shades of indigo, traditionally comics are made in
black, how does this alter the work?
6. There is not text in every frame, how is information communicated other than text?
7. How do they balance imagery and text?
8. How is the frame cropping used to create emphasis?
9. How might working collaboratively change an artists perspective of an artwork that is based on
personal experience?
10. How does audience have to be considered when creating an artwork?
11. How is artwork censored? How might this be harmful?
12. What are different ways you may want the world responds to your work?
13. How does Tamaki’s style change between her graphic novels and her children’s book?
14. How has the change in audience affected her work?

15. How does Tamaki use color in this They Say Blue? How is the color successful?
16. Does the color change her artwork? Would color work in her other artwork?
17. How has painting changed her artwork?
18. How does she utilize the spread of two pages?
19. How does she explore the relationship between positive and negative space?
20. The Hanuka brothers and Tamaki both use color in unique ways in their works, how is their use
of color similar and different?
21. Does the use of more colors add or detract from the work?
22. Which artists work more resembles traditional comics?
23. How does the style of each artists work reflect the content?
24. How do these artists employ text similarly and differently? How is color used in these works?
25. Many of these frames encompass the whole page, how do they use the composition?
26. How does their collaboration operate in their work?
27. How would you describe Blake’s style?
28. How is his style appropriate for the children’s books he is illustrating?
29. How does he utilize color in his work?
30. Does he include shadows or highlights?
31. What can you tell about his characters from the way he draw them?
32. Sometimes he frames his images and sometimes not, how does this change the image?
33. How do his works relate to his poems?
34. How would you describe his style?
35. His illustrations are a bit strange, how does this make his work relatable?
36. How does he create narrative by writing in poems?
37. How would you describe her style?
38. How do the borders impact the story?
39. Are the pages overly complicated?
40. Do you have to search for information? Is this a good thing?
41. How has she connected her interests to her artwork?
42. Is the accuracy she strives for important? Why is it important to her work?
VOCABULARY AND LANGUAGE ACQUISITION

Vocabulary Character:
a person in a novel, play, or movie.
Setting:
the place or type of surroundings where something is positioned or where an event takes place.
Conflict:
struggle between opposing forces.
Plot:
events that make up a story. These events relate to each other in a pattern or a sequence
Exposition:
a literary device used to introduce background information about events, settings, characters, etc.
Rising action:
series of relevant incidents that create suspense, interest, and tension in a narrative.
Climax:
the highest or most intense point in the development or resolution.
Falling action:
raps up the narrative, resolves its loose ends, and leads toward the closure.
Resolution:
unfolding or solution of a complicated issue in a story.
Theme:
a central topic a text treats.
Author:
creator of any written work such as a book or play
Illustrator:
a person who draws or creates pictures for magazines, books, advertising, etc.
Negative Space:
the space that surrounds an object in an image
Wash:
technique resulting in a semi-transparent layer of color.
Vignette:
a unique form for a frame to an image, either illustration or photograph.
Language Functions describe

Language Demands Syntax Discourse
Language Tasks and 1. In their narratives students will use text to communicate their story with their visuals
Activities 2. Students will learn a variety of vocabulary regarding graphic novels, comics, and children’s
books as well as about the elements of a narrative
3. Students will analyze how the visual qualities of artist’s artwork has made their narrative
effective
4. Students will critique their work and other students work about the visual qualities effectiveness
in regards to their narratives
Language Supports 1. Vocabulary posters will be available around the room
2. Posters detailing bookmaking techniques will be available for students to utilize
3. Video demonstrations to assist in bookmaking techniques
4. Graphic novels, comics, and children’s books will be available in a class library for students to
use as inspiration and example
SPECIAL PRE-INSTRUCTION PREPARATIONS

 Graphic novels, comic books, comics, and children’s books should be on hand in the classroom as a reference for students
 Posters on vocabulary words and the elements of a story/plot to assist in creating a narrative
 Video demonstrations on various bookmaking technique
ACCOMODATIONS FOR SPECIFIC DIVERSE LEARNERS

Adaptations and Accommodations
 List and describe at least 2 adaptations and accommodations you will perform to facilitate all students’ learning.
 Cite specific activities, teaching practices, tasks, materials etc. from your Set Induction, Instruction and Lesson Closure
procedures above that you will adapt and be as detailed as possible about HOW you will accommodate students’ needs.
 Video demonstrations on bookmaking techniques will be available for students to follow along with at their own pace
 Posters on bookmaking techniques with step by step instructions will be available for students to follow along at their own
pace
 Posters on vocabulary and common narrative information will be available as a resource for students
Enrichment and Extensions
 Advanced students will be encouraged to challenge themselves in their narrative creation to include a difficult to visualize
topic or interaction, or create a more in depth narrative
 Advanced students will also have the opportunity to continue working on their narrative at their own pace as students will fill
in pages at their own pace
Activity for Early Finishers
 Early finishers can continue to fill in pages in their book as students will work at their own pace
 Early finishers can create a cover and description for their book that corresponds to their narrative
OBJECTIVE-DRIVEN ASSESSMENTS
9. Students will develop at least 2 unique characters for their narrative with at least 5 variants of each character drawn and
developed before choosing a final character design. (objective 2)
10. Students will create storyboards of at least 10 pages of their book. At least 2 pages should be segmented. (objective 3)
11. Students will list the elements of their narrative that correspond to the elements of a story/plot on their handouts (Objective
4)
12. Students will include character interaction in their narrative (Objective 5)
13. Students will include text in their narrative or explain why they have chosen not to. Text should enhance the narrative.
(objective 6)
14. Students will create a 40-page book using learned bookbinding techniques. (objective 7)
15. Students will create a clear visual narrative in their book that contains at least 2 unique characters, character interaction,
text, the elements of a story, and at least 10 pages completed by the end of the unit. (Objective 8)
REFERENCES
 Bausells, M. (2017, June 13). Graphic novelist Jillian Tamaki: 'Our brains are being rewired to exist online'. Retrieved from
https://www.theguardian.com/books/2017/jun/13/jillian-tamaki-super-topical-boundless-interview
 Comic Book Legal Defense Fund. (n.d.). Case Study: This One Summer. Retrieved March 18, 2019, from
http://cbldf.org/banned-challenged-comics/case-study-this-one-summer/
 Davis, E. (2017, June 5). A Conversation with Jillian Tamaki. Retrieved from http://www.tcj.com/a-conversation-with-jillian-
tamaki/
 Hanas, J. (2011, March 23). Jillian Tamaki. Retrieved from https://www.commarts.com/features/jillian-tamaki
 Hanuka, A. (n.d.). Asaf Hanuka. Retrieved from http://www.asafhanuka.com/about-1
 Hanuka, T. (n.d.). Tomer Hanuka. Retrieved from http://thanuka.com/info
 SuperMutant Magic Academy. (2018, March 22). Retrieved from https://www.drawnandquarterly.com/supermutant-magic-
academy
 Tamaki, J. (n.d.). Jillian Tamaki. Retrieved from http://jilliantamaki.com/about/
 Tamaki, J. (n.d.). Mutantmagic. Retrieved from http://mutantmagic.com/about
 Tamaki, J. (n.d.). Jillian Tamaki Sketchblog, etc. Retrieved from http://blog.jilliantamaki.com/category/supermutant-teen-
academy/
 Gottesman, S. (2017, August 21). The Illustrators behind Your Favorite Children's Books. Retrieved from
https://www.artsy.net/article/artsy-editorial-illustrators-favorite-childrens-books
 Jan Brett. (n.d.). Retrieved from http://janbrett.com/biography.htm
 Quentin Blake. (n.d.). Retrieved from https://www.quentinblake.com/
 Welcome to Shel Silverstein. (n.d.). Retrieved from http://www.shelsilverstein.com/
* Developed and written by Annie Otto, Art Education, Illinois State University, 2019 *
INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

Graphi c Novels
1
Launch Instruction Methods
 Students will enter the classroom to a selection of graphic novels laid on the  Gallery walk
desks, students will do a gallery walk of these novels and be given a few minutes  Discussion
to look at the novels
 The teacher will ask and discuss with students:
 What is a graphic novel?
 What is a narrative?
 How do these novels visually communicate a narrative?
 Students will share qualities of the graphic novels that they enjoy
Instruction Instruction Methods
 After the Set Induction, what exactly will you do with the students and say to the  Question and answer
students during the lesson?  Presentation
 List your procedures here in order of occurrence starting each bullet point with  Mindmaps
either “The teacher will…” or “Students will…”
 From these points any reader should be able to easily imagine all that will happen
during this lesson from beginning to end.
 Throughout this section be sure to list at least 6 specific prompt questions (and
alternatives when applicable) in age-appropriate language that you plan to use
along with some acceptable student responses and several probing follow-up
questions to keep the lesson flowing. These questions should help students
reason, think critically, and engage in higher order thinking.
 Remember to break any demonstrations and sequential instructions down into
step-by-step, age-appropriate language.
 The teacher will begin the presentation on Graphic Novels presenting on the key
artist: Jillian Tamaki and her book This One Summer, as well as other notable
graphic novel artists
 The teacher will ask:
- How does the style of the comic connect to the subject?
- This One Summer is illustrated entirely in shades of indigo, traditionally
comics are made in black, how does this alter the work?
- There is not text in every frame, how is information communicated other
than text?
- How do they balance imagery and text?
- How is the frame cropping used to create emphasis?
- How might working collaboratively change an artist’s perspective of an
artwork that is based on personal experience?
 The overall project of creating a personal visual narrative will be introduced
 Students will make personal mindmaps, mapping the qualities important to their
personality and life.
Closure Instruction Methods
 What activities, prompts, directions, attention grabbers, etc. will you use to signal  Whole class sharing
students that the lesson is coming to a close?
 Think about activities, etc. that reinforce students’ learning in this lesson or
help students reflect on their learning experience.
 Remember, Lesson Closure is NOT just clean-up or a “two-minute
warning”! Closure activities may happen surrounding clean-up time, but putting
supplies away and washing tables does not reinforce learning or incite reflection.
 Continue wording these statements as you did above starting each bullet point
with either “The teacher will…” or “Students will…”
 Students will be asked to share some of the things they have mapped on their
mindmap with the class to inspire others with ideas they may not have thought of
 Students will be asked to continue thinking about .characteristics or stories in
their life that have been influential or are important to them for the next few days

Children’s Books
2
 Students will enter the room to the variety of illustrated children’s books spread  Gallery walk
around the room and engage in a gallery walk.  Whole class discussion
 Students and teacher will discuss the following questions:
 How would you describe the styles represented here?
 How are children’s books different than graphic novels?
 How do children’s books illustrate narrative?
 The teacher will begin the presentation on illustrated children’s books, sharing  Presentation
artists such as: Quentin Blake, Shel Silverstien, Jan Brett, and Lemony Snickett-  Whole class discussion
David Handler illustrator- Brett Helquist
 The teacher will ask:
 How would you describe Blake’s style?
 How is his style appropriate for the children’s books he is illustrating?
 How does he utilize color in his work?
 Does he include shadows or highlights?
 What can you tell about his characters from the way he draw them?
 Sometimes he frames his images and sometimes not, how does this change the
image?
 How do his works relate to his poems?
 How would you describe his style?
 His illustrations are a bit strange, how does this make his work relatable?
 How does he create narrative by writing in poems?
 How would you describe her style?
 How do the borders impact the story?
 Are the pages overly complicated?
 Do you have to search for information? Is this a good thing?
 How has she connected her interests to her artwork?
 Is the accuracy she strives for important? Why is it important to her work?
 Students will draw their family (or a relevant grouping) in a style they might find
in a children’s book, communicating key details about their family through their
design and choices
 The teacher will ask students what their favorite children’s books were and why  Whole class discussion
they were their favorite. Students will discuss as a class their favorites and
observe similarities and differences between them.
 Students will be asked to find some of their favorite comics for the next day

Comics
3
 Students will share some of their favorite comics with the class, these can be  Whole class sharing
comic books, Instagram comics, newspaper comics, or comic strips  Whole class discussion
 The teacher will ask the students what makes these comics relatable?
 Is it more effective to have stories presented in a singular panel or in multiples?
 How do comics tell narratives differently than the other formats presented?
 The teacher will begin the presentation on comic artists and formats.  Presentation
 The teacher will ask:  Question and answer
 How does segmentation work in comics?  Small group critique
 What audiences do these comics appeal to?

 Which tell longer stories and which tell shorter? How is this accomplished?
 How do the artists make these personal?
 In what ways are color, line, and text incorporated?
 Why do these comics become famous?
 Students will draw a short 3-5 panel comic illustrating an encounter they
experienced in the last week.
 Students will share these comics with the class and receive feedback on what
was successful in the form of small group critique.
 The teacher will ask the students what their currents thoughts are in regards to  Class discussion
their narratives and share these thoughts with the class.

Characte r Design and Narrati ve Work Day
4
 The teacher will show students images of famous illustrated characters at  Presentation
multiple stages in their design. Students will be asked to point out some  Class discussion
differences and share how they read the character differently in the designs.
What aspects of the different designs are successful? Why do you think the final
design was chosen?
 The students will draw at least 10 annotated sketches of at least 2 characters  Gallery walk
they plan to feature in their narrative. These do not need to be completed in  Small group critiques
class and can be done over time. In class students will work on creating some of  Individual check ins
these character sketches
 Students will engage in a gallery walk and small group critiques about the
sketches they create in class. In the small group critiques, the students will
discuss the aspects of the design that are working well or distracting from the
elements they want to come forward.
 Students will create plot lists detailing the important parts of their current
narrative ideas. Students should list their plot points in relation to the elements of
a story/plot
 As students create their plot lists they will create story boards to demonstrate
their plot points visually. Students can work on this over time. They will need to
have at least 10 pages storyboarded before they can begin work on their final
product.
 As students work the teacher will check in individually with each student to see
what their ideas are for their narrative
 Students will share their current ideas with a partner to get feedback on their  Peer feedback and discussion
narrative before going further
 Students should continue working on their character sketches and narrative
ideas outside of class

Bookma king
5
 Students will enter the room to see a variety of book binding styles laid out for  Gallery walk
them to look at. Students will engage in a gallery walk of the styles and materials
 The teacher will present the students with the materials needed to make a book  Demonstration
and ask them to choose their materials  Video demonstration
 The teacher will demonstrate the bookmaking process for students  Individual check ins
 The students can follow along with the teacher’s demonstration to create their
book or use another demonstration provided through posters or video demos to
create the style of book they want.

 The students will create their books
 Students with extra time can continue to work on their narratives and character
development, the teacher will continue to meet individually with students
 Students will fill out an exit slip that asks them what they are struggling with in  Exit slip
regards to creating a narrative that they would like work shopped on a later day

Work Day/s
6
 The teacher will share a new novel/illustrated artwork each day showing students  Exit slip review
a variety in illustration
 The teacher will cover one or more of the subjects listed on the previous exit slip
as a whole class discussion with examples from artists studied
 The students will work on their narratives  Individual check in
 Students will check their 10 storyboarded stages and character development  Small group discussion/critique
sketches with the teacher before beginning working in their final book
 The teacher will do individual check ins with students to see how their narratives
are progressing
 Students can meet in small groups to discuss the progress of their narratives on
later work days for additional feedback
 The teacher will ask the students if there are any parts they are struggling with  Exit slip
that they would like feedback on from the class. The students will have the
opportunity to get feedback from the class on an area they are struggling in.

Workshop Day/s
7
 The teacher will share a new novel/illustrated artwork each day showing students  Exit slip review
 The teacher will cover one or more of the subjects listed on the previous exit slip
as a whole class discussion with examples from artists studied
 The class will be divided into small workshop groups/stations for the students to  Stations
visit based on what area of their narrative they feel they could use the most work  Individual meetings
on. Such as: Characters, Dialogue, Text inclusion, plot, or page layout
 Students will receive feedback from their peers at these stations on their
narratives
 Students can meet individually with the teacher for additional assistance
 The teacher will ask the students if there are any parts they are struggling with  Exit slip
that they would like feedback on from the class. The students will have the
opportunity to get feedback from the class on an area they are struggling in.

Progre ss Critique
8
 Students will lay out their character design sketches, storyboards, and progress  Gallery walk
in their books for a gallery walk
 Students will meet in small groups to discuss/critique their current progress on  Small group critique
their books
 Students will get feedback about how to move forward and have the chance to
ask for suggestions
 The teacher will move between groups giving additional feedback and be
available for questions
 Students can continue to work on their books if they finish early
 The teacher will ask students to share some of the feedback they received with  Whole class discussion
the class and discuss plans for moving forward

Work day/s
9
 The teacher will share a new novel/illustrated artwork each day showing students  Question and answer
 The teacher will ask students if there are any areas they would like assistance in
their narratives
 Students will have the day to work on their books  Small group discussion
 Students can ask for small group meetings to discuss the progress of their books  Individual meetings
 The teacher will check in on students individually to see their progress
 Students will fill out an exit slip that asks them what they are struggling with in  Exit slip
regards to creating a narrative that they would like work shopped on a later day

Closure
10
 Students will lay out their character design sketches, storyboards, and progress  Gallery walk
in their books for a gallery walk
 Students will present their books characters, ideas, and progress to the class  Student presentation
 Students can ask questions about their classmates books or ask for the
opportunity to read the book
 The teacher will remind students to continue working on their books, turning in a 
new spread each week.
-The students will complete a portion of their book by the end of the unit, they will be asked to continue to turn in at least one
spread each week as they continue working on their books. The students can continue to ask for feedback and individual
meetings with the teacher as they continue working.

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Narrative in Art: Level 3: ART 309 & Student Teaching

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Level 3: ART 309 & Student Teaching

National Visual Arts Standards Addressed

Common Core State Standards Addressed

Student Prior Knowledge and Conceptions

As a result of this lesson, students will be able to:

14. How has the change in audience affected her work?

VOCABULARY AND LANGUAGE ACQUISITION

Language Functions describe

SPECIAL PRE-INSTRUCTION PREPARATIONS

ACCOMODATIONS FOR SPECIFIC DIVERSE LEARNERS

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

 What audiences do these comics appeal to?

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

create the style of book they want.

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

INSTRUCTIONAL STRATEGIES AND LEARNING TASKS DAY / LESSON

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