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Waterford Public Schools

Grades PK-12 Art Curriculum 2026

Table of Contents Committee Members………………………………………………………………………………………………..1 Vision of a Graduate…………………………………………………………………………………………………2 Art Curriculum Statement…………………………………………………………………………………………3 Preschool Art……………………………………………………………………………………………………………4 Kindergarten Art…………………………………………………………………………………………………….23 First Grade Art……………………………………………………………………………………………………….42 Second Grade Art…………………………………………………………………………………………………..64 Third Grade Art………………………………………………………………………………………………………83 Fourth Grade Art…………………………………………………………………………………………………..108 Fifth Grade Art……………………………………………………………………………………………………..132 Sixth Grade Art…………………………………………………………………………………………………….157 Seventh Grade Art………………………………………………………………………………………………..166 Seventh Grade Sculpture………………………………………………………………………………………179 Seventh & Eighth Grade Photography…………………………………………………………………..193 Eighth Grade Art…………………………………………………………………………………………………..204 Eighth Grade Ceramics…………………………………………………………………………………………218 Eighth Grade Drawing………………………………………………………………………………………….231 Eighth Grade Painting………………………………………………………………………………………….242 Eighth Grade Murals……………………………………………………………………………………………253 Photography I………………………………………………………………………………………………………264 Photography II……………………………………………………………………………………………………..285 Photography III…………………………………………………………………………………………………….305 Digital Design Foundations………………………………………………………………………………….324 Digital Publications……………………………………………………………………………………………..340

Digital Design II Photoshop…………………………………………………………………………………359 Digital Design II Illustrator…………………………………………………………………………………..379 Digital Design II Animation………………………………………………………………………………….396 Jewelry Design & Fabrication………………………………………………………………………………416 Art Foundations Drawing & Ceramics…………………………………………………………………436 Art Foundations Painting & Sculpture…………………………………………………………………463 Art Foundations Printmaking & Collage……………………………………………………………...484 Drawing Techniques II…………………………………………………………………………………………512 Drawing Techniques III Figures & Life Studies…………………………………………………….533 AP Drawing………………………………………………………………………………………………………..552 Sculpture & Ceramics II………………………………………………………………………………………567 Sculpture & Ceramics III……………………………………………………………………………………..591 Painting Techniques II…………………………………………………………………………………………612 Painting Techniques III………………………………………………………………………………………..632 AP 2D Art & Design……………………………………………………………………………………………651 Contemporary Crafts…………………………………………………………………………………………..666 Alternative Sketchbooks……………………………………………………………………………………..691 Alternative Process Printmaking, Collage & Painting……………………………………………709

Committee Members The following staff made significant contributions to the development of the Waterford Public Schools Art Curriculum:

Teresa Bonilla

Clark Lane Middle School Art Teacher

Jacyln Bono

Waterford High School Art Teacher

Sarah Heikkinen

Oswegatchie Elementary School Art Teacher

Gretchen Lally

Waterford High School Art Teacher

Michelle Messina

Quaker Hill Elementary School Art Teacher

Heather Paquette

Great Neck Elementary School Art Teacher

Laura Provo-Parker

Waterford High School Art Teacher

Vision of the graduate

Effective Communicators

Information Analysts

Critical Thinkers

1A: Listen actively to understand information. 1B: Use an appropriate method of communication. 1C: Create a logical and evidence-based argument. 1D: Deliver a clear and effective presentation or performance. 2A: Use appropriate research tools to acquire information from a variety of sources. 2B: Evaluate different perspectives, biases, and levels of credibility. 2C: Analyze information gathered from research tools to demonstrate understanding.

3A: Make reasonable predictions of a real-world issue. 3B: Analyze data in order to justify a claim.

Self-Directed Learners

4A: Persevere through challenging situations with flexibility and resourcefulness. 4B: Recognize how thoughts, feelings, and actions affect achievement. 4C: Work independently towards achieving a meaningful goal.

Responsible Citizens

5A: Demonstrate respect for all cultures, identities, and perspectives. 5B: Practice responsible digital citizenship.

Waterford Public Schools is a community of learners that fosters and supports high aspirations, ensuring every student acquires the skills and knowledge necessary to be a responsible citizen, prepared to contribute and succeed in an ever-changing world. 2

Art Vision for Waterford Public Schools We foster a community of innovative thinkers and creative problem solvers that are empowered through artistic expression and technological fluency. By integrating studio and digital arts, our program develops students’ imagination, critical thinking, visual literacy, and mastery of methods and materials. We train students to cultivate independence and cultural appreciation to empower them to adaptably tackle complex problems and contribute meaningfully to their communities in a dynamic interconnected global society.

Students will independently be able to.. ●

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators)

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Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts)

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Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts)

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Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

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Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

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Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

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Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

Preschool Art

Preschool Art Aug-Sept

We open our table centers more quickly in the year so students can explore and create.

Opening the Studio

Table 1: Drawing

Table 2: Painting

Table 3: Paper Arts

We play with art. We explore art tools. We learn to use them. We learn to clean up. We can tell a story about what we make.

We draw what we see, feel, remember and imagine. We try different drawing tools. We make lines and shapes.

We paint like we draw! We use brushes and tools. We mix colors. We use paint sticks, watercolor, and tempera.

We use scissors and glue. We cut paper. We glue papers together to make art.

Preschool Art (continued) We open our table centers more quickly in the year so students can explore and create.

Table 4: Construction

Table 5: Printmaking

Table 6: Ceramics

Table 7: Fiber Arts

Art can stand up! We build with blocks. We stack materials. We make sculptures.

We press things in paint. Then we press them on paper. Different things make different prints!

We pinch, press, and roll clay. We use our hands and tools. We make shapes and add texture.

We use yarn, fabric, and ribbons. We practice beading and lacing. We weave on a big loom.

Preschool Art: Unit 1 Course Name: Preschool Art

Unit Title: Opening the Studio

Est. # of Lessons: 7-9 weeks

Unit Overview: We play with art. We explore art tools. We learn to use them. We learn to clean up. We can tell a story about what we make. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

VA:Cr1.1.PKa Engage in self-directed play with materials. VA:Cr1.2.PKa: Engage in self-directed, creative making. VA:Cr3.1.PKa: Share and talk about personal artwork VA:Re.7.1.Pka: Recognize art in one’s environment. VA:Cn10.1.Pka: Explore the world using descriptive and expressive words and artmaking. VA:Cn11.1.Pka: Recognize that people make art.

Transfer Goals ● ●

Understandings ● ● ●

Artists explore and play with materials to create things. An art studio is a special place where we make art, share materials, and take care of our tools. Artists look closely at things.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Discuss what an artist is and what they do Discuss what exploring art materials means Use centers Discuss what artists prefer for spaces, and how different artists make art Share art and talk about choices

What is an artist? What do artists do? What is an art studio?

Skills (Framed as Learning Targets) ● ●

I can use art tools and materials to practice techniques. I can independently explore materials.

Key Vocabulary: art studio, tool, material, story, idea, book example Studio: A Place for Art to Start

Preschool Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

N/A

Observations: Sitting on the rug, whole body listening, transitioning from listening to artmaking to clean up. STAGE 3: LEARNING PLAN

First Topic: Opening the Studio

Estimated # of Lessons: Open all year

Learning Targets: ● I can use art tools and materials to practice techniques. ● I can independently explore materials.

Essential Questions: ● What is an artist? ● What do artists do?

Learning Activities: ● Explore with art materials. ● Enter the studio quietly. ● Clean materials away appropriately. ● Share materials with others.

Preschool Art: Unit 2 Course Name: Preschool Art

Unit Title:

Drawing

Opens in Trimester 1

Unit Overview: We draw what we see, feel, remember and imagine. We try different drawing tools. We make lines and shapes. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.PKa: Use a variety of artmaking tools VA:Cr1.1.PKa: Engage in self-directed play with materials. VA:Cr1.2.PKa: Engage in self-directed, creative making.

Transfer Goals ● ●

Understandings ● ● ● ●

Artists draw things they see, feel, remember and imagine. Drawing tools like crayons, markers, and pencils can make different marks on paper. Artists get ideas from the world around them and from their own imagination. Taking good care of drawing tools helps them work better.

Essential Questions ● ● ●

Knowledge ● ●

Explore various drawing tools Make marks with drawing tools

Key Vocabulary: straight, curvy, zigzag, thick, thin, organic, square, circle, triangle, rectangle, square, oval, open, closed, trace, explore, markmaking

What do artists draw? How do artists get ideas? How can I make different marks on paper?

Skills (Framed as Learning Targets) ● ● ● ●

I can take good care of art tools and materials I can use a wide variety of drawing tools. I can hold a drawing tool properly to make a mark on paper. I can experiment and draw my own ideas.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment N/A

Formative Assessment Small Group Work: Student can safely use and care for drawing tools. In progress artwork and observations: Constructs drawings putting together various shapes and lines. Can place tools back in proper location.

Preschool Art: Unit 2 STAGE 3: LEARNING PLAN First Topic: Drawing & Mark Making

Estimated # of Lessons: Open all year

Learning Targets: ● I can take good care of art tools and materials. ● I can use a wide variety of drawing tools. ● I can hold a drawing tool properly to make a mark on paper. ● I can experiment and draw my own ideas and feelings.

Essential Questions: ● How do artists use and learn about their materials? ● How do artists experiment? ● What do artists draw? ● How do artists get ideas?

Learning Activities: ● We will learn through a demonstration on how to use and care for: markers, stencils and texture plates. ● We will practice how to use and share markers, stencils, and texture plates. ● We will view and discuss how artists experiment with mark making. ● We will practice how to make different marks with markers and crayons. ● We will learn through looking at different artists how artists create things they see, feel, imagine and remember. ● We will create what we see, feel, imagine and remember.

Preschool Art: Unit 3 Course Name:

Preschool Art

Unit Title: Painting

Opens in Trimester 1

Unit Overview: We paint like we draw! We use brushes and tools. We mix colors. We use paint sticks, watercolor, and tempera. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr2.1.PKa: Use a variety of artmaking tools VA:Cn10.1.Pka: Explore the world using descriptive and expressive words and artmaking. VA:Cr1.2.PKa: Engage in self-directed, creative making. VA:Cr1.1.PKa: Engage in self-directed play with materials.

Transfer Goals ● ●

Understandings ● ● ● ●

Paint can be used with brushes and other tools to make different marks and textures. Mixing primary colors (red, blue, yellow) creates new secondary colors (orange, green, purple). Artists can share ideas and feelings through their paintings. Different painting tools create different effects.

Essential Questions ● ● ● ●

Knowledge ● ●

How do artists use art paint materials? How do artists use colors? How do artists make new colors? How does art tell a story?

Skills (Framed as Learning Targets)

Explore with paint sticks Use paintbrushes with tempera paint and watercolor to make marks Use texture tools in liquid tempera Explore mixing colors Play with pipettes, scrapers, and brushes to explore mark making

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Key Vocabulary: circle, triangle, square, rectangle, red, yellow, blue, green, orange, purple, abstract, value, primary colors, secondary colors, brushstrokes, texture, book example Mouse Paint

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● ● ●

I can hold a paintbrush to make brushstrokes. I can safely use materials to explore mark making with paint. I can explore mixing paint with a paintbrush and other tools. I can identify colors. I can communicate my ideas through my artwork.

Preschool Art: Unit 3 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

N/A

Small Group Observation: ● Explore with different types of painting materials ● Explore with different painting tools STAGE 3: LEARNING PLAN

First Topic: Painting

Estimated # of Lessons: Open all year

Learning Targets: ● I can hold a paintbrush to make brushstrokes. ● I can safely use materials to explore mark making with paint. ● I can explore mixing paint with a paintbrush and other tools. ● I can identify colors. ● I can tell a story of my art.

Essential Questions: ● How do artists use art paint materials? ● How do artists use colors? ● How do artists make new colors? ● How does art tell a story?

Learning Activities: ● We will learn through a demonstration how artists use and share paint brushes safely with tempera and watercolor ● We will learn through a demonstration how to hold and care for paint sticks. ● We will learn through a demonstration and activities how to use paint tools such as pipettes, scrapers, and brushes to make different marks. ● We will learn through viewing the color wheel what the primary colors are. ● We will learn through a demonstration and activity on how to mix secondary colors from primary colors.

Preschool Art: Unit 4 Course Name:

Preschool Art

Unit Title:

Paper Arts

Opens in Trimester 1

Unit Overview: We use scissors and glue. We cut paper. We glue papers together to make art. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.PKa: Use a variety of artmaking tools VA:Cr2.2.PKa: Share materials with others. VA:Cr1.1.PKa: Engage in self-directed play with materials.

Transfer Goals ● ●

Understandings ● ● ● ●

Paper can be cut, torn, and glued to make art. Scissors need to be held and used safely to cut paper in different ways. Glue helps stick papers together to make collages. Sharing materials and tools helps everyone make art.

Essential Questions ● ●

Knowledge ● ● ● ●

Hold scissors properly (thumbs up, cutting song) Make snips,continuous cuts, and cut a line in paper Use a glue stick or glue bottle (dot, dot, dot, not a lot) on paper Add glue to paper to adhere papers together

Key Vocabulary: cut, tear, glue

How do artists use different art tools? How do artists take care of tools?

Skills (Framed as Learning Targets) ● ● ● ●

I can take good care of art tools, materials and artworks. I can safely and effectively use scissors to cut paper. I can explore the collage process through the techniques of cutting/tearing, arranging, and gluing. I can safely and effectively use glue sticks and liquid glue to adhere papers.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment N/A

Formative Assessment Small Group Observation: ● Cut different kinds of lines in paper ● Cut and glue shapes ● Use colored paper to make collages

Preschool Art: Unit 4 STAGE 3: LEARNING PLAN First Topic: Collage

Estimated # of Lessons: Open all year

Learning Targets: ● I can take good care of art tools, materials and artworks. ● I can safely and effectively use scissors to cut paper. ● I can safely and effectively use glue sticks and liquid glue to adhere papers. ● I can explore the collage process through the techniques of cutting/tearing, arranging, and gluing.

Essential Questions: ● How do artists use different art tools? ● How do artists practice different art processes?

Learning Activities: ● Hold scissors properly (thumbs up, cutting song), ● Make snips, continuous cuts, and cut a line in paper ● Demonstration: how to use a glue stick or glue bottle (dot, dot, dot, not a lot) on paper ● Add glue to the edges of paper to adhere papers together

Preschool Art: Unit 5 Course Name:

Preschool Art

Unit Title: Construction

Opens in Trimester 1

Unit Overview: Art can stand up! We build with blocks. We stack materials. We make sculptures. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Re.7.2.Pka: Distinguish between images and real objects. VA:Pr4.1.PKa: Identify reasons for saving and displaying objects, artifacts, and artwork VA:Cr1.1.PKa: Engage in self-directed play with materials. VA:Cr2.1.PKa: Use a variety of artmaking tools

Transfer Goals ● ●

Understandings ● ● ● ●

Sculptures are three-dimensional art that you can walk around and see from all sides. Construction and sculpture are different from flat drawings or paintings. Stacking and building with materials creates structures that stand up in space. Different materials can be used to build and create.

Essential Questions ● ● ●

Knowledge ● ● ● ●

Discuss how sculpture differs from a 2D image Walk around a sculpture to see it “from all sides” Complete the paper towel tube sculpture challenge Stack with blocks

What is a sculpture? How is art we can touch different from art we can only look at? How do we build things that stand up?

Skills (Framed as Learning Targets) ● ● ● ●

I can talk about how a sculpture is different from a painting/drawing. I can view a sculpture in the round. I can make a sculpture with various materials. I can create and explore construction through the process of stacking.

Key Vocabulary: sculpture, form, space, tower, freeform; stacking, 3D

Preschool Art: Unit 5 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

N/A

Small Group Observation: ● Talk about 3D art characteristics ● Use cardboard, paper and other materials to create 3D structures. ● Use blocks and other manipulatives to build 3D structures STAGE 3: LEARNING PLAN

First Topic: Construction

Estimated # of Lessons: Open all year

Learning Targets: ● I can talk about how a sculpture is different from a painting/drawing. ● I can view a sculpture in the round. ● I can make a sculpture with various materials. ● I can create and explore construction through the process of stacking. ● I can share blocks.

Essential Questions: ● What is a sculpture? ● How is art we can touch different from art we can only look at? ● How do we build things that stand up?

Learning Activities: ● Use blocks and other manipulatives to build 3D structures ● Use cardboard, paper and other materials to create 3D structures. ● Create with loose parts on an Art mat.

Preschool Art: Unit 6 Course Name:

Preschool Art

Unit Title: Printmaking

Opens in Trimester 2

Unit Overview: We press things in paint. Then we press them on paper. Different things make different prints! STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.PKa: Use a variety of artmaking tools VA:Cr1.1.PKa:Engage in self-directed play with materials. VA:Cr2.2.PKa: Share materials with others.

Transfer Goals ● ●

Understandings ● ●

●

Different objects and materials leave different kinds of prints. Printing is different from drawing or painting because you create the image by pressing, not by moving a tool across paper. You can make the same print over and over.

Essential Questions ● ●

Knowledge ● ● ● ●

Learn the printmaking process Understand how printing differs from drawing or painting Explore how different items leave unique prints “Draw” into rolled paint to make a monoprint

How is printing different from drawing or painting? What happens when you press something into paint and then press onto paper?

Skills (Framed as Learning Targets) ● ● ●

I can explore printmaking tools and materials. I can explore how printmaking is different from drawing and painting. I can press objects into paint to make a print.

Key Vocabulary: Print, stamp, texture, pattern STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment N/A

Formative Assessment Small Group Observation: ● Use printmaking tools ● Stamp with found objects ● Print with stamps ● Create a simple monoprint

Preschool Art: Unit 6 STAGE 3: LEARNING PLAN First Topic: Printmaking

Estimated # of Lessons: Open all year

Learning Targets: ● I can learn about the tools for printmaking ● I can learn how printmaking is different from drawing and painting. ● I can explore the printmaking process. ● I can use tools to draw into paint on a printing plate.

Essential Questions: ● How is printing different from drawing or painting? ● What happens when you press something into paint and then press onto paper?

Learning Activities: ● Demonstration : How to use printmaking tools. ● Demonstration: How to stamp with found objects. ● Demonstration: How to create a simple monoprint.

Preschool Art: Unit 7 Course Name:

Preschool Art

Unit Title: Ceramics

Opens in Trimester 1

Unit Overview: We pinch, press, and roll clay. We use our hands and tools. We make forms and add texture. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Re.7.2.Pka: Distinguish between images and real objects. VA:Cr2.1.PKa: Use a variety of artmaking tools. VA:Pr4.1.PKa: Identify reasons for saving and displaying objects, artifacts, and artwork. VA:Cr1.2.PKa: Engage in self-directed, creative making.

Transfer Goals ● ●

Understandings ● ● ● ●

Clay is a material that can be pinched, pressed, and rolled to make forms. Clay feels different from other art materials and can be soft and squishy. Tools can change the texture and form of clay. Clay can be used to make both flat on the table or standing up art.

Essential Questions ● ● ● ●

Knowledge ● ●

Learn how to pinch, press, roll clay or Play Doh to form 3D shapes Explore tools that can be used with clay or Play Doh to change the form, size or add texture.

What is clay? What can we do with clay? How does clay change form? What does clay feel like?

Skills (Framed as Learning Targets) ● ● ●

I can pinch, press and roll clay or PlayDoh with my hands or tools. I can create 3D forms with clay or PlayDoh. I can explore texture in clay or PlayDoh using various tools.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment N/A

Formative Assessment Small Group Observation: ● Create slab project with pressed textures; manipulate clay with hands and tools ● Explore forms and textures with PlayDoh

Preschool Art: Unit 7 STAGE 3: LEARNING PLAN First Topic: Ceramics

Estimated # of Lessons: Open all year

Learning Targets: Essential Questions: ● I can pinch, press and roll clay or PlayDoh ● What is clay? with my hands or tools. ● What can we do with clay? ● I can create 3D forms with clay or PlayDoh. ● How does clay change shape? ● I can explore texture in clay or PlayDoh ● What does clay feel like? using various tools. ● Learning Activities: ● Create slab project with pressed textures; manipulate clay with hands and tools ● Adding to images with Play Doh on Art mats ● Explore forms and textures with PlayDoh and tools

Preschool Art: Unit 8 Course Name:

Preschool Art

Unit Title: Fiber Arts

Opens in Trimester 2

Unit Overview: We use yarn, fabric, and ribbons. We practice beading and lacing. We weave on a big loom. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cn10.1.Pka: Explore the world using descriptive and expressive words and artmaking. VA:Cr2.1.PKa: Use a variety of artmaking tools VA:Cr1.2.PKa: Engage in self-directed, creative making.

Transfer Goals ● ●

Understandings ● ● ● ●

Fiber arts use materials like yarn, fabric, and ribbon to make art. Weaving is pushing and pulling materials over and under each other. Threading and lacing help develop hand skills while making patterns and designs. Different fiber materials feel different and can be combined in many ways.

Essential Questions ● ● ●

Knowledge ● ● ● ●

How to bead How to weave on a large loom, How to weave with ribbon or fabric How to lace

Key Vocabulary: pattern, beading, lacing, weaving

What can we make with yarn and fabric? How do we weave by going over and under? What can we make by pushing and pulling materials?

Skills (Framed as Learning Targets) ● ● ●

I can explore the fiber arts process with a variety of materials/tools I can develop fine motor skills through beading practices. I can push and pull yarn through a hole or loom.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment N/A

Formative Assessment Small Group Observation: ● Students can safely use and care for Fiber Arts tools and materials. ● Students actively participate in a group weaving OR an activity that simulates a over/under weaving pattern ●

Preschool Art: Unit 8 STAGE 3: LEARNING PLAN First Topic: Fiber Arts

Estimated # of Lessons: Open all year

Learning Targets: ● I can explore the fiber arts process with a variety of materials/tools ● I can develop fine motor skills through beading practices. ● I can push and pull yarn through a hole or loom.

Essential Questions: ● What can we make with yarn and fabric?

Learning Activities: ● Demonstration: How to weave ribbon on a large loom ● Demonstration: How to put beads onto a string or chenille stem ● Demonstration: Lacing on a lacing card

Kindergarten Art

Kindergarten Art Aug-Sept

Trimester 1

Opening Unit

Station 1: Drawing

Station 2: Painting

Station 3: Paper Arts

We use art words to talk about art. We explore art tools. We choose what we want to use. We tell stories about our art. We share, care for, and clean up tools.

We draw what we see, imagine, remember, and feel. We use crayons, markers, colored pencils, and oil pastels. We add details. We use "shape goggles" to draw what we see.

We paint differently than we draw! We learn to use brushes and water. We mix colors to make new colors. We fill our pages with paintings.

We cut, tear, arrange, and glue paper. We use scissors safely. We overlap shapes to make our art interesting.

Kindergarten Art (continued) Trimester 2

Trimester 3

Station 4: Construction

Station 5: Printmaking

Station 6: Ceramics

Station 7: Fiber Arts

We make sculptures from paper. We fold, curl, and build. We attach things together. We can see our art from all sides!

We prepare and press to make prints. Printmaking is different from drawing and painting. We make stamps with various items and marker transfers.

We work with clay, playdoh, and Model Magic. We pinch to make pots. We make figures. We add details.

We weave by going over and under. We use paper and yarn. We learn about looms. We make patterns.

Kindergarten Art: Unit 1 Course Name: Kindergarten Art

Opening the Studio

Est # of Lessons: 7-9

Unit Overview: We use art words to talk about art. We explore art tools. We choose what we want to use. We tell stories about our art. We share, care for, and clean up tools. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Re.7.2.Ka:Describe what an image represents. VA:Cr3.1.Ka: Explain the process of making art while creating. VA:Cr1.2.Ka: Engage collaboratively in creative art-making in response to an artistic problem.

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

An art studio is a special place where we make art, explore materials, and work together. Artists choose from different materials and centers to create their artwork. Cleaning up and taking care of tools helps everyone make art safely. Sharing our artwork and talking about what we made helps us learn from each other. Artists look closely at things.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Key Vocabulary: art studio, tool, material, story, idea, observe

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

What is an art studio? How do we share art materials with friends? How do we take care of art tools?

Skills (Framed as Learning Targets)

● I can independently choose and explore ● ● ● ● ● ●

materials. I can choose from a variety of art centers and explore art materials specific to that center. I can safely and effectively clean up my tools and center at the end of class. I can share and talk about my artwork with others. I can collaborate with peers at an art center. I can tell the story of my art. I can share an artist statement about a work of art I make.

Kindergarten Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Whole Group Observation: Students can navigate and maintain the art studio as community space.

Observations: Sitting on the rug, whole body listening, transitioning from listening to artmaking to clean up. Art Reflection Statements: Students can share ideas about art choices through statements such as “I chose _______ because _______.”

STAGE 3: LEARNING PLAN First Topic: Opening the Studio

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can independently choose and explore materials. ● I can choose from a variety of art centers and explore art materials specific to that center. ● I can safely and effectively clean up my tools and center at the end of class. ● I can share and talk about my artwork with others. ● I can share tools with peers at an art center. ● I can tell the story of my art. ● I can share an artist statement about a work of art I make.

Essential Questions: ● What is an art studio? ● How do we share art materials with friends? ● How do we take care of art tools?

Learning Activities: ● Learn to play art game: for example Color Matching Concentration ● Learn to share, build with and put away Keva planks ● Learn to share, build with and put away Shape Scapes ● Learn to share, build with and put away Bristle Blocks ● Learn to share, build with and put away wooden blocks ● Learn clean up routine: stop, sort and put tools back, put away art work and return to the rug ● Learn sharing routine: check listening audience, share art-making process in a few sentences

Kindergarten Art: Unit 2 Course Name: Kindergarten Art

Station 1: Drawing

Opens in Trimester 1

Unit Overview:We draw what we see, imagine, remember, and feel. We use crayons, markers, colored pencils, and oil pastels. We add details. We use "shape goggles" to draw what we see. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr2.1.Ka: Through experimentation, build skills in various media and approaches to art-making. VA:Cr2.2.Ka: Identify safe and non-toxic art materials, tools, and equipment. VA:Re8.1.Ka: Interpret art by identifying subject matter and describing relevant details. VA:Cn11.1.Ka: Identify the purpose of an artwork.

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

● ● ● ● ●

Artists draw things they see, imagine, remember, and feel. Different drawing tools like crayons, markers, colored pencils, and oil pastels make different kinds of marks. Using "shape goggles" helps us see the shapes in objects around us. Adding details makes our drawings more interesting and complete. Taking good care of drawing tools helps them work better.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Essential Questions

● ● ●

What do artists draw? Where do artists get their ideas? How can you make different kinds of lines and shapes?

Knowledge

Skills (Framed as Learning Targets)

Where artists get ideas How to use discovery & exploration in artmaking How to use markers, crayons, colored pencils, oil pastels How to add details How to draw observationally

● I can explore the drawing process with a

Key Vocabulary: portrait, shape words, lines, open, closed, symmetry, see, imagine, remember, feel, markmaking, abstract, details, background, develop craft

● ● ● ● ●

variety of materials/tools. I can explore a variety of drawing media including crayons, markers, colored pencils, and oil pastels. I can identify and draw different lines and shapes. I can create a drawing by observing an object using “shape goggles.” I can add details to my artwork. I can use the entire page for my composition.

Kindergarten Art: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed works of art: Artwork includes details, and has an imagined/remembered narrative.

Small Group Skillbuilder: Student can safely use and care for drawing tools. In progress artwork and observations: Constructs drawings putting together various shapes and lines. Can place tools back in proper location. Whole Group discussion: Artist talk - can speculate how an artist may have found the idea for their work of art. Shape Goggles Activity: Student successfully identifies and draw shapes to build a simple stuffed animal/subject matter.

STAGE 3: LEARNING PLAN First Topic: Drawing

Estimated # of Lessons: Starts in trimester 1

Learning Targets: ● I can explore the drawing process with a variety of materials/tools. ● I can explore a variety of drawing media including crayons, markers, colored pencils, and oil pastels. ● I can identify and draw different lines and shapes. ● I can create a drawing by observing an object using “shape goggles.” ● I can add details to my artwork. ● I can use the entire page for my composition.

Essential Questions: ● What do artists draw? ● Where do artists get their ideas? ● How can you make different kinds of lines and shapes?

Learning Activities: ● Explore mark making and drawing at table stations with crayons, markers, colored pencils, tracers, stencils, texture plates ● Demonstration: how to use tracers, stencils, texture plates ● Whole group lesson /demonstration “Shape Goggles” ● Rate My Drawing rubric discussion ● Whole group brainstorm “Detail-A-Thon”

Kindergarten Art: Unit 3 Course Name: Kindergarten Art

Station 2: Painting

Opens in Trimester 1

Unit Overview: We paint differently than we draw! We learn to use brushes and water. We mix colors to make new colors. We fill our pages with paintings. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

VA:Cr1.1.Ka: Engage in exploration and imaginative play with materials. VA:Cr2.1.Ka: Through experimentation, build skills in various media and approaches to art-making. VA:Cr2.2.Ka: Identify safe and non-toxic art materials, tools, and equipment. VA:Cr2.3.Ka: Create art that represents natural and constructed environments. VA:Re.7.2.Ka: Describe what an image represents. VA:Re8.1.Ka: Interpret art by identifying subject matter and describing relevant details. VA:Cn10.1.Ka: Create art that tells a story about a life experience.

Transfer Goals ● ●

Understandings ● ● ● ●

Paint can be used to create art that represents things we see in nature and in our world. Artists use different painting tools and techniques to make different effects. Paintings can tell stories about our experiences and what's important to us. Safe use of painting materials helps everyone create successfully.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ● ● ●

How to care for and use paint sticks, watercolor paints, & tempera cakes How paintings are different than drawings What types of paintings do artists make How to use the brush to activate paint How to control the amount of water How water changes paint value How to make concentric shapes How to fill the page

What can we paint? How do I mix colors? What stories can paint tell?

Skills (Framed as Learning Targets) ● ●

● ●

I can explore the painting process with a variety of materials/tools. I can explore brushstrokes and mark making with various painting tools such as brushes, scrapers, pipettes, foam brushes, scrubbers and alternative paint (shaving cream). I can explore mixing colors. I can mix the secondary colors using the

Kindergarten Art: Unit 3 ● ● ●

How to care for paintbrushes How to transform dry paintings into mixed media works of art How to make a resist painting

primary colors.

Key Vocabulary: portrait, still life, abstract, landscape, value, figure, composition, tints, shades, hue, value STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Paintings show varied use of brushes and water. Paintings have a variety of colors. Paintings have a filled background color.

Small Group Skillbuilder: Students can safely mix and use paints and painting tools. Color Mixing Skillbuilder: Students can make a variety of colors by mixing paints.

STAGE 3: LEARNING PLAN First Topic: Painting

Estimated # of Lessons: Opens in trimester 1

Learning Targets : ● I can explore the painting process with a variety of materials/tools. ● I can explore brushstrokes and mark making with various painting tools such as brushes, scrapers, pipettes, foam brushes, scrubbers and alternative paint (shaving cream). ● I can explore mixing colors. ● I can mix the secondary colors using the primary colors.

Essential Questions: ● What can we paint? ● How do I mix colors? ● What stories can paint tell?

Learning Activities: ● Demonstration: how to use/care for paintbrush ● Demonstration: making different types of marks ● Demonstration: how to mix colors ● View, notice & wonder- portraits, landscapes, abstract, still life

Kindergarten Art: Unit 4 Course Name: Kindergarten Art

Station 3: Paper Arts

Opens in Trimester 1

Unit Overview: We cut, tear, arrange, and glue paper. We use scissors safely. We overlap shapes to make our art interesting. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

VA:Cr1.1.Ka: Engage in exploration and imaginative play with materials. VA:Cr2.1.Ka: Through experimentation, build skills in various media and approaches to art-making. VA:Cr2.2.Ka: Identify safe and non-toxic art materials, tools, and equipment. VA:Cr2.3.Ka: Create art that represents natural and constructed environments. VA:Re8.1.Ka: Interpret art by identifying subject matter and describing relevant details. VA:Cn10.1.Ka: Create art that tells a story about a life experience. VA:Cn11.1.Ka: Identify a purpose of an artwork.

Transfer Goals ● ● ●

Understandings ● ●

Paper can be cut, torn, and glued to create collages and paper art. Sharing materials and tools helps everyone make art.

Essential Questions ● ●

Knowledge ● ● ● ● ● ●

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How can we make art with paper? What happens when we arrange and overlap shapes? Skills (Framed as Learning Targets)

How to hold and use scissors How to cut lines with scissors How to cut shapes with scissors How to overlap shapes How to envision an idea in collage How to add details using different papers

●

Key Vocabulary: Organic and geometric shapes, Overlap, Envision, Engage and Persist

●

● ●

I can explore the paper arts process with a variety of materials/tools. I can safely and effectively use scissors to cut paper. I can explore the collage process through the techniques of cutting, tearing, arranging, and glueing. I can use my knowledge of line, shape, and color to experiment and develop a 2D composition.

Kindergarten Art: Unit 4 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Contain different kinds of shapes using scissors and tearing. Shapes are overlapped. Artwork is glued securely.

Small Group Work: Students can safely use and care for collage tools and materials. Observation, 1:1 Coaching, and small group activities: Students can draw, trace, cut, and glue pieces of paper together.

STAGE 3: LEARNING PLAN First Topic:

Estimated # of Lessons: Opens Trimester 1

Learning Targets : ● I can explore the paper arts process with a variety of materials/tools. ● I can safely and effectively use scissors to cut paper. ● I can explore the collage process through the techniques of cutting, tearing, arranging, and gluing. ● I can use my knowledge of line, shape, and color to experiment and develop a 2D composition.

Essential Questions: ● How can we make art with paper?

Learning Activities: ● Demonstration: how to hold, carry and cut with scissors ● Types of shapes: geometric & organic ● Demonstration: how to cut or tear a shape, how to arrange shapes ● Demonstration: how to glue a shape to background ● View, notice & wonder collage works

Kindergarten Art: Unit 5 Course Name: Kindergarten Art

Station 4: Construction

Opens in Trimester 2

Unit Overview: We make sculptures from paper. We fold, curl, and build. We attach things together. We can see our art from all sides! STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ●

VA:Cr1.1.Ka: Engage in exploration and imaginative play with materials. VA:Cr2.1.Ka: Through experimentation, build skills in various media and approaches to art-making. VA:Cr2.2.Ka: Identify safe and non-toxic art materials, tools, and equipment VA:Cr2.3.Ka: Create art that represents natural and constructed environments. VA:Re.7.1.Ka: Identify uses of art within one’s personal environment. VA:Re8.1.Ka: Interpret art by identifying subject matter and describing relevant details. VA:Cn10.1.Ka: Create art that tells a story about a life experience. VA:Cn11.1.Ka: Identify the purpose of an artwork.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Sculptures are three-dimensional art that we can walk around and see from all sides. Building and stacking materials in different ways creates structures that stand up. Construction art is different from drawings and paintings because we can touch it and see it from many sides. Different materials can be used to build and create.

Essential Questions ● ●

What can we build with blocks and materials? How do we make things stand up?

Kindergarten Art: Unit 5 Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

How to make a paper sculpture How to make paper zigzag and curl How to build using symmetry How to make a paper stand up How to make an L-brace How to use adhesives How to make brown paper bag puppets and stick puppets

● ● ●

I can explore the construction process with a variety of materials/tools. I can explore materials to create 3D works of art. I can identify how artists have used building materials to create their work.

Key Vocabulary: sculpture, form, space, tower, freeform, statue, abstract, base, gluing platform, attachment STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works: Paper sculptures are created by folding, curling and gluing. Works created with blocks depict a person, place or experience.

Small Group Work: ● Students can safely use and care for construction tools and materials. ● Students can make curls, accordion folds with paper strips.

STAGE 3: LEARNING PLAN First Topic: Construction

Estimated # of Lessons: Opens Trimester 2

Learning Targets : ● I can explore the construction process with a variety of materials/tools. ● I can explore materials to create 3D works of art.

Essential Questions: ● What can we build with blocks and materials? ● How do we make things stand up?

Learning Activities: ● Demonstration of how to make a gluing platform, curls, and accordion folds with paper strips ● Demonstration of how to hold glued pieces and count to 10 ● View, notice and wonder when looking at examples of sculptures — walk around the sculpture and look at it from all sides, notice a base, etc.

Kindergarten Art: Unit 6 Course Name: Kindergarten Art

Station 5: Printmaking

Opens in Trimester 2

Unit Overview: We press to make prints. Printmaking is different from drawing and painting. We make marker transfers and stamps. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

VA:Cr1.1.Ka: Engage in exploration and imaginative play with materials. VA:Cr2.1.Ka: Through experimentation, build skills in various media and approaches to art-making. VA:Cr2.3.Ka: Create art that represents natural and constructed environments. VA:Re.7.1.Ka: Identify uses of art within one’s personal environment. VA:Re8.1.Ka: Interpret art by identifying subject matter and describing relevant details. VA:Cn10.1.Ka: Create art that tells a story about a life experience. VA:Cn11.1.Ka: Identify a purpose of an artwork.

Transfer Goals ● ● ●

Understandings ● ● ●

Printmaking is when you press something into ink or paint and then press it onto paper to make a mark. Different objects and materials leave different kinds of prints. You can make the same print over and over.

Essential Questions ● ●

Knowledge ● ● ●

Printing is different from drawing or painting because you create the image by pressing, not by moving a tool across paper How to create a marker transfer How does a print differ from a painting or drawing

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

What is a print? How do the prints I make create art?

Skills (Framed as Learning Targets) ● ● ●

I can explore and express my ideas through the printmaking process with a variety of materials/tools. I can create a monoprint. I can print with non-traditional objects.

Key Vocabulary: multiples, repetition, plate, press, marker transfer, pattern

Kindergarten Art: Unit 6 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Artworks or completed explorations of monoprints using a variety of materials as printing tools.

Small Group Work: Students can safely use and care for printmaking tools and materials.

STAGE 3: LEARNING PLAN First Topic: Printmaking

Estimated # of Lessons: Opens Trimester 2

Learning Targets : ● I can explore and express my ideas through the printmaking process with a variety of materials/tools. ● I can create a monoprint. ● I can print with non-traditional objects.

Essential Questions: ● What is a print? ● How do the prints I make create art?

Learning Activities: ● Demonstration: How to draw on a plate with washable markers ● Demonstration: How to press and pull a print ● Small group exploration - printing with objects & paint

Kindergarten Art: Unit 7 Course Name: Kindergarten Art

Station 6: Ceramics

Opens in Trimester 3

Unit Overview: We work with clay, playdoh, and Model Magic. We pinch to make pots. We make figures. We add details. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

VA:Cr1.1.Ka: Engage in exploration and imaginative play with materials. VA:Cr2.1.Ka: Through experimentation, build skills in various media and approaches to art-making. VA:Cr2.2.Ka: Identify safe and non-toxic art materials, tools, and equipment. VA:Pr5.1.Ka: Explain the purpose of a portfolio or collection. VA:Re.7.1.Ka: Identify uses of art within one’s personal environment VA:Cn11.1.Ka: Identify a purpose of an artwork.

Transfer Goals ● ● ●

Understandings ● ● ●

Clay is a special material that can be pinched, pressed, rolled, and shaped. Tools can change the texture and shape of clay in different ways. Clay needs to be stored carefully so it stays workable.

Essential Questions ● ●

Knowledge ● ● ● ●

How to work with Model Magic How to add features to a Model Magic mask How to make a Pinch Pot How to create a figure in Play Dough using a 3D model

Key Vocabulary: glaze, kiln, pinch technique, slab, ancient, form, fragile

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

What can we make with clay? How does clay feel different from other materials?

Skills (Framed as Learning Targets) ● ● ● ●

I can explore the sculpture process with a variety of materials/tools. I can manipulate a play doh, model magic, and clay to create a slab, sphere and coil. I can refine my sculptural works with detail through using pinch technique. I can add texture to a 3D form I mold.

Kindergarten Art: Unit 7 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Pinched and/or pressed clay which include texture/details.

Small Group Work: Students can safely use and care for ceramics tools and materials. Small Group Skillbuilder: Practice forming sphere, and pinch pot with hands in play doh, Model Magic, and/or Clay

STAGE 3: LEARNING PLAN First Topic: Ceramics

Estimated # of Lessons: Opens Trimester 3

Learning Targets : ● I can explore the sculpture process with a variety of materials/tools. ● I can manipulate a Play Doh, Model Magic, and clay to create a slab, sphere and coil. ● I can refine my sculptural works with detail through using pinch technique. ● I can add texture to a 3D form that I mold.

Essential Questions: ● What can we make with clay? ● How does clay feel different from other materials?

Learning Activities: ● Demonstration of how to flatten clay into a slab ● Demonstration of how to roll a sphere with clay ● Explore with tools to create textures in clay ● View, notice and wonder when observing clay works by other artists

Kindergarten Art: Unit 8 Course Name: Kindergarten Art

Station 7: Fiber Arts

Opens In Trimester 3

Unit Overview: We weave by going over and under. We use paper and yarn. We learn about looms. We make patterns. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ● ●

Understandings ● ● ● ●

Fiber arts use materials like yarn, fabric, and ribbon to make art. Weaving is when you push and pull materials over and under each other. Threading, lacing, and beading help us practice using our hands in new ways. Different fiber materials feel different and can be combined to make patterns.

Essential Questions ● ● ●

Knowledge ● ●

How to weave with paper How to cut/make a paper loom

Key Vocabulary: pattern (ABAB), loom, over/under, weaving, warp, weft

What can we do with yarn? How do we learn how to weave? What can we make by lacing and beading?

Skills (Framed as Learning Targets) ● ● ●

I can explore the fiber arts process with a variety of materials/tools. I can develop techniques to create a weaving with an ABAB pattern. I can develop craft and learn how to create a paper loom.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Summative: Completed paper weaving.

Kindergarten Art: Unit 8 STAGE 3: LEARNING PLAN First Topic: Weaving

Estimated # of Lessons: Opens Trimester 3

Learning Targets : ● I can explore the fiber arts process with a variety of materials/tools. ● I can develop techniques to create a weaving with an ABAB pattern. ● I can develop craft and learn how to create a paper loom.

Essential Questions: ● What can we do with yarn? ● How do we learn how to weave?

Learning Activities: ● Demonstration: how to weave left to right with under/over pattern ● Collaborative weaving ● Demonstration and small group instruction: how to make a paper loom Second Topic: Alternate Fiber Arts Materials

Estimated # of Lessons: Opens Trimester 3

Learning Targets: ● I can explore the fiber arts process with a variety of materials/tools. ● I can develop techniques to create a weaving with an ABAB pattern. ● I can lace through holes in a lacing card ● I can thread beads onto yarn or a chenille stem

Essential Questions: ● What can we make by lacing and beading?

Learning Activities: ● Demonstration of lacing with yarn, shoelaces, thread or chenille stems through a lacing card ● Demonstration of threading beads onto yarn or a chenille stem

First Grade Art

First Grade Art Aug-Sept

Trimester 1

Opening Unit

Station 1: Drawing

Station 2: Painting

Station 3: Paper Arts

We learn why art matters. We learn where art ideas come from. We work at table stations. We make decisions about our art. We describe our choices.

Where do drawing ideas come from? We draw what we see, imagine, remember, and feel. We use stencils, tracers, and texture plates. We practice looking closely to add details.

We paint what we see around us! We mix primary colors to make secondary colors. We use different painting tools. We learn about portraits, landscapes, still lifes, and abstract art. We learn how to change the effects of paint with water.

We use positive and negative shapes in collage. We make painted papers. We move our shapes around before we glue them down.

First Grade Art (continued) Trimester 2

Trimester 3

Station 4: Construction

Station 5: Printmaking

Station 6: Ceramics

Station 7: Fiber Arts

We use paper and cardboard to make sculptures. We use different tools to change our materials. We learn how artists show space and depth.

We make monoprints with new techniques. We use shapes to build ideas. We make the same print more than once. We use our prints to make finished artwork.

We pinch and press clay to make pots and slabs. We make our clay the right thickness. We use tools to add texture, remove clay, and add details.

We weave different patterns on looms. We learn to crochet chain stitches. We see how artists around the world use weaving and fiber arts.

First Grade Art: Unit 1 Course Name: First Grade Art

Unit Title: Opening The Studio

Est. # of Lessons: 7-9

Unit Overview: We learn why art matters. We learn where art ideas come from. We work at table stations. We make decisions about our art. We describe our choices. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.1.1a: Engage collaboratively in exploration and imaginative play with materials. VA:Cr1.2.1a: Use observation and investigation in preparation for making a work of art. VA:Cr3.1.1a: Use art vocabulary to describe choices while creating art. VA:Cn11.1.1a: Understand that people from different places and times have made art for a variety of reasons.

Transfer Goals ● ● ● ●

Understandings ● ● ●

Artists explore and play with materials to create things. An art studio is a special place where we make art, share materials, and take care of our tools. Artists look closely.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ●

Where do Art ideas come from How to talk with peers to get ideas How to keep tools sorted What to do when you are stuck What are details How to ask questions and make comments during sharing

Key Vocabulary: observe, details, workspace, station, composition

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

What is an artist? What do artists do? What is an art studio?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can come up with an idea for my art. I can independently choose and explore materials. I can talk about the art that I made and explain my decision making process. I can decide when my work of art is complete. I can persevere through challenges when creating my artwork. I can share an artist statement about a work of art I make.

●

First Grade Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Whole Group Observation: Students can navigate and maintain the art studio as community space.

Observations: Independently navigating the room to grab extra tools, cleaning up centers Art Reflection Statements: Students can share ideas about art choices through statements such as “I chose _______ because _______.”

STAGE 3: LEARNING PLAN First Topic: Opening the Studio

Estimated # of Lessons: 7-9

Learning Targets : ● I can come up with an idea for my art. ● I can independently choose and explore materials. ● I can talk about the art that I made and explain my decision making process. ● I can decide when my work of art is complete. ● I can persevere through challenges when creating my artwork. ● I can share an artist statement about a work of art I make.

Essential Questions: ● What is an artist? ● What do artists do? ● What is an art studio?

Learning Activities: ● Learn to play drawing games: for example Roll-A-Creature Game ● Learn to access drawing challenges: for example Hand Monster Challenge ● Learn to access, build with and put away Keva planks ● Learn to access, build with and put away Shape Scapes ● Learn to access, share and build with Bristle Blocks ● Learn to access, build with and put away wooden blocks ● Learn clean up routine: stop, sort and put away tools, put away art work and return to the rug ● Learn sharing routine: check listening audience, share art-making process in a few sentences

First Grade Art: Unit 2 Course Name: First Grade Art

Unit Title: Drawing

Opens in Trimester 1

Unit Overview: Where do drawing ideas come from? We draw what we see, imagine, remember, and feel. We use stencils, tracers, and texture plates. We practice looking closely to add details. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ●

VA:Cr1.1.1a: Engage collaboratively in exploration and imaginative play with materials. VA:Cr1.2.1a: Use observation and investigation in preparation for making a work of art. VA:Cr2.1.1a: Explore uses of materials and tools to create works of art or design. VA:Cr2.2.1a: Demonstrate safe and proper procedures for using materials, tools, and equipment while making art. VA:Cr2.3.1a: Identify and classify uses of everyday objects through drawings, diagrams, sculptures, or other visual means. VA:Cr3.1.1a: Use art vocabulary to describe choices while creating art. VA:Re.7.1.1a: Select and describe works of art that illustrate daily life experiences of one’s self and others. VA:Re.7.2.1a: Compare images that represent the same subject.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Artists get ideas from what they see, imagine, remember, and feel. We can use shapes to help us draw objects and creatures. Looking closely at something helps us add more details to our drawings. Drawings can tell stories about our lives and the world around us.

Essential Questions ● ● ●

Where do artists get ideas for their drawings? How do artists use shapes to draw what they see? How can artists learn to use new materials?

First Grade Art: Unit 2 Knowledge ● ● ● ● ● ● ● ● ● ●

How to start with pencil How to know when your drawing is done How to choose drawing tools How to get and return tools from the Drawing Station How to follow how-to-draw book instructions How to access and return drawing books What to do when you have made a mistake How to use texture plates, tracers & stencils Portraits, Landscapes & Still Lifes How to use shapes to build ideas

Skills (Framed as Learning Targets) ● ● ● ● ●

I can explore the drawing process with a variety of materials/tools. I can envision an idea for my artwork. I can observe a work of art and reflect on what I see. I can observe an object and draw what I see using “shape goggles.” I can draw using stencils, tracers, and texture plates.

Key Vocabulary: see, remember, imagine, feel, markmaking, abstract, details, background, foreground, middleground, overlap, envision, express STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Completed works of art: Artwork makes use of the entire page, includes details, and has an imagined/remembered narrative.

Formative Assessment In progress artwork and observations: Can explain next steps in an artwork. Can ask “Now what?” and “What if?” during artmaking. Adding details to artwork. Skill Builder: “Beautiful Oops” -student can take a manufactured mistake and turn it into a new work of art.

First Grade Art: Unit 2 STAGE 3: LEARNING PLAN First Topic: How do Artists Get Ideas?

Estimated # of Lessons: Opens Trimester 1

Learning Targets : ● I can explore the drawing process with a variety of materials/tools. ● I can envision an idea for my artwork. ● I can observe a work of art and reflect on what I see.

Essential Questions: ● Where do artists get ideas for their drawings?

Learning Activities: ● View and discuss artist examples/books/videos that show how artists get ideas. ● Demonstration and whole group exercise on how to envision/visualize and idea for a work of art. ● Demonstration on how to navigate when our artwork does not look how we want it to. ● Beautiful Oops Skillbuilder: Transform a “mistake” in an artwork into a new idea. ● Practice making works of art we envision. Second Topic: Experimenting in Drawing

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can explore the drawing process with a variety of materials/tools. ● I can draw using stencils, tracers, and texture plates.

Essential Questions: ● How can artists learn to use new materials?

Learning Activities: ● View, discuss and evaluate how artists ask “What if I?” when using different materials? ● Drawing Around the Room: Practice using different tools and materials in drawing such as stencils, tracers, and texture plates. Third Topic: Drawing What We See

Estimated # of Lessons:

Learning Targets: ● I can observe a work of art and reflect on what I see. ● I can observe an object and draw what I see using “shape goggles.”

Essential Questions: ● Where do artists get ideas for their drawings? ● How do artists use shapes to draw what they see?

Learning Activities: ● View and discuss artist examples that show how artists draw what they see. ● Shape Goggles Demonstration: Combining shapes in drawing to create simple forms that we see. ● Review of using How to Draws and images to look and draw shapes we see. ● Practice creating works of art from observational drawing.

First Grade Art: Unit 3 Course Name: First Grade Art

Unit Title: Painting

Opens in Trimester 1

Unit Overview: We paint what we see around us! We mix primary and secondary colors. We use different painting tools. We learn about portraits, landscapes, still lifes, and abstract art. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ●

VA:Cr1.1.1a: Engage collaboratively in exploration and imaginative play with materials. VA:Cr1.2.1a: Use observation and investigation in preparation for making a work of art. VA:Cr2.1.1a: Explore uses of materials and tools to create works of art or design. VA:Cr2.2.1a: Demonstrate safe and proper procedures for using materials, tools, and equipment while making art. VA:Cr2.3.1a: Identify and classify uses of everyday objects through drawings, diagrams, sculptures, or other visual means. VA:Cr3.1.1a: Use art vocabulary to describe choices while creating art. VA:Re.7.1.1a: Select and describe works of art that illustrate daily life experiences of one’s self and others. VA:Re.7.2.1a: Compare images that represent the same subject.

Transfer Goals ● ●

● ●

Understandings ● ● ● ●

We can mix primary colors (red, yellow, blue) to make secondary colors (orange, green, purple). Paintings can show people (portraits), places (landscapes), things (still lifes), or just colors and shapes (abstract art). Artists paint what they see, imagine, remember, and feel. Different painting tools make different marks and effects.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ●

How do artists use colors to show what they see and feel? What can we learn from looking at different kinds of paintings? How do artists use color and shape to create unique works of art? How can artists develop their craft in new materials while making art?

First Grade Art: Unit 3 Knowledge ● ● ● ●

Skills (Framed as Learning Targets)

How to paint from observation (flowers) How to mix liquid tempera paints How to mix secondary colors using primary colors How to add backgrounds to create detail through painting.

Key Vocabulary: mixed media, space, background, warm & cool colors, color harmony

● ● ● ● ●

I can explore the painting process with a variety of materials/tools. I can mix a variety of colors using the primary and secondary colors. I can make a painting that represents something I see, imagine, remember or feel. I can identify portraits, landscape, still life and abstract paintings. I can use the entire page for my composition.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Work: Paintings of people, animals, objects and/or designs fill the page. They show evidence of different tools and the effects of water.

In progress artwork and observations: Can explain next steps in an artwork. Can ask “Now what?” and “What if?” during artmaking. Adding details to artwork. Skillbuilder: Color Mixing - Mixing a variety of colors from primary colors

STAGE 3: LEARNING PLAN First Topic: Using and Mixing Liquid Tempera Paint Estimated # of Lessons: Opens Trimester 1 Learning Targets: ● I can explore the painting process with a variety of materials/tools. ● I can mix a variety of colors using the primary and secondary colors. ● I can use the entire page for my composition.

Essential Questions: ● How do artists use colors to show what they see and feel? ● What can we learn from looking at different kinds of paintings? ● How do artists use color and shape to create unique works of art? ● How can artists develop their craft in new materials while making art?

Learning Activities: ● Demonstration on how to use and control liquid tempera paint ● Color Mixing Skillbuilder: Practice with how to mix secondary colors from primary colors ● View and discuss how artists use primary and secondary colors together to create unique works of art ● Practice making paintings using primary and mixed secondary colors.

First Grade Art: Unit 3 Second Topic: Ideas in Painting

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can make a painting that represents something I see, imagine, remember or feel. ● I can identify portraits, landscape, still life and abstract paintings.

Learning Activities: ● View and discuss artist examples of how painters create artworks from what they see, feel, remember, and imagine ● View and discuss artist examples of how artists create landscapes, portraits, abstract, and still life art. ● Practice making artworks that artists see, feel, remember, and imagine. Third Topic: Painting What we See

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can explore the painting process with a variety of materials/tools. ● I can make a painting that represents something I see, imagine, remember or feel. ● I can use the entire page for my composition.

Learning Activities: ● View, discuss and evaluate artist examples of artists who create paintings based on closely observing their subject matter. ● Demonstration of creating detail in painting by painting what we see. ● Demonstration of adding a background to add detail to paintings. ● Practice creating paintings of what we see.

First Grade Art: Unit 4 Course Name: First Grade Art

Unit Title: Paper Arts

Opens in Trimester 1

Unit Overview: We use positive and negative shapes in collage. We make painted papers. We move our shapes around before we glue them down. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

Transfer Goals ● ● ●

●

Understandings ●

● ● ●

When we cut out a shape, we get two pieces: the positive shape (the part we cut out) and the negative shape (the hole left behind). We can use both positive and negative shapes in our collages. Arranging and rearranging shapes before gluing helps us make better choices. Glue is a tool that permanently attaches pieces together, so we plan first.

Essential Questions ● ● ●

Knowledge ● ●

How do artists arrange shapes to make interesting artwork? How do artists use prepared materials to create unique works of art? How can artists plan to create collage works with intention?

Skills (Framed as Learning Targets)

How to use positive and negative shapes How to prepare and use painted paper collage How to use a glue mat How to use gluing techniques How to arrange and rearrange

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Key Vocabulary: positive/negative shape, cutting, gluing, composition, overlap, scale/size

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● ● ●

●

I can explore the paper arts process with a variety of materials/tools and identify and use positive and negative shapes in my work. I can explore various compositional choices in my work by arranging shapes before gluing them down and use glue safely and effectively to create a 2D collage. I can use cutting and tearing techniques to manipulate paper for a collage.

First Grade Art: Unit 4 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed artworks: Contain positive and negative shapes. They incorporate a variety of papers. Artwork includes drawn details.

Shape Shifting Games: Students can arrange shapes to create a variety of designs. Observations and 1:1 Coaching: Students can prepare paper and other materials to use later for collage ideas

STAGE 3: LEARNING PLAN First Topic: Planning in Collage

Estimated # of Lessons: Opens Trimester 2

Learning Targets : ● I can explore the paper arts process with a variety of materials/tools. ● I can explore various compositional choices in my work by arranging shapes before gluing them down. ● I can use glue safely and effectively to create a 2D collage. ● I can use cutting and tearing techniques to manipulate paper for a collage.

Essential Questions: ● How do artists arrange shapes to make interesting artwork? ● How do artists use prepared materials to create unique works of art? ● How can artists plan to create collage works with intention?

Learning Activities: ● Review on how to cut, arrange, and glue in collage. ● View, discuss and evaluate artist examples on how artists can create similar ideas using different arrangement of shapes ● Shape Shifting Games - students practice arranging shapes in a space ● Demonstration on preparing papers for collage with paint ● Practice preparing papers by painting for collage Second Topic: Positive/Negative Shapes in Collage

Estimated # of Lessons: Opens Trimester 2

Learning Targets: ● I can identify and use positive and negative shapes in my work.

Essential Questions: ● How do artists arrange shapes to make interesting artwork? ● How can artists plan to create collage works with intention?

First Grade Art: Unit 5 Course Name: First Grade Art

Unit Title: Construction

Opens in Trimester 2

Unit Overview: We use paper and cardboard to make sculptures. We use different tools to change our materials. We learn how artists show space and depth. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

VA:Cr1.1.1a: Engage collaboratively in exploration and imaginative play with materials. VA:Cr1.2.1a: Use observation and investigation in preparation for making a work of art. VA:Cr2.1.1a: Explore uses of materials and tools to create works of art or design. VA:Cr2.2.1a: Demonstrate safe and proper procedures for using materials, tools, and equipment while making art. VA:Pr4.1.1a: Explain why some objects, artifacts, and artwork are valued over others. VA:Re.7.1.1a: Select and describe works of art that illustrate daily life experiences of one's self and others.

Transfer Goals ● ● ●

Understandings ● ● ● ●

We can change flat materials like paper and cardboard by folding, cutting, and bending them. Sculptures are 3D artworks that have depth and can be viewed from different angles. Tools like scissors and hole punches help us shape our materials. Looking at other artists' work gives us new ideas for our own sculptures.

Essential Questions ● ●

Knowledge ● ● ●

How to use found objects How to manipulate objects with tools (scissors, hole punch) How to create depth in sculpture.

Key Vocabulary: fold, depth, attach,

How can flat materials become 3D sculptures? How do artists make their sculptures interesting to look at from all sides?

Skills (Framed as Learning Targets) ●

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I can explore the construction process with a variety of materials and tools and manipulate paper and cardboard with scissors and hole punches. I can fold and attach paper to make a 3D sculpture and examine other artists' artworks to get ideas.

First Grade Art: Unit 5 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works: Paper and cardboard sculptures are created using different tools to change and attach materials.

Observation: Students can safely use and care for construction tools and materials. Students can manipulate a variety of building materials with different tools. Cardboard Tube Challenge: Students can transform cardboard tubes into a new idea.

STAGE 3: LEARNING PLAN First Topic: Building in Construction

Estimated # of Lessons: Opens Trimester 2

Learning Targets : ● I can explore the construction process with a variety of materials and tools. ● I can manipulate paper and cardboard with scissors and hole punches. ● I can fold and attach paper to make a 3D sculpture. ● I can examine other artists' artworks to get ideas.

Essential Questions: ● How can flat materials become 3D sculptures? ● How do artists make their sculptures interesting to look at from all sides?

Learning Activities: ● View, discuss and evaluate artist examples of various paper and cardboard sculptures ● Demonstration on how to manipulate and attach paper to create a 3D sculpture ● Paper Tube Challenge: Transform a paper tube into a new idea ● Practice creating sculptures from paper arts materials

First Grade Art: Unit 6 Course Name: First Grade Art

Unit Title: Printmaking

Opens in Trimester 2

Unit Overview: We make monoprints with new techniques. We use shapes to build ideas. We make the same print more than once. We use our prints to make finished artwork. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ● ● ●

Understandings ● ● ●

Printmaking is an indirect way of making art—we create a design, then transfer it to paper. Shapes and objects can be combined to build images in printmaking. Prints can be used to create finished artwork or as part of other projects.

Essential Questions ● ● ●

Knowledge ● ●

How to combine foam shape plates to build an image. How to create a drawing through printing.

Key Vocabulary: indirect, multiples, repetition, plate, press, "design, arrange, print"

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

What is a print? How do the prints I make create art? How can different print materials create different effects?

Skills (Framed as Learning Targets) ● ● ●

I can explore the printmaking process with a variety of materials/tools. I can create a monoprint. I can print with found objects.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Completed Artwork: Artworks or completed explorations of monoprints using a variety of materials as printing tools.

Formative Assessment Skillbuilder: Printing around the room - Students can successfully describe differences in printmaking materials and tools. Think, Pair, Share: Students can share glows and growths with printing with the different items.

First Grade Art: Unit 6 STAGE 3: LEARNING PLAN First Topic: Experimenting with Printmaking

Estimated # of Lessons: Opens Trimester 2

Learning Targets : ● I can explore the printmaking process with a variety of materials/tools. ● I can print with found objects.

Essential Questions: ● What is a print? ● How can different print materials create different effects?

Learning Activities: ● Demonstration - What is a Print? Demonstrate the process of using a “plate” to create a print (“Design, Arrange, Print”) ● Skillbuilder - Print Around the Room. Students practice “Press and Print” and “Paint and Print” with a variety of found items and tools. ● Think, Pair, Share - Students share glows and growths with printing with the different items. Second Topic: Building an Artwork

Estimated # of Lessons: Opens Trimester 2

Learning Targets: ● I can explore the printmaking process with a variety of materials/tools. ● I can create a monoprint. ● I can print with found objects.

Essential Questions: ● How do the prints I make create art?

Learning Activities: ● View and discuss a variety of artist examples that show found items and nontraditional printing tools to create unique prints called monoprints. ● Demonstration on building shapes to make ideas using non-traditional printing tools. ● Practice creating personal artworks that use nontraditional printing tools.

First Grade Art: Unit 7 Course Name: First Grade Art

Unit Title: Ceramics

Opens in Trimester 3

Unit Overview: We pinch and press clay to make pots and slabs. We make our clay the right thickness. We use tools to add texture and details. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Transfer Goals ● ●

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Understandings ● ● ● ●

Clay is a special material that we can pinch, squeeze, and shape with our hands and tools. If clay is too thick, it can crack or explode in the kiln. If it's too thin, it can break easily. We can add texture and details to clay using tools and our fingers. Clay needs to be "bisque" fired in a kiln to become hard and permanent.

Essential Questions ● ● ●

Knowledge ● ● ● ●

How to pinch details. How to make Pinch pots. How to form the right thickness. How to add texture to clay.

Key Vocabulary: Details; Engage & Persist, Bisque, pinch, texture

How do we shape and change clay to make a sculpture? How do artists create different textures in their ceramic sculptures? How do artists shape their clay so their artwork stays together?

Skills (Framed as Learning Targets) ● ● ● ●

I can explore the sculpture process with a variety of materials/tools. I can use the pinch technique to create a pinch pot. I can create clay projects with appropriate thickness so that my work is structurally sound. I can use tools to manipulate my clay projects, and add details or texture.

First Grade Art: Unit 7 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed artworks: Pinch pots or slab project with carved, pinched or pressed details.

Small Group Skillbuilder: Students can safely use and care for ceramics tools and materials. Small Group Skillbuilder: ● Practice forming sphere, pinch pot and slab with hands in PlayDoh, Model Magic and/or clay ● Practice identifying and using texture in artmaking with a variety of tools.

STAGE 3: LEARNING PLAN First Topic: Creating a Clay Structure

Estimated # of Lessons: Opens Trimester 3

Learning Targets : ● I can explore the sculpture process with a variety of materials/tools. ● I can use the pinch technique to create a pinch pot. ● I can create clay projects with appropriate thickness so that my work is structurally sound.

Essential Questions: ● How do we shape and change clay to make a sculpture? ● How do artists shape their clay so their artwork stays together?

Learning Activities: ● View and discuss artist examples that show how clay is used to create a variety of vessels. ● Demonstration on safety when using clay and clay tools. ● Demonstration on using the pinch technique to create a vessel with even walls. ● Skillbuilder: Forming a sphere with a variety of sculpture materials. ● Practice creating a vessel with clay using a pinch technique. Second Topic: Details in Clay

Estimated # of Lessons: Opens Trimester 3

Learning Targets: ● I can use tools to manipulate my clay projects, and add details or texture.

Essential Questions: ● How do artists create different textures in their ceramic sculptures?

Learning Activities: ● Texture Bootcamp: Students will identify different textures and practice using them with a variety of tools. ● Demonstration on using different tools to press textures into clay ● Practice adding textures to clay pinch pots.

First Grade Art: Unit 8 Course Name: First Grade Art

Unit Title: Fiber Arts

Opens in Trimester 3

Unit Overview: We weave different patterns on looms. We learn to crochet chain stitches. We see how artists around the world use weaving and fiber arts. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ●

VA:Cr1.1.1a: Engage collaboratively in exploration & imaginative play with materials. VA:Cr1.2.1a: Use observation & investigation in preparation for making a work of art. VA:Cr2.1.1a: Explore uses of materials & tools to create works of art or design. VA:Cr2.2.1a: Demonstrate safe and proper procedures for using materials, tools, and equipment while making art. VA:Cr3.1.1a: Use art vocabulary to describe choices while creating art VA:Re.7.1.1a: Select and describe works of art that illustrate daily life experiences of one’s self and others. VA:Re.7.2.1a: Compare images that represent the same subject. VA:Cn11.1.1a: Understand that people from different places and times have made art for a variety of reasons.

Transfer Goals ● ● ●

Understandings ● ● ●

Weaving is the process of interlacing materials over and under each other to create fabric. Artists and makers around the world use fiber arts to create functional items like baskets, rugs, and clothing. We can manipulate yarn and thread using different tools like needles and looms.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ●

How do artists create patterns with thread and yarn? Where do we see weaving in our world? How can artists use yarn to express a creative idea?

First Grade Art: Unit 8 Knowledge ● ● ● ●

Skills (Framed as Learning Targets)

How to weave an ABBA pattern. How to weave with paper. How to use a plastic sewing needle How to use a crochet hook

Key Vocabulary: ABBA pattern, weave, weft, warp, needle, sew, crochet, chain stitch

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I can explore the fiber arts process with a variety of materials/tools. I can explore weaving techniques to create an ABBA pattern. I can manipulate yarn using different tools such as a plastic needle or loom. I can identify different items that are made from weavings.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Completed paper or yarn fiber arts project

Small Group Observation: ● Students can safely use and care for Fiber Arts tools and materials. ● Students can use repetition with an over/under pattern while weaving. ● Students can use a plastic sewing needle or crochet hook to create products with repetitive pattern steps.

STAGE 3: LEARNING PLAN First Topic: Exploring Weaving

Estimated # of Lessons: Opens Trimester 3

Learning Targets : ● I can explore the fiber arts process with a variety of materials/tools. ● I can explore weaving techniques to create an ABBA pattern. ● I can identify different items that are made from weavings.

Essential Questions: ● How do artists create patterns with thread and yarn? ● Where do we see weaving in our world? ● How can artists use yarn to express a creative idea?

Learning Activities: ● View, discuss and evaluate different artist examples of weaving ● Discussion on what can be created through the practice of weaving. ● Demonstration on weaving on a paper and yarn loom ● Practice creating weavings

First Grade Art: Unit 8 Second Topic: Alternative Fiber Arts Projects

Estimated # of Lessons: Opens Trimester 3

Learning Targets: ● I can explore the fiber arts process with a variety of materials/tools. ● I can manipulate yarn using different tools such as a plastic needle or loom.

Essential Questions: ● How can artists use yarn to express a creative idea?

Learning Activities: ● View, discuss & evaluate different artist examples that use different fiber arts practices such as sewing & crochet ● Demonstration on setting a needle & creating different stitches for sewing in burlap or loose fabric. ● Demonstration on creating a chain stitch ● Practice creating pieces that use sewing stitches or crochet stitches

Second Grade Art

Second Grade Art Aug-Sept

Trimester 1

Opening Unit

Station 1: Drawing

Station 2: Painting

Station 3: Paper Arts

We have more choices in the studio. We gather our materials. We set up and clean up our own space. Before we finish, we ask "Now what?" and "What if?" We make art and talk about it with others.

We work together on drawings. We use new materials like oil pastels and Sharpies. We blend colors. We create space through size, overlap, and horizon lines.

We make colors work together and stand out! We use warm and cool colors to create contrast. We explore watercolors and tempera cakes. We set up our own workspace.

We use collage to tell stories. We create foreground, middleground, and background. We add details with drawing tools. We cut more complex shapes including spirals.

Second Grade Art (continued) Trimester 2

Trimester 3

Station 4: Construction

Station 5: Printmaking

Station 6: Ceramics

Station 7: Fiber Arts

We prepare sculptures to show others. We learn new ways to attach materials. We make sculptures that move. We use recyclable materials.

We make collagraph prints. We can add and carve to make a print. We explore positive and negative shapes. We make multiple editions.

We pinch clay to create detailed creatures. We make four-legged figures from one piece of clay. We learn to score and slip to attach pieces. We smooth our work with tools.

We weave on circular looms. We make creative line patterns. We add magazine pages to our weavings. We bead with crochet chain stitches.

Second Grade Art: Unit 1 Course Name: Second Grade Art

Opening the Studio

Est # of Lessons: 7-9

Unit Overview: We have more choices in the studio. We gather our materials. We set up & clean up our own space. Before we finish, we ask "Now what?" & "What if?" We make art and talk about it with others. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

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VA:Cr1.1.2a: Brainstorm collaboratively multiple approaches to an art or design problem. VA:Cr3.1.2a: Discuss and reflect with peers about choices made in creating artwork. VA:Pr4.1.2a: Categorize artwork based on a theme or concept for an exhibit. VA:Pr5.1.1a: Ask and answer questions such as where, when, why, and how artwork should be prepared for presentation or preservation. VA:Pr6.1.2a: Analyze how art exhibited inside and outside of schools (such as in museums, galleries, virtual spaces, and other venues)contributes to communities. VA:Cn10.1.2a: Create works of art about events in home, school, or community life.

Transfer Goals ● ●

Understandings ● ●

Artists explore and play with materials to create things. An art studio is a special place where we make art, share materials, and take care of our tools. Artists look closely.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

How to choose a partner for collaborative art How to work out differences when working collaboratively How to decide who is taking home collaborative art How to have a TAG Conference What is a Work of Care

Key Vocabulary: collaborate, envision, compromise, work of care, responsibility

What is an artist? What do artists do? What is an art studio? How do artists work together? Skills (Framed as Learning Targets)

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I can independently & collaboratively choose and explore materials. I can collaborate with other artists to make a work of art and reflect on my work with others and explain my art process. I can talk about art with others, ask questions and offer suggestions and decide when my work of art is complete. I can create artwork for a specific audience. I can share an artist statement about a work of art I make.

Second Grade Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Whole Group Observation: Students can navigate and maintain the art studio as community space.

Observations: Using a studio with independence, can access multiple centers around the studio, completing complex clean up routine. Art Reflection Statements: Students can share ideas about art choices through statements such as “I chose _______ because _______.”

STAGE 3: LEARNING PLAN First Topic: Opening the Studio

Estimated # of Lessons: 7-9

Learning Targets : ● I can independently and collaboratively choose and explore materials. ● I can collaborate with other artists to make a work of art. ● I can reflect on my work with others and explain my art process. ● I can talk about art with others, ask questions and offer suggestions. ● I can decide when my work of art is complete. ● I can create artwork for a specific audience. ● I can share an artist statement about a work of art I make.

Essential Questions: ● What is an artist? ● What do artists do? ● What is an art studio? ● How do artists work together?

Learning Activities: ● Learn to access and play drawing games: for example Weirdo Animals Game ● Learn to access drawing challenges for one or more artists: for example Fishy Design Challenge ● Learn to access, build with and put away Keva planks ● Learn to access, build complex collaborative structures with and put away Shape Scapes ● Learn to access, build with and put away wooden blocks ● Refresh clean up routine: stop, sort and put away tools, put away art work and return to the rug ● Learn sharing routine: check listening audience, share art-making process in a few sentences, ask process-related question

Second Grade Art: Unit 2 Course Name: Second Grade Art

Unit Title: Drawing

Opens in Trimester 1

Unit Overview: We work together on drawings. We use new materials like oil pastels and Sharpies. We blend colors. We create space through size, overlap, and horizon lines. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.2.2a: Make art or design with various materials and tools to explore personal interests, questions, and curiosity. VA:Cr2.1.2a: Experiment with various materials and tools to explore personal interests in a work of art or design. VA:Cr2.2.2a: Demonstrate safe procedures for using and cleaning art tools, equipment, and studio spaces.

Transfer Goals ● ● ●

Understandings ● ● ●

Drawing is a way to explore personal interests, questions, and curiosity. Different drawing tools (markers, crayons, oil pastels, Sharpies) make different kinds of marks and effects. Artists consider who will look at their artwork when they create it.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ● ●

How to access and use Sharpies safely How to set up workspace and use oil pastels How to blend with oil pastels How to check the drawing station at clean up time How to use the Beautiful Oops box How to consider the viewer when making a work of art How to make space in an artwork

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

How do artists use drawing to explore their ideas? What different marks can you make with drawing tools? How do you add space and depth to your drawings? Skills (Framed as Learning Targets)

● ● ● ●

I can explore the drawing process with a variety of materials/tools. I can blend and combine different drawing materials. I can show the element space through size and overlap in my artwork. I can collaborate with peers to make a drawing.

Key Vocabulary: underpaper, technique, permanent; artist example - Jake Parker; Creative Bank Account, horizon line, foreground, midground, background, community, collaboration, mural

Second Grade Art: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works: Artwork shows space using size and/or overlapping. Artwork includes details and revisions based on peer conversation.

In progress artworks and observations: Student can make choices about which tools to use for an artwork. Student can make an artwork with a peer. Student can explain the cause and effect of various tools. Whole Group Activity: Sticky Note Gallery Students can identify strategies in navigating “mistakes” in artmaking. Skillbuilder Worksheet: Students successfully complete media exploration exercise. Think Pair Share/Art Share: Students can share ideas and choices made during artmaking.

STAGE 3: LEARNING PLAN First Topic: Drawing

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the drawing process with a variety of materials/tools. ● I can blend and combine different drawing materials. ● I can show the element space through size and overlap in my artwork. ● I can collaborate with peers to make a drawing.

Essential Questions: ● How do artists use drawing to explore their ideas? ● What different marks can you make with drawing tools? ● How do you add space and depth to your drawings?

Learning Activities: ● Oil pastel skill builder. ● Whole group perspective exercise ● View & analyze works of art that show depth and space

Second Grade Art: Unit 3 Course Name: Second Grade Art

Unit Title: Painting

Opens in Trimester 1

Unit Overview: We make colors work together and stand out! We use warm and cool colors to create contrast. We explore watercolors and tempera cakes. We set up our own workspace. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ● ●

Understandings ● ● ● ●

Experimenting with various painting materials and tools helps artists explore personal interests in their artwork. Different painting techniques create different effects and moods. Safe use and cleaning of painting tools and workspace helps everyone create successfully. Reflecting on painting choices with peers helps improve artwork.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ● ●

How to access, return and safely use tempera cakes How to mix watercolors How to use semi-moist watercolor How to wash a paintbrush How to set up and clean workspace for painting How to use sponges when painting; How to use color for contrast

Key Vocabulary: warm & cool colors, contrast, texture

How can I experiment with different painting tools and techniques? What happens when I mix different colors together? How can warm and cool colors change the way a painting feels?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can explore the painting process with a variety of materials/tools I can show the contrast and unity in my artwork through warm and cool colors. I can safely and effectively set up a workspace for painting. I can effectively care for a paintbrush while making different marks. I can explore various tools to create the element texture in my paintings.

Second Grade Art: Unit 3 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works: Artwork includes details and revisions based on peer conversation. Collaborative paintings show evidence of choices from all participants.

In progress artworks and observations: Can make choices about which tools to use for an artwork. Can make an artwork with a peer. Students can explain the cause and effect of various paints. Small Group Look and Response Activity: Students can describe colors used and determine if they contain color harmony or contrast.

STAGE 3: LEARNING PLAN First Topic: Painting

Estimated # of Lessons: Opens in Trimester 1

Learning Targets: ● I can explore the painting process with a variety of materials/tools ● I can show the contrast and unity in my artwork through warm and cool colors. ● I can safely and effectively set up a workspace for painting. ● I can effectively care for a paintbrush while making different marks. ● I can explore various tools to create the element texture in my paintings.

Essential Questions: ● How can I experiment with different painting tools and techniques? ● What happens when I mix different colors together? ● How do I take care of painting materials and my workspace?

Learning Activities: ● Paint around the room ● Demonstration of painting techniques, brush choice and brush care ● How to set up and clean up painting workspace demonstration ● View & analyze works of art that show warm and cool colors, texture and contrast

Second Grade Art: Unit 4 Course Name: Second Grade Art

Unit Title: Paper Arts

Opens in Trimester 1

Unit Overview: We use collage to tell stories. We create foreground, midground, and background. We add details with drawing tools. We manipulate paper by cutting, tearing and folding to create shapes. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr2.1.2a: Experiment with various materials and tools to explore personal interests in a work of art or design. VA:Cr2.2.2a: Demonstrate safe procedures for using and cleaning art tools, equipment, and studio spaces. VA:Cr2.3.2a: Repurpose objects to make something new. VA:Cr3.1.2a: Discuss and reflect with peers about choices made in creating artwork.

Transfer Goals ● ●

Understandings ● ● ● ●

Paper can be cut, torn, folded, and glued to create collages and paper sculptures. Artists can repurpose objects and materials to make something completely new. Experimenting with different papers and materials leads to interesting compositions. Safe scissor use and proper gluing techniques help create successful paper art.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

How to collage foreground, midground, background How to add details with drawing tools How to collage using images from magazines, patterned paper and painted paper How to tell a story in collage How to cut a spiral

Key Vocabulary: foreground, midground, background, detail, pattern, expression, spiral, artist examples: Romare Bearden, Ekua Holmes

What can I create by cutting, tearing, and gluing paper? How can I turn everyday objects into something new in my art? What makes a collage interesting to look at?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can explore the paper arts process with a variety of materials/tools. I can demonstrate my understanding of space using layering and overlapping in collage. I can add details to my collage work using drawing media. I can choose specific techniques to express my ideas. I can use my skills to go deeper into my art. I can communicate my ideas through my artwork.

Second Grade Art: Unit 4 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Artworks show a variety of Whole Group Skillbuilder: Collage around the Room collage techniques and details. They help tell - Students can use different materials from the stories and have a sense of depth through layering. Collage center in their explorations. STAGE 3: LEARNING PLAN First Topic: Collage

Estimated # of Lessons: Opens in Trimester 1

Learning Targets: ● I can explore the paper arts process with a variety of materials/tools. ● I can demonstrate my understanding of space using layering and overlapping in collage. ● I can add details to my collage work using drawing media. ● I can choose specific techniques to express my ideas. ● I can use my skills to go deeper into my art. ● I can communicate my ideas through my artwork.

Essential Questions: ● What can I create by cutting, tearing, and gluing paper? ● How can I turn everyday objects into something new in my art? ● What makes a collage interesting to look at?

Learning Activities: ● Collage around the Room ● Demonstration: tearing, cutting, folding, arranging and gluing ● View & analyze collage works of art that tell stories ● Whole group “Now what?” brainstorm - adding details

Second Grade Art: Unit 5 Course Name: Second Grade Art

Unit Title: Construction

Opens in Trimester 2

Unit Overview: We prepare sculptures to show others. We learn new ways to attach materials. We make sculptures that move. We use recyclable materials. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Transfer Goals ● ● ●

Understandings ● ● ● ●

Sculptors use various materials and attachment methods to build threedimensional art that stands up. Everyday objects can be repurposed and transformed into sculptures. Different materials and tools create different sculptural effects. Artists prepare and present their sculptures in ways that help viewers appreciate them.

Essential Questions ● ● ●

Knowledge ● ● ● ●

How to attach using brass fastener & pipe cleaner How to make a sculpture with a cardboard tube How to make a label for a sculpture that is going on display How to build a space through construction

Key Vocabulary: Stretch & Explore, Engage & Persist, Envision, Scale, form, base, gluing platform, artist example Alexander Calder

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How do I build sculptures that stand up? What can I make with recycled and found materials? How do I prepare my sculpture to show to others?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can explore the construction process with a variety of materials/tools. I can use a variety of attachment techniques when constructing a work of art. I can use recyclable materials in my constructions. I can prepare a sculpture to be displayed. I can engage and persist with a sculpture when facing challenges such as balance, attachments, and stability.

Second Grade Art: Unit 5 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works: Sculptures are created using cardboard and recycled materials. These materials are attached with or without glue and show evidence of decisions made with a peer.

Small Group Work: Students can safely use and care for construction tools and materials. Collaborative Sculpture Challenge: Students can create a sculpture with a peer from a variety of materials.

STAGE 3: LEARNING PLAN First Topic: Sculpture

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the construction process with a variety of materials/tools. ● I can use a variety of attachment techniques when constructing a work of art. ● I can use recyclable materials in my constructions. ● I can prepare a sculpture to be displayed. ● I can engage and persist with a sculpture when facing challenges such as balance, attachments, and stability.

Essential Questions: ● How do I build sculptures that stand up? ● What can I make with recycled and found materials? ● How do I prepare my sculpture to show to others?

Learning Activities: ● Demonstration: how to attach using brass fastener, pipecleaner, gluing platform ● View & analyze sculptures made from recycled materials ● Whole group discussion comparing the stability of 2 sculptures

Second Grade Art: Unit 6 Course Name: Second Grade Art

Unit Title: Printmaking

Opens in Trimester 2

Unit Overview: We make collagraph prints. We can add and incise to make a print. We explore positive and negative shapes. We make multiple editions. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ● ●

●

Understandings ● ● ● ● ●

Printmaking creates images by pressing objects into ink or paint and then onto paper. You can make multiple copies of the same print, each with unique qualities. Artists can repurpose everyday objects as printing tools. Collagraph prints use textured surfaces to create interesting patterns and effects. Different materials create different printed textures

Essential Questions ● ●

Knowledge ● ●

How to make a collagraph plate How to make a collagraph print

Key Vocabulary: collagraph, positive/negative shape

How does the printmaking process work? How does making multiple copies of the same image create interesting patterns and effects?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can explore the printmaking process with a variety of materials/tools. I can create a printing plate using a variety of materials. I can identify positive and negative shapes in my work and use them to create a composition. I can observe and reflect on prints I make. I can experiment through making multiple editions of a print.

Second Grade Art: Unit 6 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Collagraph prints that use a variety of materials in creating a plate. Artwork can tell a story or contain a design idea.

Mini Printmaking Skillbuilder: Students can create a mini artwork of a collagraph print using additive printing technique.

STAGE 3: LEARNING PLAN First Topic: Printmaking

Estimated # of Lessons: Opens in Trimester 2

Learning Targets : ● I can explore the printmaking process with a variety of materials/tools. ● I can create a printing plate using a variety of materials. ● I can identify positive and negative shapes in my work and use them to create a composition. ● I can observe and reflect on prints I make. ● I can experiment through making multiple editions of a print.

Essential Questions: ● How does the printmaking process work? ● How does making multiple copies of the same image create interesting patterns and effects?

Learning Activities: ● Mini Printmaking Skillbuilder ● Demonstration: assembling a collagraph plate ● Demonstration: making a collagraph print

Second Grade Art: Unit 7 Course Name: Second Grade Art

Unit Title: Ceramics

Opens in Trimester 3

Unit Overview: We pinch clay to create detailed creatures. We make four-legged figures from one piece of clay. We learn to score and slip to attach pieces. We smooth our work with tools. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ● ●

●

Understandings ● ● ●

Clay can be pinched, rolled, pressed, and shaped to create both flat and threedimensional forms. Different tools create different textures and details in clay. Discussing clay work with others helps artists make better choices and improve their techniques.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

How to make a pinch pot creature Creating body parts that are not too skinny & not too thick How to use a modeling tool to smooth clay How to roll a slab How to create a four-legged creature out of a single piece of clay

Key Vocabulary: figure, model, proportion, observe, balance

What can I make with clay? How does clay change as we work with it? How can one piece of clay become something that stands, moves, or comes alive?

Skills (Framed as Learning Targets) ● ● ● ●

I can explore the sculpture process with a variety of materials/tools. I can use pinching techniques to add elements or appendages to a clay creation. I can create a sculpture that incorporates the process of score and slip. I can manipulate the surface texture of my clay pieces using tools.

Second Grade Art: Unit 7 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Refined Clay figures of people or animals (real or imaginary) created using pinch technique. Artwork shows signs of attachments using score and slip methods.

Small Group Work: Students can safely use and care for ceramics tools and materials. Small Group Skillbuilder: Students can create a figure out of pinched play doh, model magic or clay. Observations and 1:1 coaching: Students can attach two pieces of clay using score and slip methods.

STAGE 3: LEARNING PLAN First Topic: Clay animal

Estimated # of Lessons: Opens in Trimester 3

Learning Targets : ● I can explore the sculpture process with a variety of materials/tools. ● I can use pinching techniques to add elements or appendages to a clay creation. ● I can create a sculpture that incorporates the process of score and slip. ● I can manipulate the surface texture of my clay pieces using tools.

Essential Questions: ● What can I make with clay? ● How do I shape and add details to clay?

Learning Activities: ● Demonstration: using tools safely ● Small group skill builder - how to make a figure using pinch technique ● Demonstration & practice - slip and score ● Experiment with different texture makers

Second Grade Art: Unit 8 Course Name: Second Grade Art

Unit Title: Fiber Arts

Opens in Trimester 3

Unit Overview: We weave on circular looms. We make creative line patterns. We add magazine pages to our weavings. We create and add details to crochet chains. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ● ● ●

Understandings ●

● ● ● ●

We can weave on many different materials, not just traditional looms—paper plates, cardboard, and creative line shapes all work. Adding different materials such as magazine pages, makes our weavings more interesting and unique. Weaving in circles creates different patterns than weaving in straight lines. Artists can collaborate on weavings by working together on the same piece. Changing colors in our weaving creates patterns and visual interest.

Essential Questions ● ● ●

Knowledge ● ● ● ●

How to weave on a paper plate How to weave images/magazines together and make a magazine loom How to make creative line looms (zig zag, wavy line) and create a chain stitch How to add beads to a crochet chain.

Key Vocabulary: harmony, contrast (image weaving) warp, weft, loom, pattern, book example: The Goat in the Rug, crochet, hook, chain stitch

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

How can we weave on different kinds of looms? What happens when we add different materials to our fiber arts artworks? How do artists create patterns with yarn and thread?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can explore the fiber arts process with a variety of materials/tools. I can weave on nontraditional weaving materials such as cardboard or a paper plate. I can create a weaving that changes colors. I can make a collaborative weaving. I can weave in a circle. I can create a chain stitch

Second Grade Art: Unit 8 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Completed weaving or alternative project with paper or fiber.

1:1 Observation and Coaching: Student can use repetition in patterns (over/under, back and forth) when creating a weaving

STAGE 3: LEARNING PLAN First Topic: Weaving

Estimated # of Lessons: Opens in Trimester 3

Learning Targets : ● I can explore the fiber arts process with a variety of materials/tools. ● I can weave on nontraditional weaving materials such as cardboard or a paper plate. ● I can create a weaving that changes colors. ● I can make a collaborative weaving. ● I can weave in a circle.

Essential Questions: ● How can we weave on different kinds of looms? ● What happens when we add different materials to our fiber arts artworks? ● How do artists create patterns with yarn and thread?

Learning Activities: ● Demonstration of warping and weaving on a plate ● Demonstration of weaving on a cardboard loom ● Demonstration and practice of how to change colors with yarn in a weaving ● Demonstration: How to cut a paper loom with creative lines Second Topic: Alternative Fiber Art Practices

Estimated # of Lessons: Opens in Trimester 3

Learning Targets: ● I can explore the fiber arts process with a variety of materials/tools. ● I can create a chain stitch

Essential Questions: ● How do artists create patterns with yarn and thread? ● What happens when we add different materials to our fiber arts artworks?

Learning Activities: ● Demonstration: How to make an Ojo de Dios ● Demonstration: How to stitch on burlap ● Demonstration: How to use a crochet hook, how to create a chain stitch, and how to add beads on crochet chain

Third Grade Art

Grade 3 Art Aug-Sept

Trimester 1

Opening Unit

Station 1: Drawing

Station 2: Painting

Station 3: Paper Arts

We have more choices and responsibility. We gather materials from stations. We set up and clean up our own workspace. Before we finish, we ask "Now what?" and "What if?" We notice and include more details in our art. We make and discuss artwork with others.

We observe closely and include details in our drawings. We get ideas from different sources. We practice planning through sketching. We create depth using overlap, spatial relationships, and foreground, middle ground, and background..

We use references and photographs to add accurate details to our paintings. We work together on collaborative paintings. We explore tertiary colors. We paint landscapes with foreground, middle ground, and background.

We create collages that use variety. We create basic origami forms. We use harmony and contrast on purpose in our compositions.

Grade 3 Art (continued)

Trimester 2

Trimester 3

Station 4: Construction

Station 5: Digital Arts

Station 6: Printmaking

Station 7: Ceramics

Station 8: Fiber Arts

We use different attachment methods to build stable sculptures. We add details to finish our work. We transform recyclable materials into meaningful parts of our sculptures.

We use digital tools to make original works of art. We look at what other digital artists make to get ideas. We plan our artwork before we start, and we use color, shape, and design to share an idea. We compare making art on a screen to making art by hand.

We study printmaking history. We explore symmetrical and asymmetrical designs. We make multiple print editions.

We roll slabs, use drape technique, and build with coils. We store our work safely at each stage. We apply glazes to finish our pottery.

We have more choices in weaving. We set up cardboard looms and create radial weavings. We study how different cultures use fiber arts.

Third Grade Art: Unit 1 Course Name: Grade 3 Art

Opening the Studio

Est. # of Lessons: 7-9

Unit Overview: We have more choices and responsibility in the studio. We gather our materials from the stations around the room. We set up and clean up our own work space. Before finishing a project we ask “Now what?” and “What if?” We notice and include more details in our art. We make and discuss artwork with others. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA.Cr3.1.3a: Elaborate visual information by adding details in an artwork to enhance emerging meaning. VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr3.1.3a: Elaborate visual information by adding details in an artwork to enhance emerging meaning. Develop a work of art based on observations of surroundings.

Transfer Goals ● ●

●

Understandings ● ● ●

Artists explore and investigate different materials and approaches to discover what works best for their creative ideas. Artist statements help us communicate our thinking and choices to others using art vocabulary. Thoughtful use and care of materials and studio space allows everyone to create successfully.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

How do artists gather and organize their materials in a studio? What questions can help make your artwork even better? What details do I notice in the world around me? How does that inspire my art? How do artists work together?

Skills (Framed as Learning Targets)

Rules and routines of our art studio 8 Studio habits How to sign up for a stewardship

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Key Vocabulary: studio steward, illustration

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● ●

I can independently choose and explore materials. I can use different methods to envision ideas prior to and during my artmaking I can use care and safety in accessing, using, and storing my artmaking materials and resources. I can picture ideas in my mind for my artwork. I can share an artist statement about a work of art I make.

Third Grade Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Whole Group Observation: Students can navigate and maintain the art studio as community space.

Observation: Students can participate in constructive art talk with peers. Art Reflection Statements: Students can share ideas about art choices through statements such as “I chose _______ because _______.”

STAGE 3: LEARNING PLAN First Topic: Opening the Studio

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can independently choose and explore materials. ● I can use different methods to envision ideas prior to and during my artmaking ● I can use care and safety in accessing, using, and storing my artmaking materials and resources. ● I can picture ideas in my mind for my artwork.

Essential Questions: ● How do artists gather and organize their materials in a studio? ● What details do I notice in the world around me? How does that inspire my art? ● How do artists work together?

Learning Activities: ● Learn to access & play drawing games: for example Roll-A-Miro Game ● Learn to access drawing challenges for one or more artists: for example Synchronous Drawing Challenge ● Learn to access, build with and put away Keva planks ● Learn to access, build with and put away magnetic blocks ● Learn to access, build with and put away wooden blocks ● Learn clean up routine ● Learn how to do a Studio Steward Job; for example how to check the painting station ● Learn sharing routine: check listening audience, share art-making process in a few sentences

Third Grade Art: Unit 2 Course Name: Grade 3 Art

Station 1: Drawing

Opens in Trimester 1

Unit Overview: We observe closely and include details in our drawings. We get ideas from different sources. We practice planning through sketching. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

Transfer Goals ● ● ●

●

Understandings ● ● ● ●

Drawing is a process of observing, planning, and refining ideas with various tools and materials. Artists notice details in the world around them and include those details to make their drawings more interesting. Sketching and planning help artists figure out their next steps and make decisions about their work. Different drawing materials and techniques create different effects.

Essential Questions ● ● ●

How do artists use drawing to capture what they see, imagine and remember? What happens when you add more details to your drawings? How can asking "What if?" and “Now what?” help you improve your artwork?

Third Grade Art: Unit 2 Knowledge ● ● ● ● ● ● ● ● ● ● ●

How to use French Curve How to draw from a photograph How to use drawing games for ideas and team building How to access drawing challenges How to set up when drawing while using a visual reference on the Pro Board Observational and still life drawings Colored pencil techniques Marker wash Outlining Blending Innovation vs. imitation

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can explore the drawing process with a variety of materials/tools. I can notice and replicate details in the world around me. I can get ideas for my artwork by sketching and planning. I can decide on next steps by asking, “What if…?” I can put meaning into my art by including what is important to me. I can refine my artwork by adding details.

Key Vocabulary: sketch; proportions, expression, STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Completed artworks: Students can complete artworks that use overlap and size of objects to create a sense of depth.

Formative Assessment Whole Group Activity: “Shrinking Subject Matter Experiment” - Students can identify how size is related to distance when moving closer or farther from subject matter. Observation and 1:1 Coaching: ● Students can draw based on observation of a variety of subject matter. ● Students can plan for a work of art by practicing the drawing of their idea. ● Students can envision and add details to artwork that support their intended meaning. ● Students can use a “Sketch Grip” to draw their artwork lightly during planning steps. Think Pair Share/Art Share: Students can identify and explain and rationalize detail in their artwork.

Third Grade Art: Unit 2 STAGE 3: LEARNING PLAN First Topic: How Artists Get Ideas

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can explore the drawing process with a variety of materials/tools. ● I can notice and replicate details in the world around me. ● I can get ideas for my artwork by sketching and planning. ● I can put meaning into my art by including what is important to me.

Essential Questions: ● How do artists use drawing to capture what they see, imagine and remember?

Learning Activities: ● Practice observation drawing from book, screen or object ● Brainstorm multiple ideas for a project ● Reflect on choices in artwork Second Topic: Revising and Refining Ideas

Estimated # of Lessons: Opens Trimester 1

Learning Targets: Essential Questions: ● I can decide on next steps by asking, “What ● What happens when you add more details to if…?” your drawings? ● I can refine my artwork by adding details. ● How can asking "What if?" and “Now what?” help you improve your artwork? Learning Activities: ● View, discuss and evaluate artist examples of artists using details in their work. ● Look at art from far away ● Have TAG conference with peer ● Seek and give feedback

Third Grade Art: Unit 3 Course Name: Grade 3 Art

Station 2: Painting

Opens in Trimester 1

Unit Overview: We use references and photographs to add accurate details to our paintings. We work together on collaborative paintings. We explore tertiary colors. We paint landscapes with foreground, middle ground, and background. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr2.1.3a: Create personally satisfying artwork using a variety of artistic processes and materials. VA:Cr2.2.3a: Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. VA:Cr2.3.3a: Individually or collaboratively construct representations, diagrams, or maps of places that are part of everyday life. VA:Pr6.1.3a: Identify and explain how and where different cultures record and illustrate stories and history of life through art. VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art. VA:Re8.1.3a: Interpret art by analyzing use of media to create subject matter, characteristics of form, and mood.

Transfer Goals ● ●

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Understandings ● ● ● ●

Artists use reference images (photographs, real objects) to observe and include accurate details in their paintings. Collaboration in painting helps artists share skills, learn from each other, and compromise on shared projects. Mixing tertiary colors expands the range of colors available for painting. Landscapes use horizon lines, foreground, middle ground, and background to create depth and composition.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ●

How do artists use reference images to add detail to their paintings? How does mixing colors expand what I can say with paint? What can we learn by painting with other people? How do artists create depth in a painting from foreground to background?

Third Grade Art: Unit 3 Knowledge ●

Skills (Framed as Learning Targets)

How to paint a landscape, flower or car using a photographic visual reference How to work collaboratively on a painting Watercolor techniques Mixing tertiary colors

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Key Vocabulary: horizon line, composition, filling the page, foreground, middle ground, background

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I can explore the painting process with a variety of materials/tools. I can use reference images to enhance the level of detail in my artwork. I can collaborate with my classmates to share skills and ideas for artmaking. I can be heard by, learn from, and compromise with my classmates on works we make together. I can mix tertiary colors. I can build on my painting skills to learn new techniques.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works of Art: Artwork that uses a Whole Group Color Mix Activity: Students can mix a reference to add accurate details and is made with variety of colors by mixing primary and secondary a variety of tools. colors together. Think Pair Share/Art Share: Students can identify and explain and rationalize detail in their artwork. STAGE 3: LEARNING PLAN First Topic: Planning and Refining through Landscape Painting

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can explore the painting process with a variety of materials/tools. ● I can use reference images to enhance the level of detail in my artwork. ● I can build on my painting skills to learn new techniques.

Essential Questions: ● How do artists use reference images to add detail to their paintings? ● How do artists create depth in a painting from foreground to background?

Learning Activities: ● View, discuss and evaluate artist examples that use references and foreground, middleground, and background to help plan and refine details in painting ● Demonstration on how to add detail using a reference image as an example ● Demonstration on using foreground, middleground and background in creating a layered painting with depth. ● Practice creating paintings that use reference images to add detail and foreground, middleground, and background for depth. ●

Third Grade Art: Unit 3 Second Topic: Experimenting with Color

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can explore the painting process with a variety of materials/tools. ● I can mix tertiary colors. ● I can build on my painting skills to learn new techniques.

Essential Questions: ● How does mixing colors expand what I can say with paint?

Learning Activities: ● Tertiary Color Skillbuilder - Practice mixing tertiary colors with primary and secondary colors. ● View, discuss and evaluate artist examples that use tertiary colors to create unique paintings. Third Topic: Collaboration in Painting

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can collaborate with my classmates to share skills and ideas for artmaking. ● I can be heard by, learn from, and compromise with my classmates on works we make together.

Essential Questions: ● What can we learn by painting with other people?

Learning Activities: ● Group Brainstorm - What does working well with a partner look and sound like? ● View examples and evaluate how artists work together and make decisions in collaborative painting. ● Practice creating paintings using collaboration.

Third Grade Art: Unit 4 Course Name: Grade 3 Art

Station 3: Paper Arts

Opens in Trimester 1

Unit Overview: We create collages that use variety. We create basic origami forms. We use harmony and contrast on purpose in our compositions. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr2.2.3a: Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art.

Transfer Goals ● ● ●

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Understandings ● ● ●

Collage combines materials like paper, yarn, and printed elements to create unified artworks. Following precise instructions carefully allows artists to create complex forms like origami. Examining other artists' work provides ideas and inspiration for our own artmaking.

Essential Questions ● ● ● ●

Knowledge ● ● ● ●

Purposes of collage How to use washi tape How to combine different materials in collage to create variety How to fold paper to create 3D origami folds.

Key Vocabulary: washi tape, multimedia, variety, origami

How can collage combine different materials to create new artwork? What makes a composition interesting to look at? What am I learning by looking at other artists' work? How does following precise steps unlock creative possibilities? Skills (Framed as Learning Targets)

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I can explore the paper arts process with a variety of materials/tools. I can observe details and use precision to follow instructions to create an origami form. I can examine other artists' artworks to get ideas. I can apply multimedia techniques in collage such as painted/printed paper, yarn, and stamping.

Third Grade Art: Unit 4 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works of Art: Artwork that uses multiple paper sources and tools to create variety within their creations. Paper artworks use precision in application of folding, cutting or gluing techniques.

Think Pair Share/Art Share: Students can identify and explain and rationalize detail in their artwork. Mini Art Skillbuilder: Students can create a mini artwork example that shows variety in their use of collage materials.

STAGE 3: LEARNING PLAN First Topic: Collage

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can explore the paper arts process with a variety of materials/tools. ● I can examine other artists' artworks to get ideas. ● I can apply multimedia techniques in collage such as painted/printed paper, yarn, and stamping.

Essential Questions: ● How can collage combine different materials to create new artwork? ● What makes a composition interesting to look at? ● What am I learning by looking at other artists' work?

Learning Activities: ● Look at a variety examples of collage which include found images, paint, and found objects ● Explore & discuss papers with different properties ● Mini Art Skillbuilder - create a mini collage using a variety of collage materials ● Practice creating personal artworks that use variety. Second Topic: Origami

Estimated # of Lessons: Opens Trimester 1

Learning Targets: ● I can observe details and use precision to follow instructions to create an origami form. ● I can examine other artists' artworks to get ideas.

Essential Questions: ● What am I learning by looking at other artists' work? ● How does following precise steps unlock creative possibilities?

Learning Activities: ● Observe origami techniques in books, on videos and through teacher demonstration ● Practice a variety of folding techniques such as valley and mountain folds

Third Grade Art: Unit 5 Course Name: Grade 3 Art

Station 4: Construction

Opens in Trimester 2

Unit Overview: We use different attachment methods to build stable sculptures. We add details to finish our work. We transform recyclable materials into meaningful parts of our sculptures. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.3a: Apply knowledge of available resources, tools, & technologies to investigate personal ideas through the artmaking process. VA:Cr2.1.3a: Create personally satisfying artwork using a variety of artistic processes & materials. VA:Cr2.2.3a: Demonstrate an understanding of the safe & proficient use of materials, tools, & equipment for a variety of artistic processes. VA:Pr4.1.3a: Investigate & discuss possibilities & limitations of spaces, including electronic, for exhibiting artwork. VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art. VA:Re8.1.3a: Interpret art by analyzing use of media to create subject matter, characteristics of form, and mood.

Transfer Goals ● ● ●

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Understandings

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Sculptors use various attachment methods (brass fasteners, pipe cleaners, glue) to join materials and create stable structures. Artists can transform everyday & discarded materials into meaningful objects, giving new purpose to what others overlook. Adding details & color refines sculptures & makes them more complete & interesting. Challenging yourself with more complex materials helps you grow as an artist.

Essential Questions

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How do artists attach materials to build strong sculptures? How do artists get 3D art to stand? What can you make with everyday and recycled materials? How do details change a sculpture?

Third Grade Art: Unit 5 Knowledge

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Skills (Framed as Learning Targets)

Attach using brass fastener & pipe cleaner How to make a sculpture with a cardboard tube and make a label for a sculpture that is going on display; miniature rooms Studio habit Focus on stretch and explore; engage and persist; envision

Key Vocabulary: space, repetition, detail, priming

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I can explore the construction process with a variety of materials/tools & use a variety of attachment types for a sculpture. I can challenge myself by using more complex materials & refine my sculptures by adding details/color through the use of additional materials & use nontraditional media such as recyclable materials or objects from nature to construct a sculpture.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Sculptures made from cardboard or recyclable materials that should be stable and secure in structure. Sculptures have a variety of details that help show meaning.

Whole group activity: Students can identify details added to a sculpture to enhance the meaning of a work of art. Attachment Test: Students can connect building materials using at least three different attachments.

STAGE 3: LEARNING PLAN First Topic: Building and Attachment

Estimated # of Lessons: Opens Trimester 2

Learning Targets: ● I can explore the construction process with a variety of materials/tools & use a variety of attachment types for a sculpture. ● I can challenge myself by using more complex materials & use nontraditional media such as recyclable materials or objects from nature to construct a sculpture.

Essential Questions: ● How do artists attach materials to build strong sculptures? ● How do artists get 3D art to stand? ● What can you make with everyday and recycled materials?

Learning Activities: ● View/discuss how artists use recyclable & found materials to create sculptures with new meaning. ● Attachment Test or practice attachment techniques ● Peer review

Third Grade Art: Unit 5 Second Topic: Finishing a constructed sculpture

Estimated # of Lessons: Opens Trimester 2

Learning Targets: ● I can explore the construction process with a variety of materials/tools and challenge myself by using more complex materials. ● I can refine my sculptures by adding details and color through the use of additional materials.

Essential Questions: ● What can you make with everyday and recycled materials? ● How do details change a sculpture?

Learning Activities: Add details to a 3D form using other art materials, such as paint or paper

Third Grade Art: Unit 6 Course Name: Grade 3 Art

Station 5: Digital Arts

Opens in Trimester 2

Unit Overview: We use digital tools to make original works of art. We look at what other digital artists make to get ideas. We plan our artwork before we start, and we use color, shape, and design to share an idea. We compare making art on a screen to making art by hand. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr2.2.3a: Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. VA:Re.7.2.3a: Determine messages communicated by an image. VA:Cn11.1.3a: Recognize that responses to art change depending on knowledge of the time and place in which it was made.

Transfer Goals ● ● ● ●

Understandings ● ● ● ● ● ● ●

Technology provides new tools & techniques for creating art, including animation and digital design. Digital artworks use contrast, shape, & clear design to communicate ideas effectively. Digital art requires the same planning and creativity as traditional art forms. Making art on a screen uses the same thinking as making art by hand. You still plan, make choices, & improve your work. Looking at other artists' work helps us get ideas and figure out what we want to try. Good digital art uses color, shape, and arrangement to help the viewer understand what you're trying to say. Digital tools let you do things you can't do on paper — like undo a mistake, copy a shape, or try something without wasting materials.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How can technology help make art in new ways? What makes a good digital design? How is making art on a screen the same as — or different from — making art on paper? What can I do with digital tools that I can't do with a paintbrush or pencil? How do I get ideas before you start making something new? How do I know when my digital artwork is saying what you want it to say?

Third Grade Art: Unit 6 Knowledge ●

Skills (Framed as Learning Targets)

Core components of an effective digital design

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Key Vocabulary: overlap, shape tool, brush tool, Fill color, contrast, composition

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I can open, save, & find my work on the computer and use the shape, brush, fill, and line tools to make something. I can put shapes on top of each other to make my picture look more interesting and look at a digital artist's work and find one idea I want to try. I can choose colors that help show my idea and can ask "What if?" and "Now what?" to make my artwork better. I can tell someone one choice I made and why I made it.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Digital Artwork: An original picture that uses at least three tools (shape, fill, brush or line), has colors that were chosen on purpose, and uses overlap or layering. Artist Share: Student answers two sentence stems — "I wanted my artwork to show _. To do that, I _.”

Digital Sample: Students make one practice page using each tool they've learned. Teacher checks with a simple yes/no checklist. Look and Talk: Students look at one digital artwork & share one thing they noticed with a partner. Peer Feedback: Students use "I notice, I wonder" to talk about a classmate's work before finishing.

STAGE 3: LEARNING PLAN First Topic: How to Use the Digital Software Tools

Estimated # of Lessons: Opens Trimester 2

Learning Targets: Essential Questions: ● I can use technology to create a new type ● How can technology help make art in new of art and create a work of art using tools ways? in digital artmaking software. ● How is making art on a screen the same as — ● I can open, save, and find my work on the or different from — making art on paper? computer and use the shape, brush, fill, and ● What can I do with digital tools that I can't do line tools to make something. with a paintbrush or pencil? ● I can put shapes on top of each other to ● How do I get ideas before you start making make my picture look more interesting. something new? Learning Activities: ● Demonstration on opening a new document and on saving a document ● Demonstration on editing a document using shape, line, and brush tools. ● Teacher shows how to open, save, and name a file — students follow along ● Free explore time: try each tool and just play ● Class discussion: "What surprised you? What felt like drawing? What felt totally different?" ● Mini challenge: make a simple picture using only shapes and fill — try to make things overlap ● Digital Sampler submitted for teacher check

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Third Grade Art: Unit 6 Second Topic: How to Create a Digital Artwork

Estimated # of Lessons: Opens Trimester 2

Learning Targets: Essential Questions: ● I can look at a digital artist's work and find ● How can technology help make art in new one idea I want to try. ways? ● I can choose colors that help show my idea. ● What makes a good digital design? ● I can ask "What if?" and "Now what?" to ● How do I know when my digital artwork is make my artwork better. saying what you want it to say? ● I can tell someone one choice I made and why I made it. Learning Activities: ● Demonstration: How to combine and overlap shapes and colors in a digital document ● Artist Talk: Observe various digital artworks & analyze their use of contrast, size, emphasis, & impact. ● Look at work by a featured digital artist together — "What do you notice? What do you think they were trying to show?" ● Students look at 2–3 examples and sketch a quick idea on paper before touching the computer ● Independent work time — teacher checks in with individuals ● Mid-point partner feedback: "I notice... I wonder..." ● Students ask themselves "What if?" and "Now what?" before finishing ● Artist Share: each student tells a partner what their artwork is about and one choice they made

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Third Grade Art: Unit 7 Course Name: Grade 3 Art

Station 6: Print Making

Opens in Trimester 2

Unit Overview: We study printmaking history. We explore symmetrical and asymmetrical designs. We make multiple print editions. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.3a: Elaborate on an imaginative idea. VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr2.1.3a: Create personally satisfying artwork using a variety of artistic processes and materials. VA:Cr2.2.3a: Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. VA:Pr6.1.3a: Identify & explain how & where different cultures record & illustrate stories and history of life through art. VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art. VA:Re8.1.3a: Interpret art by analyzing use of media to create subject matter, characteristics of form, and mood. VA:Cn11.1.3a: Recognize that responses to art change depending on knowledge of the time and place in which it was made.

Transfer Goals ● ●

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Understandings ●

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Printmaking creates multiple editions of an image by transferring ink or paint from a printing plate to paper. It has been used across cultures and centuries to share stories, spread ideas, and create multiples for wider audiences. Relief prints use incised and raised surfaces to create an image or design. Artists create both symmetrical (balanced) and asymmetrical (unbalanced) designs depending on their artistic goals. Observing and reflecting on prints helps artists learn and improve their technique.

Essential Questions ● ● ●

How does the printmaking process work? How does making multiple copies of the same image create interesting patterns and effects? Why might an artist want to make many copies of the same image?

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Third Grade Art: Unit 7 Knowledge ● ● ●

Skills (Framed as Learning Targets)

How to understand the process of woodcuts History of ukiyo-e (responding session only) Artwork: Great Wave

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Key Vocabulary: woodcut, ukiyo-e

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I can explore the printmaking process with a variety of materials/tools. I can apply my printmaking skills to engage and persist with more complex processes. I can create a collagraph print. I can create symmetrical and asymmetrical prints. I can observe and reflect on prints I make. I can experiment through making multiple editions of a print.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: A series of 3 or more relief prints.

Mini Printmaking Skillbuilder: Students can create a mini artwork of a relief print using subtractive/carving technique.

A mini relief print that shows bilateral or radial symmetry.

STAGE 3: LEARNING PLAN First Topic: What is Printmaking?

Estimated # of Lessons: Opens Trimester 2

Learning Targets: ● I can explore the printmaking process with a variety of materials/tools. ● I can apply my printmaking skills to engage and persist with more complex processes. ● I can create a relief print. ● I can create symmetrical and asymmetrical prints. ● I can observe and reflect on prints I make. ● I can experiment through making multiple editions of a print.

Essential Questions: ● How does the printmaking process work? ● How does making multiple copies of the same image create interesting patterns and effects? ● Why might an artist want to make many copies of the same image?

Learning Activities: ● Look at and discuss a variety of prints ● Printmaking Skill Builder ● Reflect on results of printmaking experiments

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Third Grade Art: Unit 8 Course Name: Grade 3 Art

Station 7: Ceramics

Opens in Trimester 3

Unit Overview: We roll slabs, use drape technique, and build with coils. We store our work safely at each stage. We apply glazes to finish our pottery. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr2.1.3a: Create personally satisfying artwork using a variety of artistic processes and materials. VA:Cr2.2.3a: Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. VA:Pr6.1.3a: Identify and explain how and where different cultures record and illustrate stories and history of life through art. VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art. VA:Re8.1.3a: Interpret art by analyzing use of media to create subject matter, characteristics of form, and mood. VA:Cn11.1.3a: Recognize that responses to art change depending on knowledge of the time and place in which it was made.

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Clay can be shaped using techniques like rolling slabs, draping over forms, and building with coils. The drape technique transforms flat clay slabs into vessels (bowls, containers) by shaping them over molds. Clay goes through multiple stages (greenware, bisque-fired, glaze-fired) and requires careful storage at each stage. Glazing and painting add color and finish to clay projects.

Essential Questions ● ● ● ●

What techniques do artists use to shape clay into different forms? How do I make a clay vessel that can hold things? What is ceramic glaze? How does an artist finish a clay sculpture?

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Third Grade Art: Unit 8 Knowledge ● ● ●

Skills (Framed as Learning Targets)

How to roll a slab How to drape over knee to make a bowl How to roll a coil

Key Vocabulary: bisque-fired, glaze-fired; stages of clay, greenware, rolling pin, measure, consistent; hump mold; coil method, smoothing

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I can explore the sculpture process with a variety of materials/tools. I can roll a clay slab with a rolling pin. I can safely and effectively store my inprogress and completed clay projects. I can apply glazing or painting techniques to complete my clay project.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Slab or Draped sculptures finished with glaze or paint.

Observation and 1:1 Coaching: Students can safely use and care for ceramics tools, materials, and in progress artworks.

STAGE 3: LEARNING PLAN First Topic: Building a Clay Sculpture

Estimated # of Lessons: Opens Trimester 3

Learning Targets: ● I can explore the sculpture process with a variety of materials/tools. ● I can roll a clay slab with a rolling pin anduse clay coils to add details. ● I can safely and effectively store my inprogress and completed clay projects.

Essential Questions: ● What techniques do artists use to shape clay into different forms? ● How do I make a clay vessel that can hold things?

Learning Activities: ● Practice slab rolling with rolling pin ● Practice working with a slab, such as draping over a mold, making a relief sculpture ● Practice rolling even coils with hands and score, slip & smooth attachment Second Topic: Finishing a Clay Sculpture

Estimated # of Lessons: Opens Trimester 3

Learning Targets: ● I can explore the sculpture process with a variety of materials/tools. ● I can safely and effectively store my inprogress and completed clay projects. ● I can apply glazing or painting techniques to complete my clay project.

Essential Questions: ● What is ceramic glaze? ● How does an artist finish a clay sculpture?

Learning Activities: ● Learn about how glaze works ● Choose from sample colors ● Apply glazing techniques ● Learn about alternate ways to finish a bisqued piece with paint and other materials

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Third Grade Art: Unit 9 Course Name: Grade 3 Art

Station 8: Fiber Arts

Opens in Trimester 3

Unit Overview: We have more choices in weaving. We set up cardboard looms and create radial weavings. We study how different cultures use fiber arts. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process. VA:Cr2.1.3a: Create personally satisfying artwork using a variety of artistic processes and materials. VA:Cr2.2.3a: Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes. VA:Pr6.1.3a: Identify and explain how and where different cultures record and illustrate stories and history of life through art. VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art. VA:Re8.1.3a: Interpret art by analyzing use of media to create subject matter, characteristics of form, and mood. VA:Cn11.1.3a: Recognize that responses to art change depending on knowledge of the time and place in which it was made.

Transfer Goals ● ● ● ●

Understandings ● ● ● ●

Weaving is the process of interlacing materials (yarn, fabric, recyclable materials) on a loom to create fabric or art. Different looms (cardboard, plate) and techniques (yarn painting, embroidery) create different fiber art effects. Artists use a variety of colors when creating a weaving. Artists from different cultures use fiber arts to express their ideas and traditions.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts)

Essential Questions ● ● ●

How do I weave materials together on a loom? What patterns and color combinations can I create with yarn? How have artists from different cultures used fiber arts?

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Third Grade Art: Unit 9 Knowledge ●

Skills (Framed as Learning Targets)

How to weave variations in plate weaving (loom variation), How to weave with yarn on a cardboard loom How to use a plastic weaving needle.

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Key Vocabulary: fiber arts, weaving, warp, weft, radial, overhand knot

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I can explore the fiber arts process with a variety of materials/tools. I can weave back and forth or in a circle on a loom. I can create a weaving that uses recyclable materials. I can make a weaving that explores different color combinations.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: A completed weaving

Observations and 1:1 Coaching: ● Student can follow ABAB pattern during the creation of weaving. ● Student can tie an overhand knot. ● Student can switch out colors in weaving.

STAGE 3: LEARNING PLAN First Topic: Fiber Arts

Estimated # of Lessons: Opens Trimester 3

Learning Targets: ● I can explore the fiber arts process with a variety of materials/tools. ● I can weave back and forth or in a circle on a loom. ● I can create a weaving that uses recyclable materials. ● I can make a weaving that explores different color combinations.

Essential Questions: ● How do I weave materials together on a loom? ● What patterns and color combinations can I create with yarn? ● How have artists from different cultures used fiber arts?

Learning Activities: ● View and discuss how fiber artists from cultures around the world use weaving to create functional and decorative creations. ● Review weaving terms and how to weave ● Demonstration on how to tie an overhand knot and a square knot. ● Demonstration on how to change colors of yarn ● Brainstorm of what you could weave through a loom.

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Fourth Grade Art

108

Fourth Grade Art Aug-Sept

Trimester 1

Opening Unit

Station 1: Drawing

Station 2: Painting

Station 3: Paper Arts

We create artwork that matters to us, our families, and our communities. We explore different ways to start artwork. We talk about our art with others. We make changes based on conversations.

We create drawings to share with our community. We prepare work for an exhibition. We draw figures using mannequins and create depth with a one-point perspective. We use value to show threedimensional form. We write artist statements to explain our work.

We mix tints, shades, and tones to create mood and dimension. We explore subtractive painting (removing paint). We use complementary colors to make neutral tones. We collaborate and learn from each other's techniques.

We create collages that use embellishments to add variety and texture. We make zines by folding and cutting paper into books. We create complex origami forms by following precise instructions.

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Fourth Grade Art (continued) Trimester 2

Trimester 3

Station 4: Construction

Station 5: Digital Arts

Station 6: Printmaking

Station 7: Ceramics

Station 8: Fiber Arts

We learn advanced attachment methods including hot glue (safely!). We create sculptures with moving parts.

We use technology to research techniques for planning a work of art. We create stop motion animations. We plan digital projects that tell stories through movement and sequence.

We explore gyotaku (fish printing). We make multiple editions and discover how different techniques create unique effects.

We plan personal ceramic projects using pinch, coil, and slab techniques. We apply underglaze on bisque pottery. We practice proper storage and care from clay to glaze.

We study how fiber arts connect to real-world uses. We create works of art using yarn, thread, and fabric.

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Fourth Grade Art: Unit 1 Course Name: Fourth Grade Art

Opening the Studio

Est # of Lessons: 7-9

Unit Overview: We create artwork that matters to us, our families, and our communities. We explore different ways to start artwork. We talk about our art with others. We make changes based on conversations. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

●

VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr1.2.4a: Collaboratively set goals and create artwork that is meaningful and has purpose to the makers. VA:Cr2.1.4a: Explore and invent artmaking techniques and approaches. VA:Cr2.2.4a: When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. VA:Cr3.1.4a: Revise artwork in progress on the basis of insights gained through peer discussion.

Transfer Goals ● ● ●

Understandings ● ●

Artists explore and investigate different materials and approaches to discover what works best for their creative ideas. Thoughtful use and care of materials and studio space allows everyone to create successfully.

Essential Questions ● ● ● ●

Knowledge ● ● ● ●

How do artists gather and organize their materials in a studio? What questions can help me make your artwork even better? What details do I notice in the world around me? How does that inspire my art? How do artists work together? Skills (Framed as Learning Targets)

Review stewardship signup Review rules and routines. Review 8 Studio habits How to ask “Now What?”

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Key Vocabulary: brainstorm, express, revise, reflect, understand art worlds

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I can independently choose and explore materials & use different methods to envision ideas prior to & during my artmaking. I can use care & safety in accessing, using, & storing my artmaking materials and resources. I can plan out ideas I have for artmaking in different ways such as sketching and experimenting. I can share an artist statement about a work of art I make.

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Fourth Grade Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Whole Group Observation: Students can navigate and maintain the art studio as community space.

Observation: Can provide and receive constructive feedback with peer, can start a work of art through a sketch or material exploration Art Reflection Statements: Students can share ideas about art choices through statements such as “I chose _______ because _______.”

STAGE 3: LEARNING PLAN FirstTopic: Opening the Studio

Estimated # of Lessons: Starts in Trimester 1

Learning Targets : ● I can independently choose and explore materials. ● I can use different methods to envision ideas prior to and during my artmaking. ● I can use care and safety in accessing, using, and storing my artmaking materials and resources. ● I can plan out ideas I have for artmaking in different ways such as sketching and experimenting. ● I can write an artist statement about a work of art I make.

Essential Questions: ● How do artists gather and organize their materials in a studio? ● What questions can help me make your artwork even better? ● What details do I notice in the world around me? How does that inspire my art? ● How do artists work together?

Learning Activities: ● Learn to access & play drawing games: for example Whatchamadrawit ● Learn to access drawing challenges for one or more artists: for example Initials Design Challenge ● Learn to access, collaboratively with and put away Keva planks ● Learn to access, collaboratively build with and put away magnetic blocks ● Learn to access, build multi-level structures with and put away wooden blocks ● Learn clean up routine & steward jobs; for example, how to check stations, get and hang up badge ● Learn sharing routine, including attentive listening, asking process-related questions, giving constructive feedback

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Fourth Grade Art: Unit 2 Course Name: Fourth Grade Art

Station 1: Drawing

Opens in Trimester 1

Unit Overview: We create drawings to share with our community. We prepare work for an exhibition. We draw figures using mannequins and create depth with a one-point perspective. We use value to show three-dimensional form. We write artist statements to explain our work. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

● ● ●

Transfer Goals ● ●

●

Understandings ● ● ● ●

Artists use observation tools like mannequins and references to understand proportion and posture in figure drawing. Value (lights and darks) creates the illusion of three-dimensional form on flat paper. One-point perspective is a technique that creates depth by making objects appear to recede toward a vanishing point. Artist statements communicate our creative choices and intentions to audiences, helping prepare work for exhibition.

Essential Questions ● ● ●

How do artists use drawing to plan and develop their ideas? What techniques help create the illusion of depth and form in drawings? How do artist statements help others understand your work?

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Fourth Grade Art: Unit 2 Knowledge

Skills (Framed as Learning Targets)

● ● ●

How to use a mannequin to draw a figure How to prepare a work of art for an exhibit How to select a background color for a work of art that will be in an art exhibit ● How to use value to build form ● One-point perspective ● Artist Trading Cards ● Innovation vs. Imitation Key Vocabulary: posture, proportion, layering, stippling, shading, hatching, line quality,

● ● ●

I can explore the drawing process with a variety of materials/tools. I can notice details in the world around me and get ideas for my artwork by sketching and planning. I can decide on next steps by asking, “What if…?” and “now what?” I can put meaning into my art by including what is important to me and refine my artwork based on peer feedback

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed artworks: Students can complete artworks that use value to show form and depth.

Observation and 1:1 Coaching: ● Students can successfully collaborate on an art project with a peer through beginning and refinement steps. ● Students consistently pull art references from a variety of resources around the studio. Think Pair Share/Art Share: Students can share rationale behind changes made in artwork. Skillbuilder Worksheet: Successful completion of a 4 step value scale with even steps between value stages and with different forms of mark making.

STAGE 3: LEARNING PLAN First Topic: How do artists get ideas?

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the drawing process with a variety of materials/tools. ● I can notice details in the world around me. ● I can get ideas for my artwork by sketching and planning. ● I can put meaning into my art by including what is important to me.

Essential Questions: ● How do artists use drawing to plan and develop their ideas? ● What techniques help create the illusion of depth and form in drawings? ● How does art work convey information about other cultures and times?

Learning Activities: ● View, discuss and evaluate a variety of different types / styles of drawing from different times and cultures ● Drawing technique Skill Builder ● Observational drawing from image, object and life ● Practice different ways of mark making ● Practice sketching from memory and imagination

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Fourth Grade Art: Unit 2 Second Topic: Revising and Refining Ideas

Estimated # of Lessons: Opens in Trimester 1

Learning Targets: Essential Questions: ● I can decide on next steps by asking, “What ● How do artists use drawing to plan and if…?” and “now what?” develop their ideas? ● I can refine my artwork based on peer ● How do artist statements help others feedback. understand your work? Learning Activities: ● Look at art from far away ● Have TAG conference with peer ● Seek and give feedback

115

Fourth Grade Art: Unit 3 Course Name: Fourth Grade Art

Station 2: Painting

Opens in Trimester 1

Unit Overview: We mix tints, shades, and tones to create mood and dimension. We explore subtractive painting (removing paint). We use complementary colors to make neutral tones. We collaborate and learn from each other's techniques. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

● ● ● ● ●

VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr2.1.4a: Explore and invent artmaking techniques and approaches. VA:Cr2.2.4a: When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. VA:Cr2.3.4a: Document, describe, and represent regional constructed environments. VA:Cr3.1.4a: Revise artwork in progress on the basis of insights gained through peer discussion. VA:Re.7.2.4a: Analyze components in visual imagery that convey messages. VA:Cn10.1.4a: Create works of art that reflect community cultural traditions. VA:Cn11.1.4a: Through observation, infer information about time, place, and culture in which a work of art was created.

Transfer Goals ● ● ● ●

Understandings ● ● ● ●

Value (tints, shades, and tones) creates depth, dimension, and mood in paintings. Mixing complementary colors creates neutral colors that artists use to expand their palette. Subtractive painting involves removing paint to reveal layers beneath, creating unique effects. Collaboration in painting requires communication, compromise, and openness to learning from others.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ●

How do artists mix and use values to create mood and dimension in paintings? What happens when you experiment with unexpected painting techniques? How can working together on a painting teach you new skills?

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Fourth Grade Art: Unit 3 Knowledge ● ● ● ●

Skills (Framed as Learning Targets)

How to access, return and use semi-moist tempera cake sets Using value with liquid tempera Subtractive painting process Using complements to make neutral colors

Key Vocabulary: pigment, subtractive, neutral, value, tint, shade & tone, experiment, intensity

● ● ● ● ● ●

I can explore the painting process with a variety of materials/tools. I can use a variety of references to enhance the details of my artwork. I can collaborate with my classmates to create a work of art. I can be heard by, learn from, and compromise with my classmates on works we make together. I can mix values of colors (tints and shades). I can navigate and experiment with unexpected outcomes when using paint.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works of Art: Artwork that uses more than one reference to add accurate details and is made with a variety of tools.

Observation and 1:1 Coaching: Students can successfully collaborate on an art project with a peer through beginning and refinement steps. Skill Builder: Value scale with paint that includes tints, shades and tones Think Pair Share/Art Share: Students can share rationale behind changes made in artwork.

STAGE 3: LEARNING PLAN First Topic: Exploring Painting Media

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the painting process with a variety of materials/tools. ● I can use a variety of references to enhance the details of my artwork. ● I can mix values of colors (tints and shades). ● I can navigate and experiment with unexpected outcomes when using paint.

Essential Questions: ● How do artists mix and use values to create mood and dimension in paintings? ● What happens when you experiment with unexpected painting techniques?

Learning Activities: ● Review painting genres ● Look at and discuss the way color is used in a variety of paintings ● Color and texture Skill Builder ●

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Fourth Grade Art: Unit 3 Second Topic: Collaborating in Painting

Estimated # of Lessons: Opens in Trimester 1

Learning Targets: ● I can collaborate with my classmates to create a work of art. ● I can be heard by, learn from, and compromise with my classmates on works we make together. ● With peers, I can discuss and problem solve unexpected outcomes when using paint.

Essential Questions: ● How can working together on a painting teach you new skills?

Learning Activities: ● Review guidelines for collaborating ● Watch videos of collaborative artists at work for inspiration

118

Fourth Grade Art: Unit 4 Course Name: Fourth Grade Art

Station 3: Paper Arts

Opens in Trimester 1

Unit Overview: We combine collage techniques (juxtaposition, mosaic, multimedia) to create unified compositions. We explore using folded paper to create other work such as zines and origami. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

● ● ●

● ●

VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr2.1.4a: Explore & invent art-making techniques and approaches. VA:Cr2.2.4a: When making art, utilize/care for materials, tools, & equipment in a manner that prevents danger to you & others. VA:Cr3.1.4a: Revise artwork in progress on the basis of insights gained through peer discussion. VA:Re.7.1.4a: Compare responses to a work of art before & after working in similar media. VA:Re8.1.4a: Interpret art by referring to contextual information & analyzing relevant subject matter, characteristics of form, & use of media. VA:Cn10.1.4a: Create works of art that reflect community cultural traditions. VA:Cn11.1.4a: Through observation, infer information about time, place, and culture in which a work of art was created.

Transfer Goals ● ● ●

●

Understandings ● ●

●

Collage combines multiple techniques (juxtaposition, mosaic, multimedia) to create unified artworks with visual interest. Harmony & contrast are design principles that artists use strategically—harmony creates unity while contrast creates visual excitement. Following precise instructions with attention to detail allows artists to create complex paper structures like origami & zines. Analyzing other artists' work helps inform our own design decisions.

Essential Questions ● ● ●

How can combining different materials and techniques in collage create interesting artwork? What's the difference between harmony and contrast in art, and when would I use each? How do I fold and cut paper to create books or complex origami forms?

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Fourth Grade Art: Unit 4 Knowledge ●

● ● ●

Skills (Framed as Learning Targets)

How to implement a variety of techniques into collage (harmony, contrast, juxtaposition, drawing and collage, mosaic, multimedia), Artist example: Megan Coyle How to make a zine; Origami

Key Vocabulary: juxtaposition, mosaic, contrast,

● ● ● ●

I can explore the paper arts process with a variety of materials/tools I can observe details & use precision to follow instructions to create complex origami forms. I can analyze artwork to help guide my design choices and use principles of design such as harmony & contrast in my work of art. I can create a book out of paper by folding and cutting.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Art includes embellishments to add variety and texture. Folded paper artworks use precision in folding techniques.

Observation and 1:1 Coaching: Students can successfully collaborate on an art project with a peer through beginning and refinement steps. Mini Art Skillbuilder: Students can create a mini artwork example that uses a variety of embellishments.

STAGE 3: LEARNING PLAN First Topic: Collage

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the paper arts process with a variety of materials/tools ● I can analyze artwork to help guide my design choices & use principles of design such as harmony/contrast in my art.

Essential Questions: ● How can combining different materials and techniques in collage create interesting artwork? ● What's the difference between harmony and contrast in art, and when would I use each?

Learning Activities: ● Look at a variety examples of collage which include found images, paint, and found objects ● Explore & discuss papers with different properties and review good gluing techniques. Second Topic: Origami and Zine making

Estimated # of Lessons: Opens in Trimester 1

Learning Targets: ● I can observe details & use precision to follow instructions to create complex origami forms. I can also create a book out of paper by folding and cutting.

Essential Questions: ● How do I fold and cut paper to create books or origami forms?

Learning Activities: ● Observe origami techniques in books, on videos and through teacher demonstration ● Practice a variety of folding techniques such as valley and mountain folds ● Practice how to fold and cut one sheet of paper to create a zine

120

Fourth Grade Art: Unit 5 Course Name: Fourth Grade Art

Station 4: Construction

Opens in Trimester 2

Unit Overview: We learn advanced attachment methods including hot glue (safely!). We create sculptures with moving parts. We transform found objects and recyclable materials into meaningful sculptures. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

● ● ●

●

VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr2.1.4a: Explore and invent artmaking techniques and approaches. VA:Cr2.2.4a: When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. VA:Cr2.3.4a:Document, describe, and represent regional constructed environments. VA:Cr3.1.4a: Revise artwork in progress on the basis of insights gained through peer discussion. VA:Pr5.1.4a: Analyze the various considerations for presenting and protecting art in various locations, indoor or outdoor settings, in temporary or permanent forms, and in physical or digital formats. VA:Re8.1.4a: Interpret art by referring to contextual information and analyzing relevant subject matter, characteristics of form, and use of media. VA:Cn11.1.4a: Through observation, infer information about time, place, and culture in which a work of art was created.

Transfer Goals ● ● ●

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

121

Fourth Grade Art: Unit 5 Understandings ● ● ● ●

Different attachment methods (cardboard tape, liquid glue, hot glue) serve different purposes in sculpture construction. Found objects and recyclable materials can be transformed into meaningful sculptures through creative vision. Adding a "skin" (outer layer) with details refines sculptures and gives them a finished appearance. Articulated sculptures with moving parts require planning and understanding of how joints work.

Essential Questions ● ●

Knowledge ● ● ● ● ● ●

How to use cardboard tape How to use liquid glue to attach How to safely use hot glue guns How to use found objects in sculpture How to create a Tantamounter, How to create articulated puppets

Key Vocabulary: tantamounter

What attachment methods help build strong, stable sculptures? How can everyday objects and recyclable materials become sculpture?

Skills (Framed as Learning Targets) ● ● ●

I can explore the construction process with a variety of materials/tools and use a variety of attachment types for a sculpture. I can challenge myself by using more complex materials and refine my sculptures by adding a skin. I can use nontraditional media such as recyclable materials or objects from nature to construct a sculpture.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Sculptures will have stability, balance, and can include movement as a feature. Sculptures will have detail that uses precision to help give the artwork meaning. Sculptures will use a variety of complex attachment methods and can include hot glue as an adhesive.

Small group activity: Students can identify details added to a sculpture that enhance the meaning of a work of art. Observation and 1:1 Coaching: ● Students can successfully collaborate on an art project with a peer through beginning and refinement steps. ●

Students can use hot glue with safety.

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Fourth Grade Art: Unit 5 STAGE 3: LEARNING PLAN First Topic: Building and Attachment

Estimated # of Lessons: Opens in Trimester 2

Learning Targets : ● I can explore the construction process with a variety of materials/tools. ● I can use a variety of attachment types for a sculpture. ● I can challenge myself by using more complex materials. ● I can refine my sculptures by adding a skin. ● I can use nontraditional media such as recyclable materials or objects from nature to construct a sculpture.

Essential Questions: ● What attachment methods help build strong, stable sculptures? ● How can everyday objects and recyclable materials become sculpture? ● How do sculptures convey information about contemporary society?

Learning Activities: ● Look at and discuss a variety of sculptures made from found objects, recycled materials, etc. ● Look at what artists communicate about the world through their art ● Attachment Test or practice attachment techniques, ● Review methods for stabilizing sculptures. ● Peer review ● Tantamounter Second Topic: Finishing a constructed sculpture

Estimated # of Lessons: Opens in Trimester 2

Learning Targets: ● I can challenge myself by utilizing new materials. ● I can refine my sculptures by adding a skin.

Essential Questions: ● How can everyday objects and recyclable materials become sculpture? ● How do details change a sculpture?

Learning Activities: ● Practice making a skin with papers or paint ● Preparing a label for displaying a sculpture ● Tantamounter

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Fourth Grade Art: Unit 6 Course Name: Fourth Grade Art

Station 5: Digital Arts

Opens in Trimester 2

Unit Overview: We use technology to research techniques for planning a work of art. We create stop motion animations. We plan digital projects that tell stories through movement and sequence. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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Transfer Goals ● ● ● ●

Understandings ● ● ●

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Technology provides new tools and methods for creating and presenting art, including animation and digital formats. Research using various resources helps artists learn techniques, gather references, and develop ideas. Stop motion animation creates movement by photographing objects in slightly different positions and playing the images in sequence. Digital art requires the same creativity, planning, and problem-solving as traditional art forms

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ●

How can technology help create art in new ways? What digital resources help artists learn new techniques and gather ideas? How do I create the illusion of movement in stop motion animation?

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Fourth Grade Art: Unit 6 Knowledge ● ●

Skills (Framed as Learning Targets)

How to determine types of research How to create a stop motion animation

Key Vocabulary: narration, sequencing, movement, resources, plot, contrast, mood, setting/set, frames, proof, storyboard

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I can explore and research art ideas and techniques using technology. I can create a work of art using tools in digital artmaking software. I can create a work of art that incorporates movement using one stop animation.

Summative Assessment

Formative Assessment

Completed Artwork: Digital or traditional artworks Observation and 1:1 Coaching: Students can evidence of resources found through digital means successfully collaborate on an art project with a peer to plan the work. Stop motion animation artworks through beginning and refinement steps. that use movement and sequence to tell a story. Small Group Brainstorm Activity: Where can artists find resources to use as references or tools for planning art? Student can fill in brainstorm cloud with a variety of resources that artists can use to plan a work of art, both digital and traditional. STAGE 3: LEARNING PLAN First Topic: How to use the Digital Software Tools

Estimated # of Lessons: Opens in Trimester 2

Learning Targets : ● I can explore and research art ideas and techniques using technology. ● I can create a work of art using tools in digital artmaking software.

Essential Questions: ● How can technology help create art in new ways? ● What digital resources help artists learn new techniques and gather ideas?

Learning Activities: ● Review opening and saving a new document ● Review using shape, line, and brush tools. ● Demonstration of additional tools such as lasso tool ● Demonstration and practice of stop motion animation application. Second Topic: How to Create a Digital Artwork

Estimated # of Lessons: Opens in Trimester 2

Learning Targets: ● I can create a work of art that incorporates movement using stop-motion animation.

Essential Questions: ● How do I create the illusion of movement in stop motion animation?

Learning Activities: ● How to use line, shape, brush and lasso to create a digital design. ● Create a simple stop motion animation

125

Fourth Grade Art: Unit 7 Course Name: Fourth Grade Art

Station 6: Printmaking

Opens in Trimester 2

Unit Overview: We explore gyotaku (fish printing). We make multiple editions and discover how different techniques create unique effects. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr2.1.4a: Explore and invent art-making techniques and approaches. VA:Cr2.2.4a: When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. VA:Cr3.1.4a: Revise artwork in progress on the basis of insights gained through peer discussion. VA:Pr4.1.4a: Analyze how past, present, and emerging technologies have impacted the preservation and presentation of artwork. VA:Re.7.1.4a: Compare responses to a work of art before and after working in similar media. VA:Re9.1.4a: Apply one set of criteria to evaluate more than one work of art.

Transfer Goals ● ● ●

● ●

Understandings ●

●

Different printmaking techniques produce unique qualities—collagraph prints create organic textures while gyotaku prints capture direct impressions. Observing and reflecting on prints with peers helps artists refine their technique and see new possibilities.

Essential Questions ●

Knowledge ● ●

How to make a gyotaku print The history of gyotaku prints

Key Vocabulary: sumi ink, rice paper, burnish

How do different printmaking techniques create different effects?

Skills (Framed as Learning Targets) ● ● ●

I can explore the printmaking process with a variety of materials/tools. I can apply my printmaking skills to engage and persist with more complex processes. With a peer, I can observe and reflect on prints I make

126

Fourth Grade Art: Unit 7 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: A completed gyotaku print

Observation and 1:1 Coaching: Students can reflect on how it is different to print a rounded form versus a flat plate.

STAGE 3: LEARNING PLAN First Topic: Printmaking

Estimated # of Lessons: Opens in Trimester 2

Essential Questions: ● How do different printmaking techniques create different effects?

Learning Activities: ● Skill Builder: Printing on different substrates such as plastic, parchment, tissue, newspaper

127

Fourth Grade Art: Unit 8 Course Name: Fourth Grade Art

Station 7: Ceramics

Opens in Trimester 3

Unit Overview: We plan personal ceramic projects using pinch, coil, and slab techniques. We apply glaze on bisque pottery. We practice proper storage and care from clay to glaze. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr2.2.4a: When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others. VA:Re8.1.4a: Interpret art by referring to contextual information and analyzing relevant subject matter, characteristics of form, and use of media. VA:Cn11.1.4a: Through observation, infer information about time, place, and culture in which a work of art was created.

Transfer Goals ● ● ●

Understandings ● ●

● ● ●

Clay can be shaped using pinch, coil, and slab techniques, each suited for different sculptural goals. Clay work requires planning, careful storage at each stage (wet clay, leatherhard, bisque-fired), and patience through the firing process. Glaze adds color, finish, and refinement to clay sculptures, transforming the surface. Clay pieces can be finished with glaze, paints or alternative materials Subtractive techniques (carving, cutting away) combined with additive techniques (coils, attachments) create detailed sculptural work.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ●

How do pinch, coil, and slab techniques help create different clay forms? What planning and care does clay work require from start to finish? How does glazing change and complete a clay sculpture?

128

Fourth Grade Art: Unit 8 Knowledge

Skills (Framed as Learning Targets)

●

How to make a clay sculpture using coils, such as a four-legged creature ● How to take care of glaze & brushes ● How to make decisions and planning for a personal project ● How to make using Pinch, Coil & Slab Construction ● How to use tools for the subtractive method to sculpt clay ● How to store a clay project that is in progress Key Vocabulary: slip, mop brush, firing, wax, refinement; feedback, planning/sketch; Engage & Persist; Leather hard

● ● ● ● ●

I can explore the sculpture process with a variety of materials/tools I can use subtractive sculpting with my clay. I can use clay coil techniques as a decorative element. I can safely and effectively store my inprogress and completed clay projects. I can apply details with glazing or painting techniques to refine my clay project.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Planned, personal, detailed ceramic projects using pinch, coil, and/or slab techniques are finished with glaze.

Observation and 1:1 Coaching: ● Students can successfully collaborate on an art project with a peer through beginning and refinement steps. ● Students practice proper storage and care from clay to glaze.

STAGE 3: LEARNING PLAN First Topic: Ceramics

Estimated # of Lessons: Opens in Trimester 3

Learning Targets : ● I can explore the sculpture process with a variety of materials/tools ● I can attach clay slabs and use subtractive sculpting with my clay. ● I can use clay coil techniques as a decorative element. ● I can safely and effectively store my inprogress and completed clay projects. ● I can apply details with glazing or painting techniques to refine my clay project.

Essential Questions: ● How do pinch, coil, and slab techniques help create different clay forms? ● What planning and care does clay work require from start to finish? ● How does glazing change and complete a clay sculpture? ● What can we learn from looking at clay works from the past?

Learning Activities: ● View and discuss examples of ancient pottery and sculpture ● Demonstration or small group instruction of subtractive clay techniques ● Review of coil and additional coil techniques ● Review of glazing and finishing techniques

129

Fourth Grade Art: Unit 9 Course Name: Fourth Grade Art

Station 8: Fiber Arts

Opens in Trimester 3

Unit Overview: We create functional weavings using block and radial patterns. We learn knot-tying. We create fiber projects such as, crochet, sewing, and/or cross-stitch. We study how fiber arts connect to real-world uses. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

● ●

VA:Cr1.1.4a: Brainstorm multiple approaches to a creative art or design problem. VA:Cr2.1.4a: Explore & invent art-making techniques and approaches. VA:Cr2.2.4a: When making works of art, utilize/ care for materials, tools, & equipment in a manner that prevents danger to oneself and others. VA:Cr3.1.4a: Revise artwork in progress on the basis of insights gained through peer discussion. VA:Re.7.1.4a: Compare responses to a work of art before & after working in similar media. VA:Re8.1.4a: Interpret art by referring to contextual information & analyzing relevant subject matter, characteristics of form, & use of media. VA:Cn10.1.4a: Create works of art that reflect community cultural traditions. VA:Cn11.1.4a: Through observation, infer information about time, place, & culture in which a work of art was created.

Transfer Goals ● ●

● ●

Understandings ● ● ● ●

Fiber arts techniques like weaving, crochet, and sewing create both functional objects and artistic expressions. Different looms and weaving patterns (radial, block, paper loom) produce different effects and require different skills. Embellishments like beads, tassels, and embroidery add detail and personal expression to fiber artworks. Fiber arts practices connect to real-world applications in fashion, home design, and cultural traditions across time and place.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

Essential Questions ● ● ●

How can weaving create both artwork and useful objects? What patterns and techniques can I make with yarn and thread? How have people used fiber arts throughout history and in different cultures?

130

Fourth Grade Art: Unit 9 Knowledge

Skills (Framed as Learning Targets)

● ●

How to weave to create practical items How to transform paper loom into weaving, ● Single stitch crochet, ● How to measure, access, and cut yarn from the yarn box, ● How to tie a square knot, ● How to tie an overhand knot, ● How to create a block weaving with vertical edges, ● How to thread a plastic needle and tie it, sewing with felt, cross stitch Key Vocabulary: radial weaving, chain stitch, single stitch, loom, warp, weft, alternate, pattern

● ● ● ● ● ●

I can explore the fiber arts process with a variety of materials/tools. I can weave back and forth or around on a loom. I can create a weaving that uses recyclable materials. I can make a weaving that explores different color combinations. I can add detail to my weavings using embellishments such as beads, tassels, and embroidery. I can analyze how fiber arts practices can be used in real world practices.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: A completed fiber arts project such as a weaving, embroidery piece, stuffed plush.

Observation and 1:1 Coaching: Students can successfully collaborate on an art project with a peer through beginning and refinement steps.

STAGE 3: LEARNING PLAN First Topic: Weaving

Estimated # of Lessons: Opens in Trimester 3

Learning Targets : ● I can explore the fiber arts process with a variety of materials/tools and analyze how fiber arts practices can be used in real world practices. ● I can weave back & forth or around on a loom and I can create a weaving that uses recyclable materials. ● I can make a weaving with different color combinations and add detail to my weavings using embellishments such as beads, tassels, and embroidery.

Essential Questions: ● How can weaving create both artwork and useful objects? ● What patterns and techniques can I make with yarn and thread? ● How have people used fiber arts throughout history and in different cultures?

131

Fifth Grade Art

132

Fifth Grade Art Aug-Sept Opening Unit

We look at the world through artists' eyes. We explore different ways to start artwork. We make changes based on conversations with others. We write artist statements using art vocabulary.

Trimester 1 Station 1: Drawing

We create drawings using advanced techniques like optical illusions and graphic design. We plan through thumbnail sketches. We prepare work for exhibition with artist statements and thoughtful background color choices.

Station 2: Painting

Station 3: Paper Arts

We explore surrealism by combining unexpected elements. We work with a variety of paints on canvas. We use alternative tools (squeegees, splatter) to create innovative effects. We develop color schemes for specific moods.

We create collages that explore surrealism through unexpected combinations. We study the different ways in which artists use collage to tell stories or make designs.

133

Fifth Grade Art (continued) Trimester 2

Trimester 3

Station 4: Construction

Station 5: Digital Arts

Station 6: Printmaking

Station 7: Ceramics

Station 8: Fiber Arts

We recreate objects using found items and sculpture materials. We study environmental art. We learn how sculptures connect to spaces and communities.

We create stop motion animations by planning narratives and controlling movement through sequencing. We combine traditional art-making with digital tools to tell stories.

We experiment with gelli plates to create layered prints. We learn how stencils and timed processes can help create diverse artworks.

We design personalized slab projects that are utilitarian or decorative. We use advanced techniques including subtractive sculpting and coil decoration. We apply overglazes on bisque pottery to complete our vision.

We create weavings with color blocks and recycled materials. We add embellishments like beads, tassels, and embroidery. We use different fiber arts techniques to create three-dimensional pieces. We study how fiber arts connect to fashion, home design, and cultural traditions.

134

Fifth Grade Art: Unit 1 Course Name: Fifth Grade Art

Opening the Studio

Est # of Lessons: 7-9

Unit Overview: We look at the world through artists' eyes. We explore different ways to start artwork. We make changes based on conversations with others. We write artist statements using art vocabulary. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

VA:Cr1.2.5a: Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr3.1.5a: Create artist statements using art vocabulary to describe personal choices in artmaking. VA:Cn10.1.5a: Apply formal and conceptual vocabularies of art and design to view surroundings in new ways through artmaking.

Transfer Goals ●

● ● ●

Understandings ● ● ●

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ●

Review stewardship signup Review rules and routines. Review 8 Studio habits How to write an artist statement

Key Vocabulary: brainstorm, express, revise, reflect, understand art worlds, artist statement

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do artists gather and organize their materials in a studio? What questions can help me make my artwork even better? What details do I notice in the world around me? How does that inspire my art? How do artists work together? How can I share about choices in my art with others? Skills (Framed as Learning Targets)

● ● ●

I can independently choose & explore materials & use different methods to envision ideas prior to and during my artmaking I can use care and safety in accessing, using, and storing my artmaking materials and resources. I can plan out ideas I have for artmaking in different ways such as sketching and experimenting and write an artist statement about a work of art I make.

135

Fifth Grade Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Whole Group Observation: Students can navigate and maintain the art studio as community space.

Observation: Explanation of choices and process during artmaking or sharing Observation and 1:1 Coaching: Students can share their artwork with peers and describe art choices and intent behind their artwork. Whole Group Circle: Can explain positives challenges in the artmaking process. Art Reflection Statements: Students can share ideas about art choices through statements such as “I chose _______ because _______.”

STAGE 3: LEARNING PLAN First Topic: Opening the Studio

Estimated # of Lessons: 1-2

Learning Targets : ● I can independently choose and explore materials. ● I can use different methods to envision ideas prior to and during my artmaking ● I can use care and safety in accessing, using, and storing my artmaking materials and resources. ● I can plan out ideas I have for artmaking in different ways such as sketching and experimenting. ● I can write an artist statement about a work of art I make.

Learning Activities: ● Learn to access & play drawing games: an example might be Surrealist dice game ● Learn to access drawing challenges for one or more artists: for example, 3D line challenge ● Learn to access, build complex structure with and put away Keva planks ● Learn to access, collaboratively build structures with magnetic blocks ● Learn to access, build complex city or building with wooden blocks ● Refresh clean up routine & steward jobs ● Refresh sharing routine

136

Fifth Grade Art: Unit 1 Second Topic: Planning Out an Art Idea

Estimated # of Lessons: 1-3

Learning Targets : ● I can use different methods to envision ideas prior to and during my artmaking ● I can plan out ideas I have for artmaking in different ways such as sketching and experimenting.

Essential Questions: ● What questions can help me make your artwork even better? ● What details do I notice in the world around me? How does that inspire my art?

Learning Activities: ● View, discuss and reflect on previews of a variety of sketchbook content. ● Experiment Skill Builder Third Topic: Writing an Artist Statement

Estimated # of Lessons: 1-3

Learning Targets : ● I can write an artist statement about a work of art I make.

Essential Questions: ● How can I share about choices in my art with others?

Learning Activities: ● View, discuss, and evaluate a variety of examples of artist statements. ● Discuss and compare how Artist Statements are similar to discussions about their art. ● Practice writing an artist statement.

137

Fifth Grade Art: Unit 2 Course Name: Fifth Grade Art

Station 1: Drawing

Opens in Trimester 1

Unit Overview: We create drawings using advanced techniques (optical illusions & graphic design). We plan thumbnail sketches. We prepare work for exhibition with artist statements & thoughtful background color choices.

STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.2.5a: Identify/demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.5a: Experiment and develop skills in multiple art-making techniques and approaches through practice. VA:Cr2.2.5a: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. VA:Cr3.1.5a: Create artist statements using art vocabulary to describe personal choices in artmaking. VA:Re8.1.5a: Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed

Transfer Goals ● ● ●

●

Understandings ● ● ●

Drawing is a process of observation, experimentation, and refinement that helps artists develop and communicate ideas. Artists create depth/space in drawings through careful use of form/value/ pattern. Sketching/planning help artists ask "What if?" & make decisions about their work.

Essential Questions ● ●

Knowledge ●

How to develop a sense of depth and space on a flat surface ● How to create optical illusions ● How to sketch an art idea Key Vocabulary: Contrast, composition, thumbnail, see above, ink wash, innovation vs. imitation

How do artists use drawing to explore ideas and solve problems? What techniques help artists create the illusion of space and depth on a flat surface?

Skills (Framed as Learning Targets) ●

●

I can explore the drawing process with a variety of materials/tools & notice details in the world around me. I get ideas for artwork by sketching & planning & decide on next steps by asking, “What if?” & “now what?” I can put meaning into my art by including what is important to me and refine my artwork based on peer feedback. I can create a sense of space and depth in my work through form, value, and pattern.

138

Fifth Grade Art: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Students can complete artworks that use value, different forms of mark making to show form and depth.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation. Skillbuilder Worksheet: Successful completion of a 5 step value scale with even steps between value stages and with different forms of mark making.

STAGE 3: LEARNING PLAN First Topic: Sketching Art Ideas

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : Essential Questions: ● I can explore the drawing process with a ● How do artists use drawing to explore ideas variety of materials/tools and solve problems? ● I can notice details in the world around me. ● I can get ideas for my artwork by sketching and planning. ● I can decide on next steps by asking, “What if…?” and “now what?” ● I can put meaning into my art by including what is important to me. Learning Activities: ● View, discuss and reflect on previews of a variety of sketchbook content. ● Practice drawing sketches that have a prompt. ● Practice drawing sketches of potential art ideas Second Topic: Creating Depth & Space in Drawing

Estimated # of Lessons:

Learning Targets: Essential Questions: ● I can explore the drawing process with a ● What techniques help artists create the variety of materials/tools and notice details illusion of space and depth on a flat surface? in the world around me. ● I can refine my artwork based on peer feedback and create a sense of space and depth in my work through form, value, and pattern. Learning Activities: ● View, discuss & evaluate artist examples that use space & depth such as Op Art and Trompe L’Oeil. ● Watch a video introducing Space and Form in Art. ● Watch Demonstration on creating an Op art piece. ● Practice making Op Art pieces.

139

Fifth Grade Art: Unit 3 Course Name: Fifth Grade Art

Station 2: Painting

Opens in Trimester 1

Unit Overview: We explore surrealism by combining unexpected elements. We work with acrylics on canvas. We use alternative tools (squeegees, splatter) to create innovative effects. We develop color schemes for specific moods. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ●

●

VA:Cr1.1.5a: Combine ideas to generate an innovative idea for Art-making. VA:Cr1.2.5a: Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.5a: Experiment and develop skills in multiple art-making techniques and approaches through practice. VA:Cr2.2.5a: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. VA:Cr2.3.5a: Identify, describe, and visually document places and/or objects of personal significance. VA:Cr3.1.5a: Create artist statements using art vocabulary to describe personal choices in art-making. VA:Re.7.1.5a: Compare one's own interpretation of a work of art with the interpretation of others. VA:Re8.1.5a: Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed. VA:Re9.1.5a: Recognize differences in criteria used to evaluate works of art depending on styles, genres, and media as well as historical and cultural contexts. VA:Cn11.1.5a: Identify how art is used to inform or change beliefs, values, or behaviors of an individual or society.

Transfer Goals ● ●

● ●

140

Fifth Grade Art: Unit 3 Understandings ● ● ●

Color schemes (analogous and complementary) create specific moods and visual effects in paintings. Experimentation with tools, techniques, and materials leads to innovative approaches in painting. Planning through thumbnail sketches and experiments helps artists develop stronger final artworks.

Essential Questions ● ● ●

Knowledge ● ● ●

How to use acrylic paint How to paint on canvas How to manipulate paint with alternative tools including squeegee, splatter painting

Key Vocabulary: analogous, complementary, mood, canvas, acrylic paint

How do experimental painting techniques expand creative possibilities? How can the tools and materials an artist chooses change what a painting becomes? How can artists develop mood in paintings?

Skills (Framed as Learning Targets) ● ● ● ●

I can explore the painting process with a variety of materials/tools. I can use a variety of planning methods such as thumbnail sketches, experiments, and using references to begin my work of art. I can use analogous and complementary color schemes in my work. I can engage and persist by implementing experimental painting techniques in a work of art.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Works of Art: Artwork is created with a variety of paints and substrates. It includes innovative effects, unexpected elements and color schemes for specific moods.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation. Small Group Artwork Discussion: Artist Talk students can identify and explain the colors the artist chose and how those choices affect the mood of the painting.

141

Fifth Grade Art: Unit 3 STAGE 3: LEARNING PLAN First Topic: Experimenting with Acrylic Paint and Canvas

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the painting process with a variety of materials/tools. ● I can use a variety of planning methods such as thumbnail sketches, experiments, and using references to begin my work of art. ● I can explore the painting process with a variety of materials/tools.

Essential Questions: ● How can the tools and materials an artist chooses change what a painting becomes? ● How do experimental painting techniques expand creative possibilities?

Learning Activities: ● View, discuss and evaluate artist examples through ● Demonstration on how to use and care for acrylic paint and canvases. ● I can explore the painting process with a variety of materials/tools. ● Skillbuilder: Painting with non-traditional painting tools such as squeegees and splatter paint. Second Topic: Developing Mood Through Color

Estimated # of Lessons: Opens in Trimester 1

Learning Targets: ● I can use analogous and complementary color schemes in my work. ● I can engage and persist by implementing experimental painting techniques in a work of art.

Essential Questions: ● How do experimental painting techniques expand creative possibilities? ● How can artists develop mood in paintings?

Learning Activities: ● View, Discuss and compare two works of art that use complementary and analogous color in them. ● Skillbuilder on knowledge of complementary and analogous colors create different moods. ● View, discuss and evaluate how color is affecting the mood in a variety of paintings ● Practice using analogous and complementary colors in painting.

142

Fifth Grade Art: Unit 4 Course Name: Fifth Grade Art

Station 3: Paper Arts

Opens in Trimester 1

Unit Overview: We create mosaic collages with small cut papers. We explore surrealism through unexpected combinations. We study how analyzing artists' work guides our design decisions. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ● as

Transfer Goals ● ● ●

●

well as historical and cultural contexts. Understandings ● ●

● ● ●

Surrealism challenges us to see the world in new ways by placing unexpected objects together (juxtaposition). Paper can be transformed through cutting, folding, layering, and collaging to create both two-dimensional and threedimensional art. Contrast can be developed in collage to create juxtaposition and provide a mood. Precision and careful observation are essential skills when following complex instructions or creating detailed work. Analyzing other artists' work helps guide our own design choices.

Essential Questions ● ● ●

How can paying close attention to details turn simple paper into amazing art? How do you know when to make your artwork feel balanced versus full of contrast? What happens when artists combine unexpected elements in their artwork?

143

Fifth Grade Art: Unit 4 Knowledge ● ●

Skills (Framed as Learning Targets)

How to create surrealism through collage How to create contrast in collage

Key Vocabulary: Surrealism, juxtaposition, mood, contrast

● ● ● ●

I can explore the paper arts process with a variety of materials/tools. I can analyze artwork to help guide my design choices. I can combine unexpected elements within my artwork. I can use contrast to create mood in my work.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Art includes collages that use color schemes and juxtaposition to create unique works with a variety of moods.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation. Mini Art Skillbuilder: Students can create a mini collage artwork that combines two contrasting subject matter to create a unique artwork.

STAGE 3: LEARNING PLAN First Topic: Contrast and Surrealism in Collage

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the paper arts process with a variety of materials/tools. ● I can analyze artwork to help guide my design choices. ● I can combine unexpected elements within my artwork. ● I can use contrast to create mood in my work.

Essential Questions: ● How can paying close attention to details turn simple paper into amazing art? ● How do you know when to make your artwork feel balanced versus full of contrast? ● What happens when artists combine unexpected elements in their artwork?

Learning Activities: ● View, discuss and evaluate contrast and juxtaposition in Surrealist artworks. ● Demonstration on using juxtaposition and contrast in collage ● Skillbuilder: Practice making miniature artworks using juxtaposition and contrast.

144

Fifth Grade Art: Unit 5 Course Name: Fifth Grade Art

Station 4: Construction

Opens in Trimester 2

Unit Overview: We create refined sculptures using various materials and add detailed "skins.” We study environmental art. We learn how sculptures connect to spaces and communities. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ●

VA:Cr1.1.5a: Combine ideas to generate an innovative idea for art-making. VA:Cr1.2.5a: Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.5a: Experiment and develop skills in multiple art-making techniques and approaches through practice. VA:Cr2.2.5a: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. VA:Cr2.3.5a: Identify, describe, and visually document places and/or objects of personal significance.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Sculptors use armatures (wire & foil structures) to create stable foundations for three-dimensional forms. Adding a "skin" with carefully crafted details refines/completes sculptural work. Found objects & recyclable materials can be transformed to represent completely different objects through creative vision. Street art & environmental art connect sculpture to real-world spaces & communities.

Essential Questions ● ●

Knowledge ● ● ● ●

How to use Celluclay How to use wire and foil to build How to create paper clay masks, How to create shadow puppets

Key Vocabulary: street art; environmental art, armature, relief, form, Envision, plan sketch

How do sculptors turn everyday materials into something that tells a story or holds meaning? How do artists use materials and construction methods to create stable, lasting sculptures?

Skills (Framed as Learning Targets) ●

●

I can explore the construction process with a variety of materials/tools and challenge myself by using more complex attachments in my sculpture. I can refine my sculptures by adding small details & transform nontraditional media such as recyclable materials or objects from nature into details that represent a different object.

145

Fifth Grade Art: Unit 5 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artworks: Sculptures that reflect interests in family, community and self. Sculptures that use a variety of materials to recreate an object that is easily determined by its viewers.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation. Attachment Test: Students can connect building materials using at least four different attachments. Tantamounter Test: Students can recreate an object that is well constructed and uses a variety of sculpture materials.

STAGE 3: LEARNING PLAN First Topic: Constructing Sculptures From Nontraditional Materials

Estimated # of Lessons: Opens in Trimester 1

Learning Targets : ● I can explore the construction process with a variety of materials/tools and challenge myself by using more complex attachments in my sculpture. ● I can refine my sculptures by adding small details and transform nontraditional media such as recyclable materials or objects from nature into details that represent a different object.

Essential Questions: ● How do sculptors turn everyday materials into something that tells a story or holds meaning? ● How do artists use materials and construction methods to create stable, lasting sculptures?

Learning Activities: ● View, discuss & evaluate artist examples that use found materials or Celluclay for creating their art. ● Demonstration on complex attachments in construction focused on creating a secure structure. ● Skillbuilder: Building sculptures using a variety of materials such as wire, foil, Celluclay, recycled materials. Practice creating sculptures using non-traditional materials. Second Topic: Tantamounter

Estimated # of Lessons:

Learning Targets : ● I can explore the construction process with a variety of materials/tools ● I can transform nontraditional media such as recyclable materials/objects from nature into details that represent a different object.

Essential Questions: ● How do sculptors turn everyday materials into something that tells a story or holds meaning?

Learning Activities: View, discuss & evaluate art examples that showcase Tantamounter using found items. Tantamounter Challenge - practice creating a selected item out of found items

146

Fifth Grade Art: Unit 6 Course Name: Fifth Grade Art

Station 5: Digital Arts

Opens in Trimester 2

Unit Overview: We create stop motion animations by planning narratives and controlling movement through sequencing. We combine traditional art-making with digital tools to tell stories. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.1.5a: Combine ideas to generate an innovative idea for art-making. VA:Cr2.1.5a: Experiment and develop skills in multiple art-making techniques and approaches through practice. VA:Cr2.2.5a — Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. VA:Cr3.1.5a — Create artist statements using art vocabulary.

Transfer Goals ● ● ● ●

Understandings ● ● ●

Technology provides new tools and techniques for creating art, such as stop motion animation. Digital arts require the same planning, creativity, and problem-solving as traditional art forms. Artists can research and explore techniques using technology to expand their artistic knowledge.

Essential Questions ● ● ●

Knowledge ● ●

How to create a stop motion animation How to add details with the brush tool

Key Vocabulary: narration, sequencing, movement, research, resources, plot, contrast, mood, setting/set, editing, frames, lighting, proof, storyboard, brush tool

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can technology help you make art in new and different ways? What becomes possible when you combine traditional art skills with digital tools? How can artists express their ideas and stories with digital tools?

Skills (Framed as Learning Targets) ● ● ●

I can explore and research art ideas and techniques using technology. I can create a work of art with details using tools in digital artmaking software. I can create a work of art that incorporates movement, sound, and narration using one stop animation.

147

Fifth Grade Art: Unit 6 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Stop motion animations tell stories with sequenced, controlled movements. Digital artworks that use various elements of art to create an original work that tells a story. Traditional artwork that uses digital resource(s) to create it.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation.

STAGE 3: LEARNING PLAN First Topic: Creating Traditional and Digital Art Using Digital Resources

Estimated # of Lessons: Opens in Trimester 2

Learning Targets : ● I can explore and research art ideas and techniques using technology. ● I can create a work of art with details using tools in digital artmaking software. ● I can create a work of art that incorporates movement, sound, and narration using one stop animation.

Essential Questions: ● How can technology help you make art in new and different ways? ● What becomes possible when you combine traditional art skills with digital tools?

Learning Activities: ● Group Brainstorm Review: What resources can we use around us to plan a work of art? ● View, Discuss and evaluate on how artists working in digital media plan out their art ideas. ● Demonstration Review on using digital artmaking software to create works of art. Second Topic: One Stop Animation

Estimated # of Lessons:

Learning Targets: ● I can explore and research art ideas and techniques using technology. ● I can create a work of art that incorporates movement, sound, and narration using one stop animation.

Essential Questions: ● How can technology help you make art in new and different ways? ● What becomes possible when you combine traditional art skills with digital tools? ● How can artists express their ideas and stories with digital tools?

Learning Activities: ● View, discuss and evaluate the use of plot, sound, and narration in examples of one stop animations ● Demonstration of using one stop animation software that overviews topics such as setting, plot, narration/sound, and movement.

148

Fifth Grade Art: Unit 7 Course Name: Fifth Grade Art

Station 6: Printmaking

Opens in Trimester 2

Unit Overview: We experiment with gelli plates to create layered prints. We learn how stencils and timed processes can help create diverse artworks. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.5a: Combine ideas to generate an innovative idea for art-making. VA:Cr1.2.5a: Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.5a: Experiment and develop skills in multiple art-making techniques and approaches through practice. VA:Cr2.2.5a: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. VA:Cr3.1.5a: Create artist statements using art vocabulary to describe personal choices in art-making.

Transfer Goals ● ●

● ●

Understandings ● ● ●

Printmaking is a practice that can involve a variety of methods for experimenting. Artists can use printmaking processes to guide in creating unique works of art. Printmaking requires artists to understand their materials and practice timing for specific results.

Essential Questions ● ● ●

Knowledge ● ● ●

How to make a gelli plate print. How to use stencils and layers in gelli plate printing. How to time stages in gelli plate printing

Key Vocabulary: layer, gelli print, stencil, experiment, color, shape, texture

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do artists experiment in printmaking? How can artists combine a variety of resources using printmaking? What happens when you layer colors and shapes in printmaking?

Skills (Framed as Learning Targets) ● ● ●

I can explore the printmaking process with a variety of materials/tools. I can apply my printmaking skills to engage and persist with more complex processes. I can experiment with layering and combining a variety of colors/shapes in prints.

149

Fifth Grade Art: Unit 7 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Gelli Plate prints that use layers of colors and shapes.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation.

STAGE 3: LEARNING PLAN First Topic: Gelli Plate Printing

Estimated # of Lessons: Opens in Trimester 2

Learning Targets : ● I can explore the printmaking process with a variety of materials/tools. ● I can apply my printmaking skills to engage and persist with more complex processes. ● I can experiment with layering and combining a variety of colors/shapes in prints.

Essential Questions: ● How do artists experiment in printmaking? ● How can artists combine a variety of resources using printmaking? ● What happens when you layer colors and shapes in printmaking?

Learning Activities: ● View, discuss and evaluate how artists use color, texture, and shape in Gelli Plate printing to create a variety of unique, individual prints. ● Demonstration on how to use and care for gelli plates. ● Demonstration on combining stencils and materials to create complex, layered gelli prints. ● Practice creating gelli plate prints.

150

Fifth Grade Art: Unit 8 Course Name: Fifth Grade Art

Station 7: Ceramics

Opens in Trimester 3

Unit Overview: We design personalized slab projects that are utilitarian or decorative. We use advanced techniques including subtractive sculpting and coil decoration. We apply overglazes on bisque pottery to complete our vision. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ● ●

●

VA:Cr1.2.5a: Identify & demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.5a: Experiment & develop skills in multiple art-making techniques & approaches through practice. VA:Cr2.2.5a: Demonstrate quality craftsmanship through care for & use of materials, tools, and equipment. VA:Cr2.3.5a: Identify, describe, and visually document places and/or objects of personal significance. VA:Re8.1.5a: Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed. VA:Cn10.1.5a: Apply formal & conceptual vocabularies of art & design to view surroundings in new ways through artmaking.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Clay can be shaped using various techniques including slab construction, coil building, and subtractive sculpting. Ceramics require careful attention at every stage: building, drying, firing, and glazing. Artists design clay projects that reflect personal significance and can be either utilitarian (useful) or decorative. Proper storage and handling of clay projects ensures successful outcomes.

Essential Questions ● ●

How do hand-building techniques with clay allow artists to create both functional and decorative objects? How does working carefully at every stage of a process change what you are able to make?

151

Fifth Grade Art: Unit 8 Knowledge ●

Skills (Framed as Learning Targets)

How to design a personalized clay slab project How to use a rolling pin and wooden slats to create a slab How to apply overglaze on a piece of bisque pottery; making a utilitarian or decorative piece (cylinders, boxes)

●

Key Vocabulary: slab, subtractive, carve, bisque, glaze, score and slip, decorative, functional

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● ●

● ● ● ●

I can explore the sculpture process with a variety of materials/tools. I can attach clay slabs. I can use subtractive sculpting with my clay. I can use clay coil techniques as a decorative element. I can safely and effectively store my inprogress and completed clay projects. I can apply details with glazing or painting techniques to refine my clay project.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: Planned, personal, detailed ceramic projects using pinch, coil, and/or slab techniques are finished with glaze.

Observation and 1:1 Coaching: Students can successfully envision and plan out an original idea through research, sketching, and/or experimentation.

STAGE 3: LEARNING PLAN First Topic: Rolling and Attaching Slabs

Estimated # of Lessons: Opens in Trimester 3

Learning Targets : ● I can explore the sculpture process with a variety of materials/tools. ● I can attach clay slabs. ● I can safely and effectively store my inprogress and completed clay projects.

Essential Questions: ● How do hand-building techniques with clay allow artists to create both functional and decorative objects? ● How does working carefully at every stage of a process change what you are able to make?

Learning Activities: ● View, discuss, and evaluate art examples that use slab rolling and attachment to create functional and decorative sculptures ● Review of care procedures for in progress clay sculptures ● Demonstration on rolling even slabs and attaching through score and slip method. ● Practice creating personal clay sculptures.

152

Fifth Grade Art: Unit 8 Second Topic: Creating Detail in Ceramic Sculptures

Estimated # of Lessons: Opens in Trimester 3

Learning Targets: ● I can explore the sculpture process with a variety of materials/tools. ● I can use subtractive sculpting with my clay. ● I can use clay coil techniques as a decorative element. ● I can apply details with glazing or painting techniques to refine my clay project.

Learning Activities: ● View, discuss and compare details used in both functional and decorative ceramic sculptures ● Demonstration of decorative sculpting techniques such as rolling and attaching coils and subtractive sculpting through carving into clay ● Practice using additive and subtractive methods in creating detail on clay sculptures ● Demonstration of adding glaze and paint to fired clay sculptures ● Practice adding paint or glaze to add detail to fired clay sculptures.

153

Fifth Grade Art: Unit 9 Course Name: Fifth Grade Art

Station 8: Fiber Arts

Opens in Trimester 3

Unit Overview: We create weavings with color blocks and recycled materials. We add embellishments like beads, tassels, and embroidery. We learn sewing and crochet to create three-dimensional fiber art. We study how fiber arts connect to fashion, home design, and cultural traditions. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ●

VA:Cr1.2.5a: Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.5a: Experiment and develop skills in multiple art-making techniques and approaches through practice. VA:Cr2.2.5a: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment. VA:Re8.1.5a: Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed.

Transfer Goals ● ● ●

Understandings ● ●

● ●

Fiber arts include various techniques like weaving, knitting, crocheting, and sewing that transform thread and fabric into art. Color combinations and embellishments (beads, tassels, embroidery) add visual interest and personal meaning to fiber artworks. Fiber arts connect to real-world practices in fashion, home design, and cultural traditions. Recycled materials can be woven or incorporated into fiber arts to create sustainable, creative works.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

Essential Questions ● ●

How have people used weaving, sewing, and other fiber arts to make useful and beautiful things? What am I noticing as I play with different colors, textures, and patterns in fiber arts?

154

Fifth Grade Art: Unit 9 Knowledge ● ● ●

Skills (Framed as Learning Targets)

How to combine blocks of color while weaving, knitting, How to sew a stuffy How to crochet in the round.

Key Vocabulary: single stitch, double crochet, Crochet Hook, Magic Circle, Radial Crochet, Community, sewing stitch types

● ● ●

I can explore the fiber arts process with a variety of materials/tools and weave back and forth on a loom. I can create a weaving that uses recyclable materials and make a weaving that explores different color combinations. I can add detail to my weavings using embellishments such as beads, tassels, and embroidery and analyze how fiber arts practices can be used in real world practices.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Artwork: A completed fiber arts project such as a weaving, embroidery piece, stuffed plush.

Observation and 1:1 Coaching: ● Students can successfully envision & plan out an original idea through research, sketching, and/or experimentation. Students can change colors in their weavings. ● Students can add details to their fiber art projects.

STAGE 3: LEARNING PLAN First Topic: Weaving

Estimated # of Lessons: Opens in Trimester 3

Learning Targets : ● I can explore the fiber arts process with a variety of materials/tools & weave back and forth on a loom. ● I can create a weaving that uses recyclable materials and make a weaving that explores different color combinations. ● I can add detail to my weavings using embellishments such as beads, tassels, & embroidery & analyze how fiber arts practices can be used in real world practices

Essential Questions: ● How have people used weaving, sewing, and other fiber arts to make useful and beautiful things? ● What am I noticing as I play with different colors, textures, and patterns in fiber arts?

Learning Activities: ● View, discuss, and evaluate how fiber arts artists create and add detail to weavings. ● View and discuss how artists around the world use weaving to create functional and decorative artworks. ● Demonstration on weaving back and forth on a loom, switching colors, and adding details/embellishments to a weaving ● Practice creating weavings using a variety of materials and details.

155

Fifth Grade Art: Unit 9 Second Topic: Alternative Fiber Arts Practices

Estimated # of Lessons: Opens in Trimester 3

Learning Targets: ● I can explore the fiber arts process with a variety of materials/tools.

Learning Activities: ● Demonstration of various fiber arts practices such as sewing different stitches, crocheting chain stitch and single stitch, or knitting stitches ● Practice creating works of art and products using varied fiber arts practices.

156

Sixth Grade Art

157

Grade 6 Art Learn to speak the language of art and discover how artists communicate ideas through drawing and painting. In this foundational course, we explore the seven elements that make up all visual art—line, shape, color, texture, value, space, and form—and use them to create artwork that expresses what you want to say. Through hands-on practice, we learn techniques for making interesting marks, drawing in perspective, and working with light and dark values to create depth in your drawings. From designing a composition to draw the viewer's eye, to creating a self-portrait with accurate face proportions, we develop the essential skills and confidence needed for middle school art. Unit 1: Let’s Begin to Make our Marks-Trusting the Eye to See 5 days

Unit 2: Creating form and Space with Contour and Value 1-2 days

Unit 3: Seeing Yourself—Value, Proportion, and the Self-Portrait 10-14 days

We get oriented to our shared studio space — learning safe and responsible use of materials and ways of working together. Our first artmaking experience is an observational drawing that establishes our current mark-making skills. From there, we explore the language visual artists use to communicate ideas, beginning with the element of line and how deliberate mark-making can show emotion, action, and intent.

We explore the connection between seeing and drawing through blind contour and one-line exercises. We come to understand that beautiful art does not have to be "perfect," and we learn to trust our own senses, take risks, and find meaning in the process of drawing itself.

We bring together everything we have learned by creating a self-portrait that shows who we are. First, we explore how artists use value — the range from light to dark — to create depth and dimension in drawings. Then we study facial proportions to understand how features relate to one another. Finally, we compose and create a self-portrait that demonstrates our growing skills in mark-making, observation, value, and composition.

158

Sixth Grade Art: Unit 1 Course Name: Grade 6 Art Est. # of Lessons: 2-3

Unit 1 Title: This is Your Art Studio — Let’s Begin to Make Art

Unit Overview: We get oriented to our shared studio space — learning safe & responsible use of materials & ways of working together. Our first artmaking experience is an observational drawing that establishes our current markmaking skills. Then, we explore the language visual artists use to communicate ideas, beginning with the element of line and how deliberate mark-making can show emotion, action, and intent. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.2.6a: Explain environmental implications of conservation, care, and clean-up of art materials, tools, and Equipment VA:Cr2.1.6a: Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. VA:Re8.1.6a: Interpret art by distinguishing between relevant and non-relevant contextual information

Transfer Goals ● ● ● ●

Understandings ● ● ●

Artists communicate ideas through intentional mark-making—the type of line can show action, emotion, and meaning. A well-organized studio & responsible use of materials support focused, creative work. Trying new approaches & being open to experimentation is part of developing as an artist.

Essential Questions ● ●

Knowledge ● ● Safe and responsible use of art supplies Time management and organization in the art studio. Care and clean-up of materials, tools, and equipment.

Elements of Art ●

How do the marks I make communicate my intent? Why do studio routines and responsible material use matter for artists?

Skills (Framed as Learning Targets)

Studio Practices ● ●

Explore, develop, & refine artistic skills across diverse media & techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, & confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, & communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability & resourcefulness. (VOG: Self-Directed Learners)

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I can navigate the art studio to collect, use, and return supplies responsibly. I can explain why studio routines and material care matter for artists. I can control my marks by adjusting pressure and technique. I can create different types of lines to show emotion or action. I can try new approaches and reflect on their impact.

Introduction to the 7 Elements of Art (line, shape, color, texture, value, space, form)

159

Sixth Grade Art: Unit 1 ●

Line as the foundational element

Mark-Making ● ● ●

Parts of the pencil point Pressure and its effect on line quality Types of lines (thick, thin, curved, angular, gestural)

Key Vocabulary: observational drawing, mark-making, line, element of art, pressure, contour STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ●

Formative Assessment

10 Words/10 Lines: Create a variety of expressive lines that match given words showing emotion or action Can You Guess?: Partner activity where classmates interpret the emotion/action in your line drawings

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Teacher observation of safe & appropriate use of supplies Baseline observational drawing showing current mark-making skills Sketchbook exploration of line variety Exit reflection: What did you discover about how lines communicate?

STAGE 3: LEARNING PLAN First Topic: Introduction to Studio Space

Estimated # of Lessons: 1

Learning Targets: ● I can navigate the art studio to collect and put back supplies and work.

Essential Questions: ● Why do studio routines and responsible material use matter for artists?

Learning Activities: ● Safety rules, routines, and organization in the art studio ● Art as a language - exploring this as a concept framed by the 7 Elements of Art Second Topic: Making-Marks for a Purpose

Estimated # of Lessons: 1-2

Learning Targets: ● I can control my marks to achieve a specific purpose. I can practice drawing lines to show emotion and action. ● I can explore different ways to draw lines and try out choices to see the impact.

Essential Question: ● How do the marks I make show my intent?

Learning Activities: ● Exploring variety in the element of line ● Baseline observational drawing ● 1:1 coaching conversations about making marks

160

Sixth Grade Art: Unit 2 Course Name: Grade 6 Art Est. # of Lessons: 1-2

Unit 2 Title: Trusting the Eye to See — Blind Contour,1-line Drawings

Unit Overview: We explore the connection between seeing and drawing through blind contour and one-line exercises. We come to understand that beautiful art does not have to be "perfect," and we learn to trust our own senses, take risks, and find meaning in the process of drawing itself. STAGE 1: DESIRED RESULTS Established Goals ●

VA:Cr2.1.6a: Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.

Transfer Goals ● ● ● ●

Understandings ● ● ● ●

Observational drawing requires slowing down to truly see—looking and seeing are different skills. Drawings do not have to be "perfect" to be expressive, interesting, or beautiful. Taking risks and trusting the process are essential parts of artistic growth. Looking and seeing take time.

Essential Questions ● ● ●

Knowledge Observational Drawing ● ● ●

Difference between looking and seeing Drawing what you see vs. what you think you see Slowing down to observe details

● ● ● ● ●

Purpose of blind contour drawing Hand-eye coordination in drawing

What happens when I slow down and really look before I draw? What makes a drawing "beautiful" or "good"—and who decides? How does trusting the process help me grow as an artist?

Skills (Framed as Learning Targets)

Blind Contour Technique ● ●

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

I can slow down and observe details before drawing. I can create a blind contour drawing without looking at my paper. I can compare my blind contour drawings to contour drawings made while seeing. I can reflect on what makes a drawing "good" and explain my own criteria. I can take risks and embrace unexpected results in my artwork.

161

Sixth Grade Art: Unit 2 ●

Continuous line drawing method

Artistic Mindset ● ● ●

Embracing imperfection in art Risk-taking as part of the creative process Personal criteria for evaluating artwork

Key Vocabulary: blind contour, contour line, observational drawing, continuous line, hand-eye coordination STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Blind Contour Series: 3-4 blind contour drawings of different subjects Seeing Contour Comparison: 1-2 contour drawings made while looking at the paper Process Reflection: Written or verbal analysis comparing the two experiences and what was learned.

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Teacher observation of student engagement with blind contour process Partner drawing exercises with peer discussion Quick-write: What surprised you about drawing without looking? Class discussion on what makes art "good" or "beautiful"

STAGE 3: LEARNING PLAN First Topic: Blind Contour and One Line Drawings

Estimated # of Lessons:1-2

Learning Targets: ● I can slow down and observe details before drawing. ● I can create a blind contour drawing without looking at my paper. ● I can compare my blind contour drawings to contour drawings made while seeing. ● I can reflect on what makes a drawing "good" and explain my own criteria. ● I can take risks and embrace unexpected results in my artwork.

Essential Questions: ● What happens when I slow down and really look before I draw? ● What makes a drawing "beautiful" or "good"—and who decides? ● How does trusting the process help me grow as an artist?

Learning Activities: ● Connections between looking, seeing and drawing ● What is a “good” drawing ● Trusting our instincts and taking risks can be an enjoyable part of the creative process.

162

Sixth Grade Art: Unit 3 Course Name: Grade 6 Art Est. # of Lessons: 10-14

Unit 3 Title: Seeing Yourself—Value, Proportion, and the Self-Portrait

Unit Overview: We bring together everything we have learned by creating a self-portrait that shows who we are. First, we explore how artists use value — the range from light to dark — to create depth and dimension in drawings. Then we study facial proportions to understand how features relate to one another. Finally, we compose and create a self-portrait that demonstrates our growing skills in mark-making, observation, value, and composition. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

●

VA:Cr1.1.6a – Combine concepts collaboratively to generate innovative ideas for creating art. VA:Cr2.1.6a – Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. VA:Cr3.1.6a – Reflect on whether personal artwork conveys the intended meaning and revise accordingly. VA:Re7.2.6a – Analyze ways that visual components and cultural associations suggested by images influence ideas, emotions, and actions. VA:Pr4.1.6a – Analyze similarities and differences associated with preserving and presenting two-dimensional, three-dimensional, and digital artwork.

Transfer Goals ● ● ●

● ● ●

Understandings ● ● ● ● ●

Value—the range from light to dark—creates the illusion of depth and dimension on a flat surface. Facial proportions follow general patterns that help artists create realistic portraits, but individual variation makes each face unique. Composition choices guide where the viewer looks and affect how they experience the artwork. Self-portraits require both technical observation skills and personal expression— they show how we see ourselves. Revision is part of the artistic process; reflecting on whether artwork conveys intended meaning leads to stronger work.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ● ●

How do artists use value to make flat drawings look three-dimensional? What proportions help me draw a realistic face— and how does my face differ from the "standard"? How do composition choices affect what the viewer notices and feels? What does my self-portrait reveal about how I see myself? How do I know when my artwork is finished—or when it needs revision?

163

Sixth Grade Art: Unit 3 Knowledge

Skills (Framed as Learning Targets) ●

Value ● ● ● ● ●

Value scale from light to dark Light source and its effect on shadows and highlights Shading techniques (hatching, cross-hatching, blending, stippling) Using value to create depth and form

Facial Proportions ● ● ●

● ● ● ●

I can create a value scale and use shading techniques to show light and shadow. I can identify where light and shadow fall on a form based on the light source. I can use standard facial proportions as a guide and observe how my own features differ. I can make composition choices that draw the viewer's attention where I want it. I can create a self-portrait that combines accurate observation with personal expression. I can reflect on my work in progress and revise to better convey my intended meaning.

Standard facial proportion guidelines (eye placement, spacing, feature relationships) Observing individual variations from standard proportions Mapping features before adding detail

Composition ● ● ●

Placement and cropping choices Focal point and visual emphasis Background and negative space decisions

Self-Portraiture ● ● ●

Self-portrait as artistic tradition Combining observation with personal expression Artists who use self-portraiture (historical and contemporary examples)

Key Vocabulary: value, value scale, light source, shadow, highlight, hatching, cross-hatching, blending, stippling, proportion, composition, focal point, negative space, self-portrait STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

●

Self-Portrait: A finished self-portrait demonstrating use of value to create depth, attention to facial proportions, and intentional composition choices Artist Reflection: Written or verbal explanation of artistic choices—how value, proportion, and composition work together to express something about identity

Formative Assessment ● ● ● ● ● ●

Value scale practice (light to dark in 5-7 steps) Shading technique exercises (hatching, crosshatching, blending, stippling) Sphere or simple form shading to show light source Facial proportion mapping exercises Mirror observation sketches noting individual feature variations Composition thumbnail sketches exploring

164

Sixth Grade Art: Unit 3 ● ●

placement and cropping options Draft self-portrait with self-evaluation and revision notes Peer feedback on work in progress

STAGE 3: LEARNING PLAN First Topic: Value and Shading Techniques

Estimated # of Lessons: 3-4

Learning Targets: ● I can create a value scale and use shading techniques to show light and shadow. ● I can identify where light and shadow fall on a form based on the light source.

Essential Questions: ● How do artists use value to make flat drawings look three-dimensional?

Learning Activities: ● Value scale practice from light to dark in 5–7 steps. ● Shading technique exercises exploring hatching, cross-hatching, blending, and stippling. ● Sphere or simple form shading to identify how a light source creates highlights and shadows. ● Teacher demonstration and 1:1 coaching on controlling pressure and mark quality Second Topic: Facial Proportions

Estimated # of Lessons: 2-3

Learning Targets: ● I can use standard facial proportions as a guide and observe how my own features differ.

Essential Questions: ● What proportions help me draw a realistic face— and how does my face differ from the "standard"?

Learning Activities: ● Facial proportion mapping exercises using standard guidelines for eye placement, feature spacing, and feature relationships. ● Mirror observation sketches noting how individual features differ from standard proportions. ● Written analysis comparing a proportion sketch to actual likeness. Third Topic: Composition and Planning

Estimated # of Lessons: 1-2

Learning Targets: ● I can make composition choices that draw the viewer's attention where I want it.

Essential Questions: ● How do composition choices affect what the viewer notices and feels?

Learning Activities: Using details to create a focal point Fourth Topic: Self Portrait Creation and Revision

Estimated # of Lessons: 4-5

Learning Targets: ● I can create a self-portrait that combines accurate observation with personal expression. ● I can reflect on my work in progress and revise to better convey my intended meaning.

Essential Questions: ● What does my self-portrait reveal about how I see myself? ● How do I know when my artwork is finished—or when it needs revision?

Learning Activities: ● Correct proportions and placement create an accurate portrait ● Personal marks to create expression

165

Seventh Grade Art

166

Grade 7 Art Discover your favorite way to make art by experimenting with everything from drawing to painting to printmaking. In this course, we create an Exploration of Media book where you draw and paint the same object using nine different materials—graphite, colored pencil, charcoal, acrylic, watercolor, linoleum printing, scratch art, collage, and graphic design. As we experiment with each medium, we deepen understanding of the Elements of Art and Color Theory while discovering which materials you love most. We construct and design your own book, then study Egyptian cartouches to create a personalized signature based on symbols, for your book. Now, choose your favorite medium to create a large final artwork on a theme that matters to you. Throughout the course, we practice proper care of our studio and materials as you develop your artistic voice. Unit 1: Getting Started—Studio, Skills, and Dry Media Explorations 7-9 days

Unit 2: Expanding Your Palette—Wet Media, Collage, and Printmaking 10-16 days

Unit 3: Finding Your Voice—Digital Design, Book Construction, and Final Artwork 8-10 days

We get oriented to our studio space and complete a baseline drawing and one-point perspective review. Then we design our Exploration of Media book—a place to document our artistic experiments throughout the course. We begin our media explorations by drawing the same object in graphite, colored pencil, white charcoal, and marker, discovering how each dry medium creates different effects and deepening our understanding of line, value, and texture.

We continue our media explorations by diving into wet media and new processes. We paint the same object in acrylic and watercolor, learning how these media behave differently and deepening our understanding of color theory. Next we combine materials in collage and create dramatic lighting effects with scratch art. Then we explore linoleum block printing. Through each exploration, we add to our book and reflect on what we're learning about ourselves as artists.

We complete our media explorations by experimenting with graphic design. Then we study Egyptian cartouches and create a personalized signature using symbols that represent who we are. With all nine explorations complete, we construct and assemble our hand-crafted Exploration of Media book. Finally, we choose our favorite medium and create a large final artwork on a theme that matters to us—applying everything we've learned about technique, color, and the elements of art. We present our finished work and reflect on our growth as artists throughout the course.

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Seventh Grade Art: Unit 1 Course Name: Grade 7 Art Est. # of Lessons: 7-9

Unit 1 Title: Getting Started—Studio, Skills, and Dry Media Explorations

Unit Overview: We get oriented to our studio space and complete a baseline drawing and one-point perspective review. Then we design our Exploration of Media book—a place to document our artistic experiments throughout the course. We begin our media explorations by drawing the same object in graphite, colored pencil, white charcoal, and marker, discovering how each dry medium creates different effects and deepening our understanding of line, value, and texture. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr2.1.7a – Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design VA:Cr2.2.7a – Demonstrate awareness of ethical responsibility to oneself and others when posting and sharing images and other materials through the Internet, social media, and other communication formats VA:Cr2.3.7a – Apply visual organizational strategies to design and produce a work of art, design, or media that clearly communicates information or ideas VA:Re8.1.7a – Interpret art by analyzing art-making approaches, the characteristics of form and structure, relevant contextual information, subject matter, and use of media to identify ideas and mood conveyed

Transfer Goals ● ● ● ●

Understandings ●

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Different drawing media (graphite, colored pencil, white charcoal, marker) produce distinct effects and require different techniques. One-point perspective creates the illusion of depth by showing how parallel lines converge toward a vanishing point. Experimenting with materials helps artists discover their preferences and develop their artistic voice. A well-designed book or portfolio documents artistic growth and

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ●

How does the choice of medium change the look and feel of artwork? How does one-point perspective create the illusion of depth on a flat surface? What do I notice about my preferences as I experiment with different materials? Why do artists document their explorations and experiments?

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Seventh Grade Art: Unit 1 experimentation. Knowledge ●

Studio Orientation ● ● ●

Safe and responsible use of art supplies Studio organization and routines Care and clean-up of materials

Foundational Skills ● ●

Skills (Framed as Learning Targets)

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Baseline observational drawing One-point perspective principles (horizon line, vanishing point, converging lines)

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I can follow studio routines and care for materials responsibly. I can use one-point perspective to create the illusion of depth in a drawing. I can use graphite, colored pencil, white charcoal, and marker to draw the same object and compare the effects. I can identify how each dry medium creates different qualities of line, value, and texture. I can explain what I'm discovering about my preferences as I experiment.

Drawing Media ● ● ● ● ●

Graphite grades and their effects (H to B scale) Colored pencil techniques (layering, burnishing, blending) White charcoal on toned paper (creating highlights, working light-to-dark) Marker techniques (layering, blending, line quality) Comparing effects of dry media

Elements of Art ● ●

Line, value, texture (emphasized in dry media) How different media express elements differently

Key Vocabulary: graphite, colored pencil, white charcoal, marker, medium/media, one-point perspective, horizon line, vanishing point, layering, burnishing, blending, toned paper STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Dry Media Pages: Four pages showing the same Observation: observation of studio routines and object rendered in graphite, colored pencil, white material care charcoal, and marker with notes on techniques and Completed Content Exercises:

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Seventh Grade Art: Unit 1 observations

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Baseline observational drawing One-point perspective review exercise Technique practice for each dry medium Reflection notes comparing media effects

STAGE 3: LEARNING PLAN First Topic: Studio Orientation, Baseline Drawing, and Perspective Review

Estimated # of Lessons: 2-3

Learning Targets: ● I can follow studio routines and care for materials responsibly. ● I can use one-point perspective to create the illusion of depth in a drawing.

Essential Questions: ● How does one-point perspective create the illusion of depth on a flat surface? ● Why do artists document their explorations and experiments?

Learning Activities: ● Studio tour and introduction to routines, organization, and material care ● Baseline observational drawing to assess current skills — one-point perspective review (horizon line, vanishing point, converging lines); perspective practice drawing Second Topic: Dry Media Explorations

Estimated # of Lessons: 4-5

Learning Targets: ● I can use graphite, colored pencil, white charcoal, and marker to draw the same object and compare the effects. ● I can identify how each dry medium creates different qualities of line, value, and texture. ● I can explain what I'm discovering about my preferences as I experiment.

Essential Questions: ● How does the choice of medium change the look and feel of artwork? ● What do I notice about my preferences as I experiment with different materials?

Learning Activities: ● Introduction to graphite grades (H to B scale) and technique practice (shading, blending, line variation) ● Drawing chosen object in graphite ● Introduction to colored pencil techniques (layering, burnishing, blending) and technique practice exercises ● Drawing chosen object in colored pencil; comparison to graphite; reflection notes ● Introduction to white charcoal on toned paper ● Working light-to-dark vs. dark-to-light discussion ● Technique practice for creating highlights and building form ● Drawing chosen object in white charcoal; reflection notes ● Reflection notes on effects and preferences

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Seventh Grade Art: Unit 2 Course Name: Grade 7 Art Unit 2 Title: Expanding Your Palette—Wet Media, Collage, & Printmaking Est. # of Lessons: 10-16 Unit Overview: We continue our media explorations by diving into wet media and new processes. We paint the same object in acrylic and watercolor, learning how these media behave differently and deepening our understanding of color theory. Next we combine materials in collage and create dramatic lighting effects with scratch art. Then we explore linoleum block printing. Through each exploration, we add to our book and reflect on what we're learning about ourselves as artists. STAGE 1: DESIRED RESULTS Established Goals ●

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Transfer Goals

VA:Cr2.1.7a – Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design VA:Cr3.1.7a – Reflect on and explain important information about personal artwork in an artist statement or another format VA:Re7.1.7a – Explain how the method of display, the location, and the experience of an artwork influence how it is perceived and valued VA:Re8.1.7a – Interpret art by analyzing art-making approaches, the characteristics of form and structure, relevant contextual information, subject matter, and use of media to identify ideas and mood conveyed Understandings

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Wet media (acrylic, watercolor) behave differently from dry media & from each other—understanding their properties leads to better control. Color theory principles (color wheel, mixing, relationships) apply across all color media. Each artistic process (painting, collage, scratch art, printmaking) offers unique possibilities and limitations. Reflecting on experiments helps artists identify preferences & develop their artistic voice.

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How do wet media behave differently from dry media—and from each other? How does understanding color theory help me make stronger artistic choices? What unique possibilities does each medium or process offer? Which materials and processes am I most drawn to—and why?

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Seventh Grade Art: Unit 2 Knowledge Painting Media ● ● ● ●

Acrylic paint properties and techniques (layering, blending, opacity) Watercolor properties and techniques (wet-on-wet, wet-on-dry, transparency) Brush types and care Comparing opaque vs. transparent media

Color Theory ● ● ● ● ●

Color wheel (primary, secondary, tertiary) Color relationships (complementary, analogous, triadic) Color mixing techniques Warm and cool colors Color and mood

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can paint the same object in acrylic and watercolor and explain how each medium behaves differently. I can apply color theory principles to mix colors and create intentional color relationships. I can create a collage that uses layering and composition to represent my object. I can use scratch art techniques to create dramatic lighting effects. I can create a linoleum print using safe carving techniques and understand positive and negative space. I can understand how a block print must be created in reverse in order to print properly I can reflect on my experiments and identify which media I'm most drawn to.

Collage ● ● ●

Collage composition and layering Combining materials and textures Positive and negative space in collage

Scratch Art ● ● ●

Scratch art technique (sgraffito) Creating dramatic lighting effects Working from dark to light

Printmaking ● ● ● ● ● ●

Relief printing process Designing in reverse Linoleum cutting tools and safety Positive and negative space in prints Inking and printing techniques Registering Prints

Key Vocabulary: acrylic, watercolor, opacity, transparency, wet-on-wet, wet-on-dry, color wheel, primary, secondary, tertiary, complementary, analogous, collage, sgraffito, relief print, linoleum, brayer, edition, registration

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Seventh Grade Art: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Exploration Book Pages: Five additional pages showing the same object rendered in acrylic, watercolor, collage, scratch art, and linoleum print—each with technique notes and reflections Media Preference Reflection: Written or verbal explanation of which media resonate most and why

Completed Content Exercises: ● Acrylic technique practice (layering, blending) ● Watercolor technique practice (wet-on-wet, wet-on-dry) ● Color mixing exercises and color wheel study ● Collage composition drafts ● Scratch art technique experiments ● Linoleum carving safety demonstration and practice ● Linoleum Printing Registration, Ink application ● Ongoing reflection in exploration book

STAGE 3: LEARNING PLAN First Topic: Acrylic Painting

Estimated # of Lessons: 2-3

Learning Targets: ● I can paint the same object in acrylic and explain how the medium behaves. ● I can apply color theory principles to mix colors and create intentional color relationships.

Essential Questions: ● How do wet media behave differently from dry media—and from each other? ● How does understanding color theory help me make stronger artistic choices?

Learning Activities: ● Introduction to acrylic properties (opacity, drying time, layering) ● Color wheel review and color mixing practice ● Brush techniques and care ● Painting chosen object in acrylic; reflection notes comparing to dry media Second Topic: Watercolor Painting

Estimated # of Lessons: 2-3

Learning Targets: ● I can paint the same object in watercolor and explain how the medium behaves differently from acrylic. ● I can apply color theory principles to mix colors and create intentional color relationships.

Essential Questions: ● How do wet media behave differently from dry media—and from each other? ● How does understanding color theory help me make stronger artistic choices?

Learning Activities: ● Introduction to watercolor properties (transparency, water control, unpredictability) ● Wet-on-wet and wet-on-dry technique practice ● Painting chosen object in watercolor ● Comparison to acrylic (opaque vs. transparent) ● Reflection notes

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Seventh Grade Art: Unit 2 Third Topic: Collage

Estimated # of Lessons: 2-3

Learning Targets: ● I can create a collage that uses layering and composition to represent my object.

Essential Questions: ● What unique possibilities does each medium or process offer? Which materials and processes am I most drawn to—and why?

Learning Activities: ● Introduction to collage as artistic process and examining collage artists and technique ● Gathering and selecting materials ● Composing and layering to represent chosen object ● Reflection notes on the process Fourth Topic: Scratch Art

Estimated # of Lessons: 2-3

Learning Targets: ● I can use scratch art techniques to create dramatic lighting effects.

Essential Questions: ● What unique possibilities does each medium or process offer? ● Which materials and processes am I most drawn to—and why?

Learning Activities: ● Introduction to sgraffito technique ● Demonstration of working dark-to-light; planning for dramatic lighting and value contrast ● Creating chosen object in scratch art ● Reflection notes Fifth Topic: Linoleum Print Making

Estimated # of Lessons: 4-6

Learning Targets: Essential Questions: ● I can create a linoleum print using safe ● What unique possibilities does each medium carving techniques and understand positive or process offer? and negative space. ● Which materials and processes am I most ● I can create my carving in reverse to print drawn to—and why? positive. ● I can print black on and white , and white on black ● I can register my linoleum block for printing ● I can reflect on my experiments and identify which media I'm most drawn to. Learning Activities: ● Introduction to relief printing process ● Safety demonstration for carving tools ● Positive and negative space planning and media preference reflection across all 9 explorations ● Transferring design to linoleum block and learning to register your block ● Carving block in reverse and reflection on printmaking process ● Inking and printing techniques to pull multiple prints

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Seventh Grade Art: Unit 3 Course Name: Grade 7 Art Est. # of Lessons:

Unit 3 Title: Finding Your Voice—Graphic Design, Book Construction, & Final

Unit Overview: We complete our media explorations by experimenting with graphic design. Then we study Egyptian cartouches and create a personalized signature using symbols that represent who we are. With all nine explorations complete, we construct and assemble our hand-crafted Exploration of Media book. Finally, we choose our favorite medium and create a large final artwork on a theme that matters to us—applying everything we've learned about technique, color, and the elements of art. We present our finished work and reflect on our growth as artists throughout the course. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.2.7a – Develop criteria to guide making a work of art or design to meet an identified goal VA:Cr2.3.7a – Apply visual organizational strategies to design and produce a work of art, design, or media that clearly communicates information or ideas VA:Cr3.1.7a – Reflect on and explain important information about personal artwork in an artist statement or another format VA:Pr5.1.7a – Based on criteria, analyze and evaluate methods for preparing and presenting art VA:Pr6.1.7a – Individually or collaboratively, design visual and/or interactive experiences to influence how an artwork or collection is perceived and valued

Transfer Goals ● ● ●

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Understandings ● ●

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Symbols can communicate identity and meaning—artists throughout history have used personal marks and signatures. Artists develop a personal voice by reflecting on their preferences and making intentional choices about media and subject matter. Creating meaningful artwork requires connecting technical skills with ideas and themes that matter to the artist.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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What symbols represent who I am—and how can I combine them into a personal signature? Which medium best expresses my artistic voice—and why? What themes or ideas matter enough to me to explore in an artwork? What have I learned about myself as an artist through this course?

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Seventh Grade Art: Unit 3 ●

Presenting and explaining artwork helps artists articulate their intentions and connect with audiences. Knowledge

Graphic Design ● ●

Composition and design principles Typography style for word meaning

Symbols & Cartouches ● ● ●

Egyptian cartouche history and purpose Symbols as visual communication Creating personal iconography

Book Construction ● ● ●

Bookbinding techniques Assembling pages into finished book Final presentation of exploration book

Skills (Framed as Learning Targets) ● ● ● ● ●

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I can create a personal cartouche signature using symbols that represent who I am. I can create a book cover including using Typography for meaning in my title I can construct and assemble my completed Exploration of Media book. I can choose a medium that best expresses my artistic voice and explain my choice. I can plan the organizational pages of my book through layout techniques and guidance from others, and create a polished, final artwork. I can write an artist statement and present my work, reflecting on my growth as an artist.

Theme Development ● ● ●

Identifying personally meaningful subjects Brainstorming and concept development Connecting personal ideas to visual expression

Planning & Composition ● ● ●

Thumbnail sketching for composition Organization and layout of pages Applying elements of art intentionally

Presentation & Reflection ● ● ●

Artist statement conventions Preparing work for display Articulating artistic choices and growth

Key Vocabulary: graphic design, digital, cartouche, symbol, bookbinding, theme, concept, composition, thumbnail sketch, scale, craftsmanship, artist statement, artistic voice

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Seventh Grade Art: Unit 3 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Exploration Book: Assembled handcrafted book with all media exploration pages, personal cartouche signature, and cover design Final Artwork: A finished artwork in chosen medium demonstrating technical skill, intentional composition, and personal expression on a meaningful theme Artist Statement & Presentation: Written statement and class presentation explaining medium choice, theme, artistic decisions, and growth throughout the course

Completed Content Exercises: ● Graphic design principles exploration and experimentation ● Connections between typography and word title for meaning ● Cartouche symbol brainstorming and drafts ● Book construction checkpoints ● Medium selection reflection with justification ● Theme brainstorming and concept development notes ● Thumbnail composition sketches One on One Check ins: Work-in-progress check-ins with self-evaluation Class Share: Presentation of artwork and exploration book

STAGE 3: LEARNING PLAN First Topic: Graphic Design for Book Cover

Estimated # of Lessons: 2

Learning Targets: ● I can create a book cover including using Typography for meaning in my title

Essential Questions: ● What have I learned about myself as an artist through this course?

Learning Activities: ● Designing and creating book cover ● Typography style for meaning Second Topic: Egyptian Cartouches and personal signature

Estimated # of Lessons: 2

Learning Targets: ● I can create a personal cartouche signature using symbols that represent who I am.

Essential Questions: ● What symbols represent who I am—and how can I combine them into a personal signature?

Learning Activities: ● Study of Egyptian cartouches and their purpose ● Study of other symbolic languages ( Nautical flags) ● Brainstorming personal symbols ● Designing and creating signature for book Third Topic: Book Construction and Assembly

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

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Seventh Grade Art: Unit 3 ●

I can construct and assemble my completed Exploration of Media book.

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What have I learned about myself as an artist through this course?

Learning Activities: ● Bookbinding techniques ● Assembling all media pages with cover and signature ● Final book presentation Fourth Topic: Final Artwork Planning and Creation

Estimated # of Lessons: 3-5

Learning Targets: ● I can choose a medium that best expresses my artistic voice and explain my choice. ● I can plan my composition through sketches and create a polished, large-scale final artwork.

Essential Questions: ● Which medium best expresses my artistic voice—and why? ● What themes or ideas matter enough to me to explore in a large artwork?

Learning Activities: ● Medium selection and justification ● Theme brainstorming and concept development ● Thumbnail sketches ● Final artwork creation with work-in-progress check-ins and revision Fifth Topic: Artist Statement and Presentation

Estimated # of Lessons: 1

Learning Targets: ● I can write an artist statement and present my work, reflecting on my growth as an artist.

Essential Questions: ● What have I learned about myself as an artist through this course?

Learning Activities: ● Drafting artist statement with peer feedback ● Final presentation of artwork and exploration book

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Grade Seven Sculpture

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Grade 7 Sculpture Break free from the flat page and create art you can walk around and experience from every angle. We transform two-dimensional ideas into threedimensional forms using diverse materials like wire, paper mache, clay, cardboard, and repurposed objects. We learn essential planning skills—from sketching ideas to understanding how balance and a strong base keep sculptures standing—while mastering hands-on techniques like folding, cutting, scoring, and joining materials. Drawing inspiration from sculptors throughout history and today, we create everything from bas relief to sculptures in the round, developing craftsmanship and learning to express our own ideas in space. With careful attention to studio materials and creative problem-solving, we build the skills to turn your vision into objects that exist in the real world. Unit 1: From Flat to Form- Relief Sculpture and Foundations 8-10 days

Unit 2: Standing Strong -Sculpture in the Round 12-14 days

Unit 3: Your Vision in Space-Final Sculpture Project 10-12 days

We begin our sculpture journey by transitioning from Now we move into three-dimensional We bring together everything we've learned to two-dimensional thinking to three-dimensional work—sculpture in the round that can be create a final sculpture that expresses our own making. After orienting ourselves to our studio space viewed and experienced from every angle. ideas. Based on an artist from history, we and materials, we explore paper folding techniques We explore how balance, weight distribution, choose from the materials and techniques and apply those to bas relief—sculpture that projects and a strong base keep sculptures standing, we've explored—cardboard, wire, paper mache, from a flat background—as a bridge between and we experiment with new materials clay, or repurposed objects—and develop a drawing and fully dimensional work. Using cardboard including paper, wire, paper mache, and clay. concept that matters to us. We plan carefully, and paper, we learn essential techniques like folding, We study sculptors past and present who problem-solve creatively, and refine our cutting, scoring, and joining while creating layered have mastered form in space, and we create craftsmanship as we build a sculpture that relief sculptures. We study how artists throughout our own freestanding sculptures while demonstrates our growth. We present our history have used relief to tell stories and express developing problem-solving skills for the finished work and reflect on our development ideas, and we practice the planning skills that help unique challenges of working in three as sculptors throughout the course. sculptors turn sketches into successful forms. dimensions.

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Seventh Grade Sculpture: Unit 1 Course Name: Sculpture Est. # of Lessons: 8-10

Unit 1 Title: From Flat to Form—Relief Sculpture and Foundations

Unit Overview: We begin our sculpture journey by transitioning from two-dimensional thinking to threedimensional making. After orienting to our studio space and materials, we explore bas relief—sculpture that projects from a flat background—as a bridge between drawing and fully dimensional work. Using cardboard and paper, we learn essential techniques like folding, cutting, scoring, and joining while creating layered relief sculptures. We study how artists throughout history have used relief to tell stories and express ideas, and we practice the planning skills that help sculptors turn sketches into successful forms. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.7a – Apply methods to overcome creative blocks VA:Cr2.1.7a – Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design VA:Cr2.2.7a – Demonstrate awareness of ethical responsibility to oneself and others when posting and sharing images and other materials through the Internet, social media, and other communication formats VA:Re7.2.7a – Analyze multiple ways that images influence specific audiences

Transfer Goals ● ● ● ●

Understandings ●

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Relief sculpture exists between twodimensional and three-dimensional art—it projects from a surface but is meant to be viewed from the front. Planning through sketching in orthographic views helps artists visualize how flat ideas will translate into dimensional forms. Techniques like folding, cutting, scoring, and joining transform flat materials into forms with depth and dimension. Artists throughout history have used relief sculpture to tell stories, honor people, and communicate ideas.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ●

How do I transform a flat idea into a form with depth and dimension? What planning helps me visualize how my sculpture will look before I build it? How have artists used relief sculpture to tell stories and express ideas? What techniques help me join and shape flat materials into stable forms?

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Seventh Grade Sculpture: Unit 1 Knowledge ●

Studio Foundations ● ● ●

Safe and responsible use of sculpture tools and materials Studio organization and cleanup routines Material care and storage

Relief Sculpture ● ● ●

Skills (Framed as Learning Targets)

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Definition and characteristics of bas relief, high relief, and sunken relief Relief sculpture throughout history (Egyptian, Greek, Roman, contemporary) Viewing relief sculpture—front-facing perspective

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I can explain the difference between relief sculpture and sculpture in the round. I can sketch my ideas in orthographic views to plan how a flat design will become a dimensional form. I can use cutting, scoring, folding, and joining techniques to transform flat materials into relief sculpture. I can create a relief sculpture with multiple layers that shows depth and dimension. I can describe how artists throughout history have used relief sculpture to communicate ideas. I can care for studio materials and maintain an organized workspace.

Planning Skills ● ● ●

Sketching ideas before building Translating 2D drawings to 3D forms Considering depth and layers in planning

Techniques—Paper and Cardboard ● ● ● ● ●

Cutting with precision Scoring and folding Joining methods (glue, tabs, slots) Creating layers and depth Surface finishing

Key Vocabulary: relief, bas relief, high relief, sunken relief, dimension, depth, layer, score, fold, join, tab, slot, surface, form

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Group Baseline Paper sculpture: A completed 2 person 3D paper sculpture

Observation: Group Baseline paper sculpture ● Teacher observation of studio routines and safe tool use ● Technique practice exercises (cutting, scoring, folding, joining) ● Planning sketches with annotations about

Paper Folding Techniques: A completed study of 16 different paper folding techniques

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Seventh Grade Sculpture: Unit 1 Relief Sculpture: A completed bas relief sculpture using cardboard and/or paper that demonstrates layering, depth, and intentional use of techniques Planning Documentation: Sketches showing how the 2D idea was translated into a bas relief

depth and layers Analysis of historical and contemporary relief sculptures Work-in-progress check-ins and peer feedback ●

STAGE 3: LEARNING PLAN First Topic: Studio Orientation and Introduction to Sculpture

Estimated # of Lessons: 1-2

Learning Targets: ● I can care for studio materials and maintain an organized workspace. ● I can explain the difference between relief sculpture and sculpture in the round.

Essential Questions: ● How do I transform a flat idea into a form with depth and dimension?

Learning Activities: ● Studio tour and introduction to sculpture tools and materials ● Safety protocols; overview of sculpture types (relief vs. in the round) ● Paper folding techniques sampler ● Examining examples of relief sculpture throughout history Second Topic: Planning and Sketching for Relief

Estimated # of Lessons: 1-2

Learning Targets: ● I can sketch my ideas to plan how a flat design will become a dimensional form.

Essential Questions: ● What planning helps me visualize how my sculpture will look before I build it? ● How have artists used relief sculpture to tell stories and express ideas?

Learning Activities: ● Study of historical relief sculptures (Egyptian, Greek, Roman, contemporary) ● Discussion of how relief tells stories; sketching ideas for relief sculpture ● Annotating sketches to show layers and depth Third Topic: Cutting, Scoring, Folding, Joining

Estimated # of Lessons: 2

Learning Targets: ● I can use cutting, scoring, folding, and joining techniques to transform flat materials into relief sculpture.

Essential Questions: ● What techniques help me join and shape flat materials into stable forms?

Learning Activities: ● Demonstration of cutting, scoring, and folding techniques ● Joining methods (tabs, slots, glue); technique practice exercises ● Experimenting with creating depth through layering

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Seventh Grade Sculpture: Unit 1 Fourth Topic: Planning and Sketching for Relief

Estimated # of Lessons: 4

Learning Targets: ● I can create a relief sculpture with multiple layers that shows depth and dimension. ● I can describe how artists throughout history have used relief sculpture to communicate ideas.

Essential Questions: ● How do I transform a flat idea into a form with depth and dimension?

Learning Activities: ● Transferring sketches to cardboard/paper ● Building layers; refining and finishing surface ● Peer feedback and revision ● Reflection on process and techniques learned

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Seventh Grade Sculpture: Unit 2 Course Name: Sculpture Est. # of Lessons: 12-14

Unit 2 Title: Standing Strong — Sculpture in the Round

Unit Overview: Now we move into fully three-dimensional work—sculpture in the round that can be viewed and experienced from every angle. We explore how balance, weight distribution, and a strong base keep sculptures standing, and we experiment with new materials including cardboard, wire, paper mache, and clay. We study sculptors past and present who have mastered form in space, and we create our own freestanding sculptures while developing problem-solving skills for the unique challenges of working in three dimensions. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.7a – Apply methods to overcome creative blocks VA:Cr2.1.7a – Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design VA:Cr3.1.7a – Reflect on and explain important information about personal artwork in an artist statement or another format VA:Re8.1.7a – Interpret art by analyzing art-making approaches, the characteristics of form and structure, relevant contextual information, subject matter, and use of media to identify ideas and mood conveyed

Transfer Goals ● ● ●

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Understandings ● ● ●

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Sculpture in the round exists in space and must be considered from all angles—front, back, sides, above. Balance, weight distribution, and a strong base are essential for creating stable freestanding sculptures. Different materials (wire, paper mache, clay) have unique properties that affect what forms are possible and how they are constructed. Sculptors use creative problem-solving to overcome the challenges of working in three dimensions.

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How do I design a sculpture that works from every viewing angle? What keeps a sculpture standing—and what makes it fall? How do different materials affect what I can create and how I build it? How do sculptors solve problems when their ideas meet the realities of materials and gravity?

185

Seventh Grade Sculpture: Unit 2 Knowledge Sculpture in the Round ● ● ● ●

Viewing sculpture from multiple angles Designing for 360-degree experience Negative space in sculpture Historical and contemporary sculptors working in the round

Skills (Framed as Learning Targets) ● ● ● ●

Structural Principles ● ● ● ●

Balance and weight distribution Center of gravity Base and armature construction Stability and support systems

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I can design a sculpture that is visually interesting from multiple viewing angles. I can explain how balance, weight distribution, and a strong base keep sculptures standing. I can build an armature that provides structure and support for my sculpture. I can use wire, cardboard, paper mache, and/or clay techniques to create a freestanding sculpture. I can problem-solve when I encounter challenges with materials, balance, or structure. I can analyze how sculptors create forms that work in three-dimensional space.

Materials and Techniques—Wire ● ● ● ●

Wire types and gauges Bending, twisting, and joining wire Creating armatures Wire as line in space

Materials and Techniques—Paper Mache ● ● ● ●

Paper mache paste and application Building over armatures Layering for strength Drying and finishing

Materials and Techniques—Clay ● ● ● ●

Hand-building techniques (pinch, coil, slab) Joining clay (score, slip, seal) Hollowing for even drying Surface treatment

Key Vocabulary: sculpture in the round, freestanding, balance, weight distribution, center of gravity, base, armature, negative space, wire, gauge, paper mache, clay, pinch, coil, slab, score, slip, seal

186

Seventh Grade Sculpture: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Freestanding Sculpture: A completed sculpture in the round that demonstrates structural stability, attention to multiple viewing angles, and skilled use of at least one material (wire, paper mache, or clay) Process Reflection: Written or verbal explanation of problem-solving decisions and how structural challenges were addressed

Completed Content Exercises: ● Technique practice with wire (bending, twisting, joining) ● Armature building exercises ● Paper mache layering practice ● Clay hand-building technique practice ● Multi-view planning sketches ● Balance and stability experiments ● Analysis of sculptors' work Work-in-progress check-ins documenting problemsolving

STAGE 3: LEARNING PLAN First Topic: Introduction to Sculpture in the Round

Estimated # of Lessons: 1-2

Learning Targets: ● I can design a sculpture that is visually interesting from multiple viewing angles. ● I can analyze how sculptors create forms that work in three-dimensional space.

Essential Questions: ● How do I design a sculpture that works from every viewing angle?

Learning Activities: ● Comparing relief to sculpture in the round ● Examining sculptures from multiple angles ● Studying historical and contemporary sculptors ● Introduction to negative space ● Multi-view sketching practice Second Topic: Balance, Base, and Armature

Estimated # of Lessons: 2

Learning Targets: ● I can explain how balance, weight distribution, and a strong base keep sculptures standing. ● I can build an armature that provides structure and support for my sculpture.

Essential Questions: ● What keeps a sculpture standing—and what makes it fall?

Learning Activities: ● Experiments with balance and center of gravity ● Base construction options ● Introduction to armatures ● Building simple armatures with wire and other materials ● Testing stability

187

Seventh Grade Sculpture: Unit 2 Third Topic: Wire Sculpture Techniques

Estimated # of Lessons: 2-3

Learning Targets: ● I can use wire techniques to create a freestanding sculpture.

Essential Questions: ● How do different materials affect what I can create and how I build it?

Learning Activities: ● Wire types and gauges ● Bending, twisting, and joining techniques ● Wire as line in space ● Creating small wire sculpture ● Attention to viewing from all angles Fourth Topic: Balance, Base, and Armature

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions: ● I can use paper mache techniques to create ● How do different materials affect what I can a freestanding sculpture. create and how I build it? ● I can problem-solve when I encounter ● How do sculptors solve problems when their challenges with materials, balance, or ideas meet the realities of materials and structure. gravity? Learning Activities: ● Paper mache paste preparation ● Building over armatures ● Layering for strength ● Dying time considerations ● Surface finishing ● Problem-solving structural challenges Fifth Topic: Clay Hand-Building Techniques

Estimated # of Lessons: 3-4

Learning Targets: ● I can use clay techniques to create a freestanding sculpture. ● I can problem-solve when I encounter challenges with materials, balance, or structure.

Essential Questions: ● How do different materials affect what I can create and how I build it? ● How do sculptors solve problems when their ideas meet the realities of materials and gravity?

Learning Activities: ● Review of hand-building techniques (pinch, coil, slab) ● Joining clay properly ● Hollowing for even drying ● Building a small freestanding clay sculpture ● Process reflection

188

Seventh Grade Sculpture: Unit 3 Course Name: Sculpture Est. # of Lessons:10-12

Unit 3 Title: Your Vision in Space — Final Sculpture Project

Unit Overview: We bring together everything we've learned to create a final sculpture that expresses our own ideas. We choose from the materials and techniques we've explored—cardboard, wire, paper mache, clay, or repurposed objects—and develop a concept that matters to us. We plan carefully, problem-solve creatively, and refine our craftsmanship as we build a sculpture that demonstrates our growth. We present our finished work and reflect on our development as sculptors throughout the course. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.2.7a – Develop criteria to guide making a work of art or design to meet an identified goal VA:Cr3.1.7a – Reflect on and explain important information about personal artwork in an artist statement or another format VA:Pr5.1.7a – Based on criteria, analyze and evaluate methods for preparing and presenting art VA:Cn10.1.7a – Analyze how response to art is influenced by understanding the time and place in which it was created, the available resources, and cultural uses

Transfer Goals ● ● ●

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Understandings ● ● ● ●

Artists develop a personal voice by making intentional choices about materials, techniques, and subject matter. Creating meaningful sculpture requires connecting technical skills with ideas and themes that matter to the artist. The creative process involves planning, experimentation, problem-solving, and revision. Presenting and explaining artwork helps artists articulate their intentions and

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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What idea or theme matters enough to me to explore in sculpture? Which materials and techniques best express my vision—and why? How do I plan, problem-solve, and refine my work to achieve my vision? What have I learned about myself as a sculptor through this course?

189

Seventh Grade Sculpture: Unit 3 ●

connect with audiences. Repurposed and found objects can be transformed into expressive sculptural forms. Knowledge ●

Concept Development ● ● ●

Identifying personally meaningful subjects and themes Brainstorming and idea generation Connecting ideas to sculptural form

Material Selection ● ● ●

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Reviewing properties of available materials Matching materials to concept and vision Combining materials effectively

Repurposed Objects ● ● ●

Skills (Framed as Learning Targets)

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I can develop a concept for a sculpture based on an idea or theme that matters to me. I can choose materials and techniques that best express my vision and explain my choices. I can plan my sculpture through sketches that consider structure, balance, and multiple views. I can apply techniques with craftsmanship to create a polished final sculpture. I can write an artist statement and present my work, explaining my choices and process. I can reflect on my growth as a sculptor throughout the course.

Found object sculpture traditions Seeing potential in everyday objects Joining and transforming repurposed materials

Planning and Execution ● ● ●

Multi-view sketching and planning Anticipating structural challenges Craftsmanship and finishing

Presentation and Reflection ● ● ●

Artist statement conventions Preparing sculpture for display Articulating artistic choices and growth

Key Vocabulary: concept, theme, repurposed, found object, assemblage, craftsmanship, artist statement, artistic voice, presentation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Final Sculpture: A completed sculpture

Formative Assessment Completed Content Exercises:

190

Seventh Grade Sculpture: Unit 3 demonstrating intentional material choice, skilled technique, structural stability, and personal expression Artist Statement: Written statement explaining concept, material choices, problem-solving decisions, and what the sculpture communicates Presentation: Share final sculpture with class and explain artistic journey and growth

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Concept brainstorming and theme development notes Material selection reflection with justification Multi-view planning sketches Work-in-progress check-ins with selfevaluation Problem-solving log documenting challenges and solutions Draft artist statement with peer feedback

STAGE 3: LEARNING PLAN First Topic: Concept Development and Material Selection

Estimated # of Lessons: 2

Learning Targets: ● I can develop a concept for a sculpture based on an idea or theme that matters to me. ● I can choose materials and techniques that best express my vision and explain my choices.

Essential Questions: ● What idea or theme matters enough to me to explore in sculpture? ● Which materials and techniques best express my vision—and why?

Learning Activities: ● Brainstorming themes and ideas ● Reviewing materials explored in course ● Introduction to repurposed/found object sculpture ● Matching concept to materials ● Material selection reflection Second Topic: Planning and Sketching

Estimated # of Lessons: 1-2

Learning Targets: ● I can plan my sculpture through sketches that consider structure, balance, and multiple views.

Essential Questions: ● How do I plan, problem-solve, and refine my work to achieve my vision?

Learning Activities: ● Multi-view sketching ● Annotating plans for structure and balance ● Anticipating challenges ● Gathering materials ● Peer feedback on plans

191

Seventh Grade Sculpture: Unit 3 Third Topic: Concept Development and Material Selection

Estimated # of Lessons: 5-6

Learning Targets: ● I can apply techniques with craftsmanship to create a polished final sculpture.

Essential Questions: ● How do I plan, problem-solve, and refine my work to achieve my vision?

Learning Activities: ● Building sculpture ● Work-in-progress check-ins ● Problem-solving challenges ● Refining and finishing ● Attention to craftsmanship ● Peer feedback and revision Fourth Topic: Artist Statement and Presentation

Estimated # of Lessons: 1-2

Learning Targets: ● I can write an artist statement and present my work, explaining my choices and process. ● I can reflect on my growth as a sculptor throughout the course.

Essential Questions: ● What have I learned about myself as a sculptor through this course?

Learning Activities: ● Drafting artist statement ● Peer feedback on statements ● Preparing sculpture for display ● Class presentations ● Reflection on growth throughout the course

192

Grade Seven/Eight Photography

193

Grade 7 / 8 Photography Anyone can point and shoot, but we transform you into a real photographer. We learn the camera basics, lighting techniques, and composition principles from art and design to create striking images that tell powerful stories. We also learn to enhance our images using digital editing software and strengthen our skills through constructive critique sessions where we analyze and give feedback on each other's work as we build our photography portfolios. Unit 1: Lights, Camera, Composition! 7-8 days

Unit 2: The Digital Darkroom 7-13 days

Let’s begin our journey into photography by exploring how a digital camera works and experimenting with its different settings. Discover how lighting can completely change the mood of your photos and play with composition principles from art and design to create more interesting images. Through hands-on practice, we start to see the difference between a quick snapshot and a photograph that tells a story.

Next, we dive into digital editing software to see how photographers enhance and transform their images. We explore various editing techniques and start developing your own approach to polishing your work. Experiment with adjusting colors, exposure, and details to bring out different effects in your photos.

Unit 3: You in Focus: The Self-Portrait Challenge 8-10 days

Finally, we bring all the techniques to create self-portraits that express something about who you are. Through peer critique sessions, we share your work, give and receive constructive feedback, and discover new perspectives on your photography.

194

Seventh & Eighth Grade Photography: Unit 1 Course Name: Photography

Unit 1 Title: Lights, Camera, Composition!

Est. # of Lessons: 8

Unit Overview: Let's begin our journey into photography by exploring how a digital camera works and experimenting with its different settings. Discover how lighting can completely change the mood of your photos and play with composition principles from art and design to create more interesting images. We also examine how photographers throughout history have used these same tools to document events, preserve memories, and shape how we understand the past. Through hands-on practice, we start to see the difference between a quick snapshot and a photograph that tells a story. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr3.1.8a - Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Re9.1.8a - Create a convincing and logical argument to support an evaluation of art VA:Cn10.1.8a - Make art collaboratively to reflect on and reinforce positive aspects of group identity

Transfer Goals ● ● ● ●

Understandings ●

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Photographers make intentional technical decisions—camera settings, lighting, composition—to control what viewers see and how they respond. Lighting dramatically changes the mood, focus, and meaning of a photograph. Composition principles like rule of thirds, framing, and perspective transform casual snapshots into compelling visual stories. Photographs serve as powerful tools for documenting history, preserving memories, and shaping how we understand the past.

Essential Questions ● ● ● ● ●

Knowledge Camera Operation ●

Digital camera parts and functions

Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

What are the parts of the camera? How do the technical choices photographers make shape what a viewer sees and feels? What transforms a snapshot into a photograph that tells a story? How does lighting contribute to the mood, focus, and meaning of a photograph? How have photographers used their craft to document history and shape how we understand the past?

Skills (Framed as Learning Targets) ● ● ●

I can name the parts of a digital camera I can operate a digital camera by adjusting settings to capture different effects. I can apply composition principles to create

195

Seventh & Eighth Grade Photography: Unit 1 ● ●

Basic camera settings (focus, exposure, shutter speed) Viewfinder use and framing

Lighting ● ● ● ● ● ●

Natural vs. artificial light Front lighting, back lighting, side lighting Rembrandt lighting Split lighting Golden hour photography How light creates shadow, depth, and mood

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visually interesting photographs. I can experiment with lighting to change the mood and focus of my images. I can explain how photographers have used their craft to document history and shape understanding. I can evaluate my photographs and plan revisions to strengthen my work. I can explain the technical and artistic choices I make when taking photographs

Composition Principles ● ● ● ● ●

Rule of thirds and golden mean Leading lines and framing Perspective and point of view Focal point and visual hierarchy Cropping for effect

Photography in Context ● ●

Photography as documentation throughout history Difference between snapshots and intentional photographs. Key Vocabulary: rule of thirds, golden mean, focal point, composition, perspective, natural light, artificial light, front lighting, back lighting, Rembrandt lighting, split lighting, golden hour, viewfinder, exposure, cropping, framing, value STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

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Composition & Lighting Photo Series: A curated set of 4-6 photographs demonstrating intentional use of composition principles and lighting techniques Technical Reflection: Written or verbal explanation of the technical and artistic choices made in each photograph

Formative Assessment Completed Content Exercises: ● Camera operation practice with settings adjustments ● Composition exercises (rule of thirds, leading lines, framing, perspective) ● Lighting experiments comparing natural vs. artificial, front vs. back vs. side lighting ● Analysis of historical photographs discussing how photographers documented events and

196

Seventh & Eighth Grade Photography: Unit 1

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shaped understanding Self-evaluation of photographs in progress with revision notes Sketchbook/planning notes showing intentional decision-making

STAGE 3: LEARNING PLAN First Topic: Camera Basics and Photo Fundamentals

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

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I can name the parts of a digital camera I can explain how photographers have used their craft to document history and shape understanding. I can discuss the importance of light in the art of photography

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What are the parts of the camera? How do the technical choices photographers shape what a viewer sees and feels? How have photographers used their craft to document history and shape how we understand the past? What is light? , and How does lighting contribute to the mood, focus, and meaning of a photograph?

Learning Activities: ● Baseline selfie photo ● Digital camera parts and functions ● Define lighting ● A look at the history of photography Second Topic: Practicing Lighting Techniques

Estimated # of Lessons: 5-6

Learning Targets:

Essential Questions:

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I can operate a digital camera by adjusting settings to capture different effects. I can apply composition principles to create visually interesting photographs. I can experiment with lighting to change the mood and focus of my images.

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What is light? , and How does lighting contribute to the mood, focus, and meaning of a photograph? How do the technical choices photographers make shape what a viewer sees and feels?

197

Seventh & Eighth Grade Photography: Unit 2 Course Name: Photography

Unit 2 Title: The Digital Darkroom

Est. # of Lessons: 7-13

Unit Overview: Next, we dive into digital editing software to see how photographers enhance and transform their images. We explore various editing techniques and start developing your own approach to polishing your work. Experiment with adjusting colors, exposure, and details to bring out different effects in your photos. We learn to use digital software, files and navigation platforms to edit, save and share our work. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr2.1.8a - Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing VA:Cr3.1.8a - Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Re8.1.8a - Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, art-making approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed

Transfer Goals ● ● ● ● ●

Understandings ● ● ● ●

The editing process involves experimentation, reflection, and revision to achieve the desired effect. Editing choices can strengthen a photograph's message or distract from it— knowing when to stop is part of the craft. Digital images have technical constraints (resolution, file type) that affect how they can be used, printed, and shared. Photographers have ethical responsibilities when editing and sharing images.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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What editing choices strengthen a photograph versus distract from its message? How do I know when my editing serves my vision—and when I've gone too far? What technical decisions (resolution, file type, storage) affect how my photographs can be used and shared? What ethical responsibilities do photographers have when editing and sharing images?

198

Seventh & Eighth Grade Photography: Unit 2 Knowledge ●

Editing Techniques ● ● ● ● ● ●

Adjusting exposure, brightness, and contrast Color correction and color balance Hue and saturation adjustments Cropping and straightening Sharpening and blur effects When to use subtle vs. dramatic edits

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Technical Foundations ● ●

Skills (Framed as Learning Targets)

Pixel resolution and image quality File types and their uses (RAW, JPG, GIF, PSD) Resolution requirements for print vs. screen File organization and storage systems (USB, hard drive, network folders)

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I can use digital editing software to enhance my photographs by adjusting exposure, color, and contrast. I can experiment with editing techniques and know when edits strengthen versus distract from my message. I can explain how my editing choices affect the meaning and mood of a photograph. I can evaluate my work in progress and make revisions based on my creative vision. I can prepare digital files for printing and sharing at appropriate resolution. I can navigate digital filing systems to organize, save, and share my images.

Ethics & Responsibility ● ● ● ●

Ethical editing practices Manipulation vs. enhancement Image ownership and attribution Responsible sharing of digital images

Key Vocabulary: hue, saturation, RGB, pixel, resolution, color balance, brightness, contrast, sharpen, blur, RAW, JPG, GIF, PSD, crop, export, file management, ethics STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Before & After Edit Set: 3-4 photographs showing original and edited versions that demonstrate a range of editing techniques Editing Rationale: Written or verbal explanation of how editing choices strengthen each photograph's message and mood Print-Ready File: At least one image prepared at proper resolution for printing or display

Completed Content Exercises: ● Software navigation exercises (importing, organizing, basic tools) ● Editing technique practice (exposure, color balance, cropping, sharpening) ● Comparison exercise: subtle edits vs. overprocessed images ● Peer feedback on editing choices ● File preparation checkpoint (resolution, file

199

Seventh & Eighth Grade Photography: Unit 2 ● ●

type selection) Reflection on ethical considerations in editing Organized digital portfolio demonstrating file management

STAGE 3: LEARNING PLAN First Topic: Pixels, Files, and Storage

Estimated # of Lessons: 3-4

Learning Targets: ● I can prepare digital files for editing, printing and sharing at appropriate resolution. ● I can navigate digital filing systems to organize, save, and share my images.

Essential Questions: ● What technical decisions (resolution, file type, storage) affect how my photographs can be used and shared?

Learning Activities: ● File transfer ● Using Adobe Photoshop to view and save files ● Navigating the school digital network Second Topic: Using Digital Software to Edit Photos

Estimated # of Lessons: 7-9

Learning Targets:

Essential Questions:

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I can use digital editing software to enhance my photographs by adjusting exposure, color, and contrast. I can experiment with editing techniques and know when edits strengthen versus distract from my message. I can explain how my editing choices affect the meaning and mood of a photograph. I can evaluate my work in progress and make revisions based on my creative vision. I can prepare digital files for editing, printing and sharing at appropriate resolution. I can navigate digital filing systems to organize, save, and share my images.

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Learning Activities: ● Adobe Photoshop fundamentals ● Editing photos in Adobe Photoshop ● Before and After Edit set ( 3-4 photos) ● Editing Rationale: Written summary of technique and reasoning ● Printing the series of photos

200

Seventh & Eighth Grade Photography: Unit 3 Course Name: Photography Est. # of Lessons: 8-10

Unit 3 Title: You in Focus: The Self-Portrait Challenge

Unit Overview: Finally, we bring all the techniques to create self-portraits that express something about who you are. Through peer critique sessions, we share your work, give and receive constructive feedback, and discover new perspectives on your photography. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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VA:Cr3.1.8a - Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Pr4.1.8a - Develop and apply criteria for evaluating a collection of artwork for presentation VA:Pr5.1.8a - Collaboratively prepare and present selected theme-based artwork for display, and formulate exhibition narratives for the viewer VA:Re9.1.8a - Create a convincing and logical argument to support an evaluation of art VA:Cn10.1.8a - Make art collaboratively to reflect on and reinforce positive aspects of group identity

Transfer Goals ●

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Understandings ● ● ● ●

Self-portraits are a powerful form of visual storytelling that can express identity, emotions, and ideas in ways words cannot. Intentional lighting techniques have a direct impact on the mood and meaning of a portrait. Constructive critique helps photographers see their work from new perspectives and make stronger artistic choices. Selecting and presenting photographs requires evaluating which images best communicate your vision to an audience.

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

Essential Questions ● ● ● ● ●

How can a self-portrait reveal who we are in ways words cannot? What is the difference between a "selfie" and a fine art self-portrait? How do lighting choices shape the mood and meaning of a portrait? How does giving and receiving critique strengthen our artistic voice? How do I select and present photographs that best communicate my vision?

201

Seventh & Eighth Grade Photography: Unit 3 Knowledge Self-Portraiture ● ● ● ●

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Distinction of selfie & fine art self-portrait Using photography for self-expression & storytelling Props, setting, & pose as communication tools Historical & contemporary self-portrait photographers

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Portrait Lighting ● ● ● ●

Skills (Framed as Learning Targets)

Golden hour for portraits Backlight and fill light Rembrandt lighting & split lighting Match lighting technique to mood & intent

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I can create a self-portrait that expresses something meaningful about who I am using composition and lighting techniques. I can choose lighting techniques that support the mood and meaning I want to convey. I can give specific, constructive feedback during peer critique sessions. I can use feedback and self-reflection to evaluate and revise my work. I can select my strongest photographs and explain my artistic choices to an audience. I can explain what distinguishes a fine art selfportrait from a casual selfie.

Critique & Presentation ● ● ● ● ●

Giving specific, constructive feedback Receiving and applying feedback Criteria for evaluating photographs Selecting work for presentation Artist statement development

Key Vocabulary: self-portrait, self-expression, storytelling, deliberate, props, pose, golden hour, backlight, fill light, Rembrandt lighting, split lighting, critique, feedback, artist statement, presentation, curation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Self-Portrait Series: 2-3 self-portraits ready for display that demonstrate intentional use of composition, lighting, and personal expression Artist Statement: Written statement explaining the meaning behind the self-portraits, lighting choices, and what the images communicate about identity Presentation: Share selected work with class and explain artistic choices

Completed Content Exercises: ● Exploration of selfie vs. fine art self-portrait through image analysis ● Lighting technique experiments for portraits (golden hour, Rembrandt, split, backlight) ● Planning sketches/notes for self-portrait concepts ● Draft self-portraits with self-evaluation ● Peer critique sessions with documented feedback given and received

202

Seventh & Eighth Grade Photography: Unit 3 ● ●

Revised self-portraits responding to feedback Selection process notes explaining which images best communicate vision

STAGE 3: LEARNING PLAN First Topic: Identity: This is me

Estimated # of Lessons: 5-6

Learning Targets: ● I can create a self-portrait that expresses something meaningful about who I am using composition and lighting techniques. ● I can choose lighting techniques that support the mood & meaning I want to convey. ● I can give specific, constructive feedback during peer critique sessions.

Essential Questions: ● How can a self-portrait reveal who we are in ways words cannot? ● How do lighting choices shape the mood and meaning of a portrait? ● How does giving and receiving critique strengthen our artistic voice?

Learning Activities: ● Homework and Classwork Self portrait photos ● Props and accessories ● Group critiques ● What is a critique? Second Topic: Final Revisions and Presentations

Estimated # of Lessons: 3-4

Learning Targets:

Essential Questions:

● ● ●

● ●

I can create a self-portrait that expresses something meaningful about who I am using composition and lighting techniques. I can choose lighting techniques that support the mood and meaning I want to convey. I can give specific, constructive feedback during peer critique sessions & use feedback & self-reflection to evaluate & revise my work. I can select my strongest photographs and explain my artistic choices to an audience. I can explain what distinguishes a fine art self-portrait from a casual selfie.

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Grade Eight Art

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Grade 8 Art Take apart a famous artwork and rebuild it with your own creative vision.. We start by choosing a masterpiece from art history, identifying the elements that make it work, and reimagining it in our own style — creating something that echoes the original while being completely ours. Working with watercolor, charcoal, colored pencil, and mixed media, we build our composition layer by layer, then shift focus to explore how negative space shapes what a viewer sees. We close the year with graphite self-portraits — studying proportion and value to create a portrait that captures personality, not just likeness. Finished work is prepared for school and community exhibition, giving us real experience as working artists. Unit 1: Studio /Skills Review; Taking from the Past 7-9 days

Unit 2: Building Layers and Exploring Negative Space 6-8 days

Unit 3: Final Compositions and Self-Portraiture 10-13 days

We orient to the studio, review one-point perspective, and launch our Taking From the Past project. We select a masterwork, analyze its artistic elements, and develop sketches that reimagine those elements in our own style — referencing the original without copying it. We apply color theory to choose a unified palette and lay in a watercolor wash to anchor the piece.

We build our Taking From the Past composition layer by layer — enlarging and transferring the design, adding a charcoal focal point, colored pencil line work, and mixed materials for texture. We then shift to marker technique and explore how negative space shapes what a viewer sees, creating three small color studies to test our ideas before committing to a final piece.

We complete our Negative Space Still Life by enlarging the final design, laying in flat color with marker blending, and finishing with at least three line techniques to create shadow and depth. We close the year with graphite self-portraits — studying facial proportions and value to create a portrait that captures personality, not just likeness. Finished work from across the year is prepared for school and community exhibition.

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Eighth Grade Art: Unit 1 Course Name: Grade 8 Art Est. # of Lessons: 7-9

Unit 1 Title: Studio /Skills Review and Taking from the Past

Unit Overview: We orient to the studio, review one-point perspective, and launch our Taking From the Past project. We select a masterwork, analyze its artistic elements, and develop sketches that reimagine those elements in our own style — referencing the original without copying it. We apply color theory to choose a unified palette and lay in a watercolor wash to anchor the piece. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Cr1.1.8a – Document early stages of the creative process visually and/or verbally in traditional or new media VA:Cr2.1.8a – Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing VA:Re7.1.8a – Explain how a person's aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others VA:Re8.1.8a – Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, artmaking approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed VA:Cn11.1.8a – Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity

Transfer Goals ●

● ● ●

Understandings ● ●

●

Artists build on the ideas and techniques of those who came before them while adding their own voice. Analyzing the elements of a masterpiece helps us understand why it works and how we can apply similar strategies in our own way. Color choices unify a composition and set the mood for the viewer.

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators)

Essential Questions ● ● ●

What can we learn from studying the work of artists who came before us? How do we honor artistic influence while still creating something original? What makes a color palette work, and how do we choose one that fits our vision?

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Eighth Grade Art: Unit 1 Knowledge Studio Orientation ● ● ●

Safe and responsible use of art supplies Studio organization and routines Care and clean-up of materials

Foundational Skills ● ●

Baseline observational drawing One-point perspective principles (horizon line, vanishing point, converging lines)

Art Analysis ● ● ● ●

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can identify and describe the artistic elements that make a masterwork successful. I can develop original sketches that reimagine elements from a famous artwork without copying it. I can explain how an artist's choices are influenced by their culture and environment. I can select and apply a unified color palette using color theory principles. I can apply a watercolor wash to create a cohesive background for my composition. I can document my creative process through sketches and written reflection.

Elements of art (line, shape, form, color, value, texture, space) Principles of design (balance, emphasis, movement, rhythm, repetition) Historical and cultural context of masterworks How artists' choices reflect their time and culture

Color Theory ● ● ● ●

Color wheel (primary, secondary, tertiary) Color relationships (complementary, monochromatic, analogous) Color mixing techniques Using color to unify a composition and set mood

Watercolor Techniques ● ● ●

Watercolor wash application Controlling water-to-pigment ratio Building unified backgrounds

Key Vocabulary: elements of art, principles of design, one-point perspective, horizon line, vanishing point, color wheel, primary, secondary, complementary, monochromatic, analogous, watercolor wash, masterwork, reimagine, composition

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Eighth Grade Art: Unit 1 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Taking From the Past Composition: A unified artwork that references a masterwork while demonstrating original interpretation, intentional color palette, and watercolor wash background— with written reflection explaining the connection to the source artwork and the choices made

Completed Content Exercises: ● Baseline drawing and one-point perspective review (diagnostic) ● Written analysis of selected masterwork identifying key artistic elements ● Thumbnail sketches showing at least three reimagined concepts ● Color palette proposal with rationale for choices ● Studio participation and care of materials (ongoing)

STAGE 3: LEARNING PLAN First Topic: Studio Orientation/Foundational Skills

Estimated # of Lessons: 1

Learning Targets: ● I can follow studio procedures and care for materials responsibly. ● I can demonstrate one-point perspective in a baseline drawing.

Essential Questions: ● What does it mean to be part of a working studio community? ● How does perspective create the illusion of depth on a flat surface?

Learning Activities: ● Tour studio space and review expectations for material use and cleanup ● Complete baseline drawing to establish starting skills ● One-point perspective review and practice exercises ● Reflect on personal goals for the course Second Topic: Analyzing and Reimagining Masterworks

Estimated # of Lessons: 3-4

Learning Targets: ● I can identify & describe the artistic elements that make a masterwork successful & develop original sketches that reimagine elements from famous artwork. ● I can explain how an artist's choices reflect their culture and environment.

Essential Questions: ● What can we learn from studying the work of artists who came before us? ● How do we honor artistic influence while still creating something original?

Learning Activities: ● View and discuss a range of masterworks from different periods and cultures ● Select a famous painting and complete a written/visual analysis of its elements ● Create thumbnail sketches exploring ways to reimagine those elements ● Peer critique of sketch ideas with feedback on originality and connection to source ● Refine selected concept into a final sketch

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Eighth Grade Art: Unit 1 Third Topic: Color Theory and Watercolor Wash

Estimated # of Lessons: 3-4

Learning Targets: ● I can select and apply a unified color palette using color theory principles. ● I can apply a watercolor wash to create a cohesive background.

Essential Questions: ● What makes a color palette work, and how do we choose one that fits our vision?

Learning Activities: ● Review color wheel and color relationships through mixing exercises ● Explore monochromatic and analogous palettes through quick studies ● Select and justify a color theme for the Taking From the Past project ● Practice watercolor wash techniques on sample paper ● Apply watercolor wash background to final composition surface

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Eighth Grade Art: Unit 2 Course Name: Grade 8 Art Est. # of Lessons: 6-8

Unit 2 Title: Building Layers and Exploring Negative Space

Unit Overview: We build our Taking From the Past composition layer by layer — enlarging and transferring the design, adding a charcoal focal point, colored pencil line work, and mixed materials for texture. We then shift to marker technique and explore how negative space shapes what a viewer sees, creating three small color studies to test our ideas before committing to a final piece. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ●

●

VA:Cr1.1.8a – Document early stages of the creative process visually and/or verbally in traditional or new media VA:Cr2.1.8a – Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing VA:Cr2.3.8a – Select, organize, and design images and words to make visually clear and compelling presentations VA:Re7.2.8a – Compare and contrast contexts and media in which viewers encounter images that influence ideas, emotions, and actions VA:Cn10.1.8a – Make art collaboratively to reflect on and reinforce positive aspects of group identity

Transfer Goals ● ● ● ●

Understandings ●

● ●

Layering media such as watercolor, charcoal, colored pencil, and mixed materials creates visual complexity and focal points. Negative space is not empty—it shapes how the viewer sees and experiences the positive forms. Testing ideas through small studies reduces risk and builds confidence before committing to a final piece.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

Essential Questions ● ● ●

How do we create depth and interest by layering different media and techniques? What role does negative space play in a strong composition? How do small studies and experiments help us make better decisions in our final work?

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Eighth Grade Art: Unit 2 Knowledge Design Transfer ● ● ●

Grid method for enlarging designs Transferring designs while maintaining proportions Scaling artwork accurately

Charcoal Techniques ● ● ● ●

Value range (light to dark) Blending and smudging techniques Creating 3D form and focal points Working with black and white for contrast

Colored Pencil Techniques ● ● ●

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can enlarge and transfer a design accurately while maintaining proportions. I can use charcoal to create a 3D focal point with a range of values. I can apply at least three different line types using colored pencils to create an atmosphere. I can incorporate mixed materials (paper, fabric) to add texture to my composition. I can demonstrate marker techniques including blending, layering, and line variation. I can design a composition that uses negative space intentionally. I can create small studies to test ideas before committing to a final piece.

Line types and their expressive qualities (contour, hatching, cross-hatching) Layering and pressure control Creating atmosphere through line

Mixed Media ● ● ●

Combining materials (paper, fabric, found objects) Adding texture to compositions Layering media for visual complexity

Marker Techniques ● ● ● ●

Blending and layering color Line styles and variation Overlapping for depth Building value through layering

Composition ● ● ● ●

Negative space as a design element Relationship between positive and negative space How negative space shapes viewer perception Creating balance through positive and negative space

Key Vocabulary: grid method, transfer, enlarge,

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Eighth Grade Art: Unit 2 charcoal, value, focal point, line types, contour, hatching, cross-hatching, mixed media, texture, marker, blending, layering, negative space, positive space, composition, still life STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Completed Content Exercises: ● Charcoal value scale and 3D form practice ● Line type sampler using colored pencil ● Texture experimentation with various materials ● Marker technique practice sheets (blending, layering, line styles) ● Peer feedback on negative space study Three Negative Space Marker Color Studies: Small compositions compositions demonstrating understanding of ● Studio participation and care of materials negative space as a design element and effective (ongoing) use of marker techniques (blending, layering, line variation) Completed Taking From the Past Mixed Media Composition: Demonstrates layering of media (watercolor, charcoal, colored pencil, mixed materials), intentional focal point, varied line types, and textural elements—with reflection on process and challenges overcome

STAGE 3: LEARNING PLAN First Topic: Completing the Mixed Media Composition

Estimated # of Lessons: 3-4

Learning Targets: ● I can enlarge and transfer a design accurately while maintaining proportions. ● I can use charcoal to create a 3D focal point with a range of values. ● I can apply at least three different line types using colored pencil to create atmosphere & incorporate mixed materials to add texture to my composition.

Essential Questions: ● How do we create depth and interest by layering different media and techniques?

Learning Activities: ● Demonstrate and practice grid method for enlarging designs ● Transfer enlarged design onto watercolor background ● Charcoal technique demonstration focusing on value range and blending ● Add charcoal element to create focal point ● Explore and practice different line types with colored pencil ● Apply three line types throughout composition to build atmosphere ● Experiment with paper, fabric, and other materials for texture

212

Eighth Grade Art: Unit 2 ● ●

Add textural elements to complete mixed media composition Reflect on process and challenges overcome

Second Topic: Marker Techniques and Negative Space Studies

Estimated # of Lessons: 3-4

Learning Targets: ● I can demonstrate marker techniques including blending, layering, and line variation. ● I can design a composition that uses negative space intentionally. ● I can create small studies to test ideas before committing to a final piece.

Essential Questions: ● What role does negative space play in a strong composition? ● How do small studies and experiments help us make better decisions in our final work?

Learning Activities: ● Introduction to negative space through visual examples and discussion ● Set up still life arrangements and create observational sketches ● Marker technique demonstrations (blending, layering, overlapping, line styles) ● Practice marker techniques on sample sheets ● Discuss how negative space shapes viewer experience ● Create three small negative space marker color studies from still life ● Peer critique focusing on effective use of negative space ● Select strongest study concept for enlargement in Unit 3

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Eighth Grade Art: Unit 3 Course Name: Grade 8 Art Est. # of Lessons:10-13

Unit 3 Title: Final Compositions and Self-Portraiture

Unit Overview: We complete our Negative Space Still Life by enlarging the final design, laying in flat color with marker blending, and finishing with at least three line techniques to create shadow and depth. We close the year with graphite self-portraits — studying facial proportions and value to create a portrait that captures personality, not just likeness. Finished work from across the year is prepared for school and community exhibition. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

● ● ●

VA:Cr2.3.8a – Select, organize, and design images and words to make visually clear and compelling presentations VA:Pr4.1.8a – Develop and apply criteria for evaluating a collection of artwork for presentation VA:Pr5.1.8a – Collaboratively prepare and present selected theme-based artwork for display, and formulate exhibition narratives for the viewer VA:Pr6.1.8a – Analyze why and how an exhibition or collection may influence ideas, beliefs, and experiences VA:Cn10.1.8a – Make art collaboratively to reflect on and reinforce positive aspects of group identity VA:Cn11.1.8a – Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity

Transfer Goals ● ●

● ● ●

Understandings ● ● ●

Finishing a work requires persistence, problem-solving, and the ability to step back and evaluate our progress. A successful portrait captures personality, emotion, or identity—not just accurate proportions. Exhibiting our work connects us to a broader community and gives our art meaning beyond the studio.

Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ●

How do we bring a complex artwork to completion while maintaining our original vision? What does a portrait reveal about a person beyond physical likeness? How does presenting our work to an audience change how we think about what we create?

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Eighth Grade Art: Unit 3 Knowledge Composition Development ● ● ●

Enlarging designs while maintaining integrity Planning for final presentation Evaluating and refining work in progress

Advanced Marker Techniques ● ● ●

Blending for smooth, flat color areas Layering for depth and richness Line techniques for shadow and dimension Creating 3D effect through value and line overlay

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can enlarge a composition while maintaining the integrity of my original design. I can use marker blending techniques to create smooth, flat color areas. I can apply at least three line techniques to add shadow and create a 3D effect. I can accurately render the proportions of the human face. I can use graphite techniques to create a range of values that suggest 3D form. I can create a self-portrait that captures my personality, not just my likeness. I can prepare my work for exhibition and articulate my artistic choices.

Facial Proportions ● ● ●

Standard proportions of the human face Placement of features (eyes, nose, mouth, ears) Measuring and comparing relationships

Graphite Portrait Techniques ● ● ●

Value range for creating 3D form Blending and shading techniques Rendering features realistically Using reference (photos, mirrors) effectively

Identity in Portraiture ● ● ●

Conveying personality beyond likeness Expression, pose, and background choices What a portrait communicates about the subject

Exhibition Practices ● ● ●

Preparing work for display (matting, mounting, labeling) Writing artist statements Articulating artistic choices and intent How presentation affects viewer perception

Key Vocabulary: enlarge, composition, blending,

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Eighth Grade Art: Unit 3 layering, shadow, dimension, 3D effect, facial proportions, graphite, value, portrait, likeness, personality, identity, exhibition, artist statement, presentation STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Negative Space Still Life Marker Drawing: Enlarged composition demonstrating effective use of negative space, marker blending and layering, and at least three line techniques to create shadow and 3D effect Graphite Self-Portrait: Demonstrates accurate facial proportions, value range, 3D form, and evidence of personality or identity—not just physical likeness Exhibition Participation and Artist Statement: Work prepared for school/community display with written statement explaining artistic choices, intent, and growth throughout the course

Completed Content Exercises: ● Marker blending and line technique practice ● Facial proportion sketches and exercises ● Value scale practice with graphite ● Self-portrait in-progress critiques ● Draft artist statement with peer feedback ● Studio participation and care of materials (ongoing) One on One Check In: Progress check on enlarged negative space composition

STAGE 3: LEARNING PLAN First Topic: Final Negative Space Marker Drawing

Estimated # of Lessons: 5-6

Learning Targets: ● I can enlarge a composition while maintaining the integrity of my original design. ● I can use marker blending techniques to create smooth, flat color areas. ● I can apply at least three line techniques to add shadow and create a 3D effect.

Essential Questions: ● How do we bring a complex artwork to completion while maintaining our original vision?

Learning Activities: ● Enlarge selected negative space study to final drawing size ● Demonstrate marker blending techniques for flat color areas ● Lay in color areas considering both objects and background space ● Demonstrate line techniques for adding shadow and dimension ● Apply at least three line techniques to complete the composition ● Self-assessment and reflection on finished work

216

Eighth Grade Art: Unit 3 Second Topic: Self-Portraiture

Estimated # of Lessons: 5-7

Learning Targets: ● I can accurately render the proportions of the human face. ● I can use graphite techniques to create a range of values that suggest 3D form. ● I can create a self-portrait that captures my personality, not just my likeness.

Essential Questions: ● What does a portrait reveal about a person beyond physical likeness?

Learning Activities: ● Study facial proportions through guided drawing exercises ● Practice rendering features (eyes, nose, mouth) individually ● Take reference photos and set up mirrors ● Begin self-portrait focusing on accurate proportions ● Demonstrate graphite techniques for value and blending ● Develop value range to create 3D form ● Discuss and explore ways to convey personality in portraiture ● Complete self-portrait with attention to both likeness and identity ● Peer critique with focus on what the portrait communicates Third Topic: Exhibition and Reflection

Estimated # of Lessons: 2

Learning Targets: ● I can prepare my work for exhibition and articulate my artistic choices.

Essential Questions: ● How does presenting our work to an audience change how we think about what we create?

Learning Activities: ● Select work for exhibition (Taking From the Past, Negative Space Still Life, Self-Portrait) ● Prepare work for display (matting, mounting, labeling) ● Write artist statement explaining choices and intent ● Install work in school/community exhibition space ● Gallery walk and celebration of completed work ● Final reflection on growth as an artist throughout the course

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Grade Eight Ceramics

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Grade 8 Ceramics Transform clay from the earth into art with your own two hands. We explore essential hand-building techniques including pinch pots, coil construction, and slab work to create functional and artistic pieces that blend form, texture, and balance. As we develop foundational skills like wedging, scoring, slipping, and sealing, we will build everything from colorful glazed candy to decorative tiles inspired by ceramic traditions from diverse cultures, discovering how artists use clay to reflect their societies and express ideas. Unit 1: Getting Your Hands Dirty—Pinch & Coil 6-10 days

We start our ceramics journey by literally getting your hands into the clay with pinch pots and coil construction. We create colorful glazed candy using the pinch technique, then build coil pots by learning the essential skills of scoring, slipping, and sealing each layer for stability. Through these foundational handbuilding methods, we discover how simple techniques can transform a lump of clay into functional forms.

Unit 2: Rolling Out Stories—Slab & Tile 8-10 days

Next, we explore the world of slab work by rolling out clay and creating decorative tiles inspired by ceramic traditions from cultures around the globe. Discover how artists throughout history have used tiles to tell stories, express beliefs, and beautify their communities. We experiment with texture, pattern, and design while connecting your own creative ideas to these rich artistic traditions.

Unit 3: Creature Feature—Your Animal Container 6-10 days

Let’s bring together everything we’ve learned in this final design challenge by creating an animal container from start to finish. Apply pinching, coiling, and slab techniques along with wedging, scoring, and glazing skills to transform clay into a unique creature that's both beautiful and functional. This is your chance to let your creativity shine while showcasing all the craftsmanship you've developed throughout the course.

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Eighth Grade Ceramics: Unit 1 Course Name: Ceramics Est. # of Lessons: 6

Unit 1 Title: Getting Your Hands Dirty—Pinch & Coil

Unit Overview: We start our ceramics journey by literally getting your hands into the clay with pinch pots and coil construction. We create colorful glazed candy using the pinch technique, then build coil pots by learning the essential skills of scoring, slipping, and sealing each layer for stability. Through these foundational hand-building methods, we discover how simple techniques can transform a lump of clay into functional forms. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ●

VA:Cr1.1.8a - Document early stages of the creative process visually and/or verbally in traditional or new media VA:Cr2.1.8a - Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing VA:Cr3.1.8a - Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Re8.1.8a - Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, art-making approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed

Transfer Goals ● ● ● ●

Understandings ● ● ● ● ● ●

A slab of clay can be manipulated into a functional or sculptural object The property of clay changes with external interferences. There are several hand-building techniques used in pottery The technical aspects of attaching clay to clay are critical in the piece’s ability to stand, and/or function Evenness in clay building is critical to its ability to dry and be fired safely. If the proper ratio of water to clay is not used, the clay piece will either be too dry or too wet, and will not function properly

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ● ● ●

What are three methods of building clay pots? (pinch, coil, slab) How thick should I make my clay pot? How do choices in the use of technical aspects of attaching clay effect the outcome of the pot How does water affect the success of building a clay piece? How does weight distribution affect the ability of the clay piece to stand. What is the difference between designing for viewing a work in 2d vs. 360 degrees in the round?

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Eighth Grade Ceramics: Unit 1 ● ● ●

The balance of weight is critical to ensure a successful clay work. There are several surface finishing techniques used in the art of clay building. Pottery can be functional, decorative, or both.

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Knowledge

● ● ● ● ●

Pinch pot construction method Coil construction method Scoring, slipping, and sealing attachment techniques Surface finishing methods (smoothing, texturing) Wedging process and purpose

Properties & Principles ● ● ● ●

Skills (Framed as Learning Targets) ●

Methods & Techniques

How does the finished surface of a clay piece add or detract from its aesthetic qualities? What is beauty?

● ● ● ● ●

Clay-to-water ratio and workability Wall thickness for even drying and safe firing Weight distribution and balance in 3D forms Stages of clay (plastic, leatherware, greenware, bisque)

I can shape clay using pinch and coil methods to create stable, hollow forms. I can score, slip, and seal pieces so they stay attached through drying and firing. I can control thickness and water use so my piece dries evenly and fires safely. I can sketch my ideas to plan my form before building. I can experiment with techniques and make revisions based on how my work is progressing. I can explain how my choices about form, surface, and technique affect my finished piece.

Design & Process ● ●

Sketching as a planning tool Designing in the round vs. for 2D viewing

Key Vocabulary: pinch, coil, score, slip, seal, wedge, join, hollow form, wall thickness, balance, additive, subtractive STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ●

Ceramic Candy: Make colorful glazed candy using the pinch technique Coil Pot: Build coil pots to show scoring, slipping, and sealing each layer for stability

Formative Assessment ● ●

Sketchbook: drawings that reflect their initial plan of what object they wish to create 1:1 Observation and coaching from the teacher to evaluate progress on ceramics techniques:

221

Eighth Grade Ceramics: Unit 1

●

○ Building a clay maquette (preliminary 3-D form ○ Demonstrating even pinching ○ Demonstrating attaching, scoring, sealing ○ Demonstrating making a coil ○ Attaching each coil together with finishing surface Class Share: Completed Pinch Pot

STAGE 3: LEARNING PLAN First Topic: Getting Started with Clay

Estimated # of Lessons: 3-5

Learning Targets: ● I can sketch my ideas to plan my form before building.

Essential Questions: ● What are three methods of building clay pots? (pinch, coil, slab) ● How thick should I make my clay pot? ● How do choices in the use of technical aspects of attaching clay effect the outcome of the pot ● How does water affect the success of building a clay piece? ● How does weight distribution affect the ability of the clay piece to stand. ● What is the difference between designing for viewing a work in 2d vs. 360 degrees in the round?

Learning Activities: ● Introduction video; How to make a pinch pot ● Clay handling practice ● Students will sketch out their idea for a pinch pot

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Eighth Grade Ceramics: Unit 1 Second Topic: Building a Pinch Pot

Estimated # of Lessons: 3-5

Learning Targets:

Essential Questions:

● ● ● ● ●

I can shape clay using pinch and coil methods to create stable, hollow forms. I can score, slip, and seal pieces so they stay attached through drying and firing. I can control thickness and water use so my piece dries evenly and fires safely. I can experiment with techniques and make revisions based on how my work is progressing. I can explain how my choices about form, surface, and technique affect my finished piece

● ● ● ● ●

How thick should I make my clay pot? How do choices in the use of technical aspects of attaching clay effect the outcome of the pot How does water affect the success of building a clay piece? How does weight distribution affect the ability of the clay piece to stand. How does the finished surface of a clay piece add or detract from its aesthetic qualities?

Learning Activities: ● Students use handbuilding techniques (predominently pinch) to construct their pots ● Demonstration about trimming and cleaning a leatherware piece ● Students will trim and clean their leatherware pots before firing ● Students will glaze their pots

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Eighth Grade Ceramics: Unit 2 Course Name: Ceramics

Unit 2 Title: Rolling Out Stories—Slab & Tile

Est. # of Lessons: 10

Unit Overview: Next, we explore the world of slab work by rolling out clay and creating decorative tiles inspired by ceramic traditions from cultures around the globe. Discover how artists throughout history have used tiles to tell stories, express beliefs, and beautify their communities. We experiment with texture, pattern, and design while connecting your own creative ideas to these rich artistic traditions. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.8a - Collaboratively shape an artistic investigation of an aspect of present-day life using a contemporary practice of art and design VA:Cr2.3.8a - Select, organize, and design images and words to make visually clear and compelling presentations VA:Re7.1.8a - Explain how a person's aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others VA:Cn11.1.8a - Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity

Transfer Goals ● ●

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Understandings ●

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Slab construction requires consistent thickness for even drying and successful firing. Tiles have served as storytelling and decorative surfaces across cultures throughout history. Artistic traditions reflect the values, beliefs, and identity of the communities that create them. Geometric patterns and abstract designs can communicate meaning without representational imagery. Contemporary artists draw inspiration from cultural traditions while adding their own creative voice. Texture and pattern choices shape how viewers experience and interpret a work.

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How have artists across cultures used tiles to tell stories and express identity? What can we learn about a community by studying its artistic traditions? How does the Ndebele tradition use geometric patterns to communicate meaning and identity? What techniques ensure a slab is even and ready for decoration? How do I honor a cultural tradition while expressing my own creative voice?

224

Eighth Grade Ceramics: Unit 2 Knowledge ●

Methods & Techniques ● ● ● ● ●

Skills (Framed as Learning Targets)

Slab construction method Rolling for consistent thickness Cutting and shaping slabs Subtractive surface techniques (carving, stamping, incising) Glaze application methods

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Cultural Context ● ● ● ●

Historical and cross-cultural uses of decorative tiles Ndebele artistic tradition and visual language Geometric and abstract pattern as communication Relationship between artistic traditions and community identity

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I can roll, cut, and shape a slab with consistent thickness and clean cut edges. I can use subtractive techniques and glazing to add texture, pattern, and color to my tile. I can explain how artists across cultures use tiles to tell stories and express identity. I can describe how the Ndebele tradition uses geometric patterns to communicate meaning. I can create a tile design that draws from a cultural tradition while expressing my own creative voice. I can contribute ideas and feedback in collaborative discussions about art and identity.

Design & Process ● ●

Pattern, repetition, and color in visual storytelling Balancing cultural inspiration with personal creative voice

Key Vocabulary: slab, rolling pin, guide sticks, subtractive, incise, carve, stamp, glaze, Ndebele, geometric, abstract, pattern, cultural tradition STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

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Ceramic Tile: Create a ceramic tile in the Ndebele style that demonstrates rolling out a slab and painting geometric or abstract shapes/patterns Ceramic House Container: Create a ceramic container that resembles a Ndebele style home, demonstrating slab construction and painting geometric or abstract shapes/patterns

Formative Assessment ● ●

Sketchbook: drawings that reflect their initial plan of what tile they wish to create 1:1 Observation and coaching from the teacher to evaluate progress on ceramics techniques: ○ Rolling out a slab evenly ○ Accurately cutting shape of the tile ○ Demonstrating subtractive techniques ○ Developing an initial design in the style of Ndebele

225

Eighth Grade Ceramics: Unit 2

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○ Practicing painting techniques before glazing using a template Class Share: ○ Ceramic Tile ○ Ceramic House Container

STAGE 3: LEARNING PLAN First Topic: Ndebele Design

Estimated # of Lessons: 2

Learning Targets: ● I can explain how artists across cultures use tiles to tell stories and express identity. ● I can describe how the Ndebele tradition uses geometric patterns to communicate meaning. ● I can contribute ideas and feedback in collaborative discussions about art and identity

Essential Questions: ● How have artists across cultures used tiles to tell stories and express identity? ● What can we learn about a community by studying its artistic traditions? ● How does the Ndebele tradition use geometric patterns to communicate meaning and identity? ● How do I honor a cultural tradition while expressing my own creative voice?

Learning Activities: ● Slide deck about the Ndelebe culture and patternry of their designs ● Pop quiz on Ndelebe design Second Topic: Designing Ndelebe Inspired Tiles

Estimated # of Lessons: 4-5

Learning Targets: Essential Questions: ● I can roll, cut, and shape a slab with ● How does the Ndebele tradition use consistent thickness and clean cut edges. geometric patterns to communicate meaning ● I can use subtractive techniques and and identity? glazing to add texture, pattern, and color to ● What techniques ensure a slab is even and my tile. ready for decoration? ● I can explain how artists across cultures use tiles to tell stories and express identity. ● I can create a tile design that draws from a cultural tradition while expressing my own creative voice. Learning Activities: ● Demonstration on slab techniques ● Students will sketch their ideas for the slab tile and pattern ● Students will construct their tile using slab techniques ● Students will glaze their pattern designs on bisqueware ●

226

Eighth Grade Ceramics: Unit 2 Second Topic: Designing Ndelebe Inspired Houses

Estimated # of Lessons: 4-5

Learning Targets: Essential Questions: ● I can roll, cut, and shape a slab with ● How does the Ndebele tradition use consistent thickness and clean cut edges. geometric patterns to communicate meaning ● I can use subtractive techniques and and identity? glazing to add texture, pattern, and color to ● What techniques ensure a slab is even and my tile. ready for decoration? ● I can explain how artists across cultures use tiles to tell stories and express identity. ● I can create a tile design that draws from a cultural tradition while expressing my own creative voice. Learning Activities: ● Students will sketch their ideas for the slab container house and pattern designs ● Students will construct their houses using slab techniques ● Students will glaze their pattern designs on bisqueware ● Class Share of Finished Pieces

227

Eighth Grade Ceramics: Unit 3 Course Name: Ceramics Est. # of Lessons: 10

Unit 3 Title: Creature Feature—Your Animal Container

Unit Overview: Let’s bring together everything we’ve learned in this final design challenge by creating an animal container from start to finish. Apply pinching, coiling, & slab techniques along with wedging, scoring, & glazing skills to transform clay into a unique creature that's both beautiful and functional. This is your chance to let your creativity shine while showcasing all the craftsmanship you've developed throughout the course. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ● ● ●

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Understandings ● ● ● ● ●

Complex forms require thoughtful planning before construction begins. Multiple techniques can be combined strategically to achieve a design vision. Decorative art must balance aesthetic appeal with structural integrity. The design process includes ongoing reflection, evaluation, and revision. Presenting artwork means being able to articulate the intentions and choices behind the work.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How do I plan a complex clay form before I start building? Which combination of techniques will best achieve my design vision? How do I balance making something both beautiful and functional? What criteria should I use to evaluate my work while it's still in progress? When should I revise my approach, and when should I push forward? How do I talk about my artistic choices with

228

Eighth Grade Ceramics: Unit 3 ●

Constraints—like stability and function— can drive creative problem-solving rather than limit it.

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Knowledge Methods & Techniques: • Integration of pinch, coil, & slab techniques • Hollowing methods for safe firing • Attachment of multiple components • Surface texture techniques for representation • Glaze application for visual effect Design Principles: • Planning complex 3D forms through multiview sketching • Proportion & scale in animal representation • Structural stability in sculptural forms • Functional design (container, lid, opening) • Balancing aesthetic appeal with structural integrity Reflection & Presentation • Criteria for evaluating work in progress • Revision decision-making • Artist statement conventions • Articulating artistic intent and growth Key Vocabulary: proportion, scale, structural integrity, functional art, multi-view sketch, component, assembly, artist statement, revision, criteria

an audience? What does my finished work reveal about my growth as a ceramicist? Skills (Framed as Learning Targets)

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I can plan a complex clay form by sketching and choosing the right combination of techniques. I can design an animal container that balances visual appeal with structural stability and function. I can build and assemble a stable 3dimensional form using pinch, coil, and/or slab techniques. I can apply surface textures and glazes that represent my chosen animal. I can evaluate my work in progress and decide when to revise or push forward. I can prepare my work for display and explain my artistic choices and growth.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ●

Animal Sculpture: Create properly proportioned and balanced animals using previously learned building methods. Finish surface of animal with texture and glazes that accurately represent the animal

Formative Assessment ● ●

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Sketchbook: drawings that reflect their initial plan of what animal they wish to create 1:1 Observation and coaching from the teacher to evaluate progress on ceramics techniques ○ Accurately creating hollowed out parts of the animal ○ Apply scratching/scoring attachment techniques ○ Demonstrating subtractive techniques ○ Practicing painting techniques before glazing using a template Class Share: Completed Animal Container

229

Eighth Grade Ceramics: Unit 3 STAGE 3: LEARNING PLAN First Topic: Intro to Coil & Combining Techniques

Estimated # of Lessons: 2-4

Learning Targets: Essential Questions: ● I can plan a complex clay form by sketching ● How do I plan a complex clay form before I and choosing the right combination of start building and which combination of techniques. techniques will best achieve my design ● I can design an animal container that vision? balances visual appeal with structural ● How do I balance making something both stability and function. beautiful & functional and what criteria should I use to evaluate my work while it's still in progress? ● When should I revise my approach, and when should I push forward? Learning Activities: ● Demonstration of coil-building techniques and combining slab, coil, and/or pinch into one piece ● Slide deck on creative containers ● Students will sketch out their ideas for their animal container Second Topic: Building our Animals

Estimated # of Lessons: 4-6

Learning Targets: ● I can build and assemble a stable 3dimensional form using pinch, coil, and/or slab techniques. ● I can apply surface textures and glazes that represent my chosen animal. ● I can evaluate my work in progress and decide when to revise or push forward. ● I can prepare my work for display and explain my artistic choices and growth

Essential Questions: ● What criteria should I use to evaluate my work while it's still in progress? ● When should I revise my approach, and when should I push forward? ● How do I talk about my artistic choices with an audience? ● What does my finished work reveal about my growth as a ceramicist?

Learning Activities: ● Students will build their animals based on the technique needs of the structure ● Students will add textures, and trim their leatherware ● Students will glaze their pieces to enhance the textures ● Class share of finished pieces

230

Grade Eight Drawing

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Grade 8 Drawing Every line you draw is a choice—discover how to make those choices powerful. We explore mark-making techniques using pencil, charcoal, and pastels to bring our observations to life on paper. We train our eyes to see what's actually in front of us, learning to break down complex forms into basic shapes while mastering proportion, scale, and perspective. Through lessons in the Elements of Art, shadow and light, and linear perspective, we develop our understanding of design, composition, and spatial relationships. Along the way, we build habits of studio practice and strengthen our critical thinking skills as artists. Unit 1: Drawing Foundations — Line, Perspective, and Space 12 days

Unit 2: Value-Shadow, Light, and the Human Face 12-13 days

Unit 3: The Famous Artist Portrait — Research, Render, and Build 4-7 days

We begin by setting up our studio space and creating a baseline drawing. From there, we tackle the big question: "Does art have a language?" We discover the seven Elements of Art, starting with Line — creating blind contour drawings and exploring the 10 Words/10 Lines exercise to see how lines convey emotion, meaning, and weight. We learn that we control the lines and marks that we make. Next, we learn how the horizon line and vanishing point transform flat shapes into three-dimensional forms using one- and two-point perspective, applying these concepts to a large-scale observational drawing. Finally, we use a blackand-white paper exercise to subdivide the ground plane, designing compositions that balance positive and negative space.

We build on our skills by adding the Element of We bring our drawing skills together in a Value. Through the value scale and the science multi-dimensional portrait project. We of shadow and light, we learn how light and research a famous artist — investigating their dark create the illusion of three-dimensional life, style, and contributions — then draw a form. We then explore ten different marks and detailed graphite portrait. From there, we apply them to activate atmospheric perspective design and build a three-dimensional in our work. From there, we shift from structure that presents what we've learned, geometric to organic form as we study the combining technical rendering with creative proportions of the human face — using skull problem-solving , and colorful visual historic studies and mathematical guidelines to place communication. features in proper size and relation to one another. We draw realistic eyes, noses, and mouths, then apply light and shadow techniques to pull the portrait from the page, finishing with the neck and shoulders in correct proportion.

232

Eighth Grade Drawing: Unit 1 Course Name: Drawing Est. # of Lessons: 12

Unit 1 Title: Drawing Foundations — Line, Perspective, and Space

Unit Overview: We begin by setting up our studio space and creating a baseline drawing. From there, we tackle the big question: "Does art have a language?" We discover the seven Elements of Art, starting with Line — creating blind contour drawings and exploring the 10 Words/10 Lines exercises to see how lines convey emotion, meaning, and weight. We learn that we control the lines and marks that we make. Next, we learn how the horizon line and vanishing point transform flat shapes into three-dimensional forms using one- and two-point perspective, applying these concepts to a large-scale observational drawing. Finally, we use a black-and-white paper exercise to subdivide the ground plane, designing compositions that balance positive and negative space using different line weights and directions. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.8a: Document early stages of the creative process visually and/or verbally in traditional or new media. VA:Cr2.1.8a: Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing. VA:Re7.1.8a: Explain how a person's aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others. VA:Re8.1.8a: Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, artmaking approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed.

Transfer Goals ● ● ●

Understandings ●

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Art has its own visual language made up of elements that artists use deliberately to communicate ideas, emotions, and meaning. The way an artist organizes space — what is included, excluded, and where things are placed — shapes how a viewer experiences a composition. Observational drawing requires us to slow

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ● ●

Why do studio routines and responsible material use matter for artists? Does art have a language? If so, how do artists "speak" it? How do different marks show different meanings and emotions? How does the way we organize space change what a viewer sees and feels? What's the difference between looking and

233

Eighth Grade Drawing: Unit 1 down and see what is actually in front of us rather than what we think we see.

truly seeing?

Knowledge ● ● ● ● ● ●

The seven Elements of Art (line, shape, form, value, space, color, texture) and their role as the visual language of art Types of line and how line quality communicates emotion, energy, and weight The relationship between horizon line, vanishing point, and the creation of threedimensional space The difference between one-point and two-point perspective Positive and negative space and their role in composition How to subdivide a ground plane to create depth and visual interest

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can create a blind contour drawing that captures form through a continuous line. I can use line deliberately to express emotion, meaning, and weight. I can identify and describe the seven Elements of Art in my own work and the work of others. I can draw three-dimensional forms from two-dimensional shapes using one- and twopoint perspective I can design a composition that considers both positive and negative space. I can set up and maintain a studio workspace that supports my artistic practice.

Key Vocabulary: elements of art, one and two point perspective, horizon line, vanishing point, converging lines, negative space, positive space, blind contour, composition, direction, diagonal, curved, radial STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Drawing Techniques: Blind Contour Drawing Drawing Techniques: Two-point perspective car drawing

Formative Assessment Completed Content Exercises: ● Baseline drawing ● 1 and 2-point perspective studies ( diagnostic) ● 10 Words/10 Lines Exercise Class Share: Conversational Critiques of art

234

Eighth Grade Drawing: Unit 1 STAGE 3: LEARNING PLAN First Topic: Drawing Practices & Linear Perspective

Estimated # of Lessons: 4-5

Learning Targets: ● I can demonstrate two-point perspective in a baseline drawing. ● I can create a blind contour drawing that captures form through a continuous line. ● I can use line deliberately to express emotion, meaning, and weight. ● I can draw three-dimensional forms from two-dimensional shapes using one- and two-point perspective ● I can set up and maintain a studio workspace that supports my artistic practice.

Essential Questions: ● Why do studio routines and responsible material use matter for artists? ● Does art have a language? If so, how do artists "speak" it? ● How do different marks show different meanings and emotions? ● How does perspective create the illusion of depth on a flat surface? ● What's the difference between looking and truly seeing?

Learning Activities. ● Safety rules, routines, and organization in the art studio ● Complete baseline drawing to establish starting skills ● 10 Words/10 Lines Exercises ● One-point perspective review and practice exercises ● Two point perspective Car Drawing Second Topic: Line Weight and Division of Space

Estimated # of Lessons: 4-5

Learning Targets: ● I can use line deliberately to express emotion, meaning, and weight. ● I can design a composition that considers both positive and negative space.

Essential Questions: ● What is the importance of negative space in a composition? ● How do different line weights affect a composition? ( thin, thick, dark, light) ● How does the way we organize space change what a viewer sees and feels?

Learning Activities: ● Subdivision of a Ground Plane ● Observational Line drawing to show use of positive and negative space.

235

Eighth Grade Drawing: Unit 2 Course Name: Drawing Est. # of Lessons: 12-13

Unit 2 Title:

Value: Shadow, and Light, and the Human Face

Unit Overview: We build on our skills by adding the Element of Value. Through the value scale and the science of shadow and light, we learn how light and dark create the illusion of three-dimensional form. We then explore ten different marks and apply them to activate atmospheric perspective in our work. From there, we shift from geometric to organic form as we study the proportions of the human face — using skull studies and mathematical guidelines to place features in proper size and relation to one another. We draw realistic eyes, noses, and mouths, then apply light and shadow techniques to pull the portrait from the page, finishing with the neck and shoulders in correct proportion. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.8a: Document early stages of the creative process visually and/or verbally in traditional or new media. VA:Cr2.1.8a : Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing. VA:Cr3.1.8a : Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress. VA:Re7.2.8a: Compare and contrast contexts and media in which viewers encounter images that influence ideas, emotions, and actions.

Transfer Goals ● ● ●

Understandings ● ●

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The illusion of three-dimensional form on a flat surface is created through deliberate use of value, light, and shadow. The human face follows proportional relationships that artists study and apply as a foundation before capturing individual characteristics. The marks an artist chooses to make — and how they make them — affect both the surface quality and the emotional impact of a drawing.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ●

How do artists create the illusion of depth and form on a flat surface? How do different marks create atmospheric perspective? What does it take to move from drawing a "generic" face to capturing a real person? How do the marks we make shape the meaning of our work?

236

Eighth Grade Drawing: Unit 2 Knowledge ● ●

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The value scale and how gradations from light to dark create the illusion of form The science of shadow and light —direct light, highlight, midtone, core shadow, cast shadow, reflected light, and occlusion shadow. How atmospheric perspective creates the illusion of depth through surface quality and mark variation At least ten types of marks and how they affect surface quality and mood The proportional structure of the human face — skull anatomy, mathematical guidelines for feature placement How individual characteristics (eye shape, nose width, mouth form) distinguish one face from another

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can create a full value scale demonstrating smooth gradation from light to dark. I can apply the science of shadow and light to transform a flat shape into a threedimensional form. I can select and apply different mark-making techniques to activate atmospheric perspective. I can use proportional guidelines to accurately place facial features in relation to one another. I can draw realistic eyes, noses, and mouths that reflect individual characteristics. I can apply value and shadow techniques to create the illusion of a three-dimensional portrait on a flat surface.

Key Vocabulary: core shadow, cast shadow, occlusion shadow, direct light, highlight, reflected light, halftone, value scale, proportion, pupil, iris, zygomatic arch, cranium, orbital bone, smooth gradient, hatch, cross hatch, scumble, stipple, scribble, incised line, eraser technique, rubbing, texture, atmospheric perspective STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Final Drawing: Egg Drawing Techniques Page: Mark Chart

Formative Assessment Completed Content Exercises: ● Value Scale and baseline geometric forms drawing. ● The 7 parts of shadow and light ● 10 marks gradient scales.

237

Eighth Grade Drawing: Unit 2 STAGE 3: LEARNING PLAN First Topic: The Science of Shadow and Light Learning Targets: ● I can create a full value scale demonstrating smooth gradation from light to dark. ● I can apply the science of shadow and light to transform a flat shape into a threedimensional form. ● I can select and apply different markmaking techniques to activate atmospheric perspective.

Estimated # of Lessons: 7 ● ●

How do artists create the illusion of depth and form on a flat surface? How do different marks create atmospheric perspective?

Learning Activities: ● Observational drawing to show 3d form using the 7 parts of shadow and light Second Topic: Creating the Realistic Portrait

Estimated # of Lessons: 5-6

Learning Targets: Essential Questions: ● I can apply the science of shadow and light ● How do artists create the illusion of depth to transform a flat shape into a threeand form on a flat surface? dimensional form. ● How do different marks create atmospheric ● I can select and apply different markperspective? making techniques to activate atmospheric ● What does it take to move from drawing a perspective. "generic" face to capturing a real person? ● I can use proportional guidelines to ● How do the marks we make shape the accurately place facial features in relation meaning of our work? to one another. ● I can draw realistic eyes, noses, and mouths that reflect individual characteristics. ● I can apply value and shadow techniques to create the illusion of a three-dimensional portrait on a flat surface. Learning Activities: ● Proportions of the Face ● Observational self-portrait

238

Eighth Grade Drawing: Unit 3 Course Name: Drawing Est. # of Lessons: 4-7

Unit 3 Title: The Famous Artist Portrait — Research, Render, and Build

Unit Overview: We bring our drawing skills together in a multi-dimensional portrait project. We research a famous artist — investigating their life, style, and contributions — then draw a detailed graphite portrait. From there, we design and build a three-dimensional structure that presents what we've learned, combining technical rendering with creative problem-solving , and colorful visual historic communication. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

VA:Cr2.1.8a: Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing. ( VA:Cr2.3.8a: Select, organize, and design images and words to make visually clear and compelling presentations. VA:Pr5.1.8a: Collaboratively prepare and present selected theme-based artwork for display, and formulate exhibition narratives for the viewer. VA:Pr6.1.8a: Analyze why and how an exhibition or collection may influence ideas, beliefs, and experiences. VA:Cn11.1.8a: Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity.

Transfer Goals ● ● ●

● ● ●

Understandings ●

●

Studying other artists — their lives, choices, and contributions — deepens our own understanding of what it means to be an artist. Effective visual communication requires thoughtful decisions about how to select, organize, and present information for an audience. Artists work across dimensions and media to find the best way to express and share their ideas.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ●

What can we learn about ourselves as artists by studying the lives and work of others? How do we make research come alive visually? How can I integrate technology to present information? What changes when artwork moves from two dimensions to three?

239

Eighth Grade Drawing: Unit 3 Knowledge ● ● ● ●

Research methods for investigating an artist's life, artistic style, and contributions How artists' personal experiences, cultural contexts, and artistic choices shape their body of work Principles of visual communication — how to select, organize, and present information so it is clear and engaging for an audience How design decisions change when work moves from two dimensions to three dimensions

Key Vocabulary: 2d vs. 3d, culture, structural balance, artistic style,

Skills (Framed as Learning Targets) ● ● ● ●

● ●

I can research a famous artist and identify key information about their life, style, and contributions. I can use technology to collect and present my information I can draw a detailed graphite portrait that demonstrates the rendering techniques learned in this course. I can design and construct a threedimensional structure that presents information in a visually clear and compelling way. I can make deliberate decisions about how to select, organize, and display content for an audience. I can articulate the artistic choices I made and why I made them.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Presentation: Oral presentation of research Final Drawing: Graphite Drawing of Artist Final Sculpture: Stand up sculpture

Formative Assessment

Completed Content Exercises: ● Google Slide show of Artist Research ● Initial sketch of Famous artist ● Collection of images and words to describe the artist's body of work and style of working.

240

Eighth Grade Drawing: Unit 3 STAGE 3: LEARNING PLAN First Topic: Research and Presentation

Estimated # of Lessons: 1-2

Learning Targets: ● I can use technology to collect and present my information ● I can make deliberate decisions about how to select, organize, and display content for an audience. ● I can articulate the artistic choices I made and why I made them.

Essential Questions: ● What can we learn about ourselves as artists by studying the lives and work of others? ● How do we make research come alive visually? ● How can I integrate technology to present information?

Learning Activities: ● Use the internet to research artists ● Use Google Classroom and Google Slides ● Oral presentation of project research Second Topic: Design and Build

Estimated # of Lessons: 3-5

Learning Targets: ● I can draw a detailed graphite portrait that demonstrates the rendering techniques learned in this course. ● I can design and construct a threedimensional structure that presents information in a visually clear and compelling way. ● I can make deliberate decisions about how to select, organize, and display content for an audience. ● I can articulate the artistic choices I made and why I made them.

Learning Activities: ● Draw Portrait ● Cut portrait outline two times ● Build the components of the sculpture ● Print and cut images ● Draw the words on the sculpture ● Use markers and glue to finish project

241

Grade Eight Painting

242

Grade 8 Painting Pick up a brush and discover how color, line, and form become powerful tools for expression. We explore painting techniques using watercolor and acrylic paints while deepening color theory, composition, and spatial concepts. Through hands-on experimentation, we develop our personal artistic voice while deciphering how painters throughout history and across cultures have used their craft to convey meaning and emotion. From understanding the proper care of materials to navigating the art studio to planning paintings that express your unique ideas and experiences, we build the technical skills and creative confidence to communicate your vision through paint. Unit 1: Foundations of Form and Value 5-7 days

Unit 2: Color Theory and Landscape 6-10 days

Unit 3: Portraiture and Personal Voice 9-10 days

Every painter starts here — learning to see and create form from light and shadow. We mix a value scale from white to black, then use those values to paint geometric forms (a cube, a sphere, and a cone) that actually look three-dimensional. We also explore perspective drawing to place objects convincingly in space. Along the way, we build the studio habits we'll use all year: setting up a palette, controlling our paint, and taking care of our workspace.

Now we add color — and learn how it really works. We explore the color wheel, experiment with complementary and analogous color schemes, and discover what happens when we mix opposites together. Then we put it all into practice with a landscape painting, working from a blackand-white photo so we focus on getting our values right even as we work in color. We learn how to prime a canvas, design a composition, and create a sense of depth.

We take on one of painting's biggest challenges: the human face. Starting with a skull study to understand the structure underneath, we then choose a famous musician and develop a full portrait — mixing skin tones from complementary colors and designing a background that reflects their music. The unit ends with a choice project where we paint a subject we care about, bringing together everything we've learned about value, color, composition, and studio practice.

243

Eighth Grade Painting: Unit 1 Course Name:

Grade 8 Painting

Unit 1 Title: Beginning To Paint

Est. # of Lessons: 5-7

Unit Overview: Every painter starts here — learning to see and create form from light and shadow. We mix a value scale from white to black, then use those values to paint geometric forms (a cube, a sphere, and a cone) that actually look three-dimensional. We also explore perspective drawing to place objects convincingly in space. Along the way, we build the studio habits we'll use all year: setting up a palette, controlling our paint, and taking care of our workspace. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Cr1.1.8a: Document early stages of the creative process visually and/or verbally in traditional or new media. VA:Cr2.1.8a: Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing. VA:Cr2.2.8a: Demonstrate awareness of practices, issues, and ethics of appropriation, fair use, copyright, open source, and creative commons as they apply to creating works of art and design. VA:Cr3.1.8a: Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress.

Transfer Goals ● ●

Understandings ●

●

Value (the range from light to dark) is the primary tool painters use to create the illusion of three-dimensional form on a flat surface. Consistent studio habits — from palette setup to material care — are essential to producing quality work and sustaining a productive creative practice.

Essential Questions ● ● ● ●

Why do studio routines and responsible material use matter for artists? How can I use the values of light and shadow to make a flat painting look threedimensional? How do artists mix colors to create new ones? What do I need to pay attention to when mixing and controlling paint to get the results I want?

244

Eighth Grade Painting: Unit 1 Knowledge ● ● ● ● ● ●

The role of value in creating the illusion of three-dimensional form How tints and shades are mixed from a midrange grey The structure of a value scale as a painting reference tool How light creates highlights, midtones, and shadows on geometric forms The difference between one-point and two-point perspective The purpose of consistent studio habits in a painting practice

Skills (Framed as Learning Targets) ● ● ● ●

I can set up my palette, handle and control paint, and properly care for my materials and workspace. I can mix a value scale by creating tints (adding white) and shades (adding black) from a midrange grey. I can paint 3d geometric forms — a cube, a sphere, and a cone — using values of black and white to show light and shadow. I can draw a cube in space using one- or twopoint perspective.

Key Vocabulary: value, tint, shade, midrange grey, value scale, geometric form, cube, sphere, cone, highlight, midtone, shadow, one-point perspective, two-point perspective, vanishing point, horizon line, palette paper, acrylic paint, bristle brush ,brush control, studio habits STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Value Scale: Charted range of tints & shades of a hue Final Piece: Two Point Perspective cube painting

Formative Assessment Completed Content Exercises: ● Baseline painting (Geometric Forms) ● 1 and 2-point perspective studies ( diagnostic)

245

Eighth Grade Painting: Unit 1 STAGE 3: LEARNING PLAN First Topic: :Using Value to Create Form

Estimated # of Lessons: 5-7

Learning Targets: ● I can set up my palette, handle and control paint, and properly care for my materials and workspace. ● I can mix a value scale by creating tints (adding white) and shades (adding black) from a midrange grey. ● I can paint 3d geometric forms — a cube, a sphere, and a cone — using values of black and white to show light and shadow. ● I can draw a cube in space using one- or two-point perspective.

Essential Questions: ● Why do studio routines and responsible material use matter for artists? ● How can I use the values of light and shadow to make a flat painting look threedimensional? ● What do I need to pay attention to when mixing and controlling paint to get the results I want?

Learning Activities: ● Safety rules, routines, and organization in the art studio ● Value Scale ● Geometric Forms baseline painting ● One-point perspective review and practice exercises ● Two point perspective cube painting

246

Eighth Grade Painting: Unit 2 Course Name: Grade 8 Painting

Unit 2 Title: Discovering Color Theory

Est. # of Lessons: 6-10

Unit Overview: Now we add color — and learn how it really works. We explore the color wheel, experiment with complementary and analogous color schemes, and discover what happens when we mix opposites together. Then we put it all into practice with a monochromatic landscape painting, working from a black-and-white photo so we design our composition, focus on getting our values right even as we work in color. We learn how to prime a canvas, design a composition, and create a sense of depth. STAGE 1: DESIRED RESULTS Established Goals ●

●

VA:Cr1.2.8a – Collaboratively shape an artistic investigation of an aspect of present-day life using a contemporary practice of art and design. VA:Cr2.1.8a – Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing. VA:Re7.1.8a – Explain how a person's aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others.) VA:Re8.1.8a – Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, art-making approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed.

Transfer Goals ● ● ●

● ●

Understandings ● ● ●

●

Composing a landscape sketch Color mixing habits Color relationships — complementary, analogous, monochromatic — are intentional choices that shape the mood and meaning of a painting. Even when working in color, value remains the key to creating depth and convincing form.

Essential Questions ● ● ● ● ●

Why do studio routines and responsible material use matter for artists? How do I sketch a basic landscape composition Why are value shifts necessary in creating the illusion of aerial perspective? How do artists mix colors to create new ones? What do I need to pay attention to when mixing and controlling paint to get the results I want?

247

Eighth Grade Painting: Unit 2 Knowledge ● ● ● ● ● ●

The organization of the color wheel — primary, secondary, and tertiary relationships How complementary, analogous, and monochromatic color schemes work The neutral tones that result from mixing complementary colors How color palette choices shape mood and meaning The purpose of priming a canvas with gesso How composition and spatial planes create depth in a landscape

Key Vocabulary: color wheel, primary colors, secondary colors, tertiary colors, complementary colors, analogous colors, monochromatic, neutral tones, color palette, mood, gesso, priming, canvas, composition, sketch, foreground, middle ground, background, aerial perspective

Skills (Framed as Learning Targets) ● ● ● ● ●

● ●

I can identify and mix primary, secondary, and tertiary colors on the color wheel. I can explain and apply complementary, analogous, and monochromatic color schemes. I can mix complementary colors together to create neutral tones. I can prime a canvas and lay out basic shapes to design a composition. I can paint a monochromatic landscape from a black-and-white photograph, matching the values of my colors to the values in the photo. I can create aerial perspective using a variety of values I can choose a color palette that supports the mood of my painting.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Color Theory: Painted Color Theory Practice Sheet Completed Content Exercises: Finished Painting: Monochromatic Landscape ● Primed canvas Painting ● Sketching the landscape components Handling of Supplies: Cleaning Brush habits ● Drawing the color theory practice sheet ● Setting up a palette

248

Eighth Grade Painting: Unit 2 STAGE 3: LEARNING PLAN First Topic: Learning about the Color Wheel

Estimated # of Lessons: 3-5

Learning Targets: ● I can identify and mix primary, secondary, and tertiary colors on the color wheel. ● I can explain and apply complementary, analogous, and monochromatic color schemes. ● I can mix complementary colors together to create neutral tones. ● I can prime a canvas and lay out basic shapes to design a composition.

Essential Questions: ● Why do studio routines and responsible material use matter for artists? ● How do artists mix colors to create new ones? ● What do I need to pay attention to when mixing and controlling paint to get the results I want?

Learning Activities: ● Setting up a palette ● Learning Brush cleaning habits ● Painting the Color Wheel and other color mixing methods ● How to mix paints for color results Second Topic: Color has value: The Monochromatic Landscape ● ●

● ●

I can prime a canvas and lay out basic shapes to design a composition. I can paint a monochromatic landscape from a black-and-white photograph, matching the values of my colors to the values in the photo. I can create aerial perspective using a variety of values I can choose a color palette that supports the mood of my painting.

Estimated # of Lessons: 3-5 Essential Questions: ● How do I sketch a basic landscape composition ● Why are value shifts necessary in creating the illusion of aerial perspective? ● What do I need to pay attention to when mixing and controlling paint to get the results I want?

Learning Activities: ● Create a basic landscape sketch on the primed canvas ● Aerial perspective study ● Proper brush handling and paint mixing methods review ● Choosing your color to reflect your mood and meaning.

249

Eighth Grade Painting: Unit 3 Course Name: Grade 8 Painting

Unit 3 Title: Portraiture and Personal Voice Est. # of Lessons: 9-10

Unit Overview: We take on one of painting's biggest challenges: the human face. Starting with a skull study to understand the structure underneath, we then explore how to mix skin tones. The unit ends with a choice project where we paint a famous musician of our choosing, and develop a full portrait — mixing skin tones from complementary colors and designing a background that reflects their music. bringing together everything we've learned about value, color, composition, and studio practice. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.1.8a: Document early stages of the creative process visually and/or verbally in traditional or new media VA:Cr2.3.8a: Select, organize, and design images and words to make visually clear and compelling presentations. VA:Cr3.1.8a: Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Cn11.1.8a: Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity VA:Re9.1.8a: Create a convincing and logical argument to support an evaluation of art

Transfer Goals ● ● ●

● ● ●

Understandings ● ●

The human face has an underlying bone structure and consistent proportions that guide how we see and paint it. Painting becomes most powerful when artists bring together technical skill and personal intention — choosing what to paint, how to paint it, and why it matters.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ●

Why do studio routines and responsible material use matter for artists? How does studying structure and proportion help me paint a more convincing face? How can artists mix colors to represent the diversity of human skin tones? How can artists use color, composition, and subject choice to make a painting that says something personal?

250

Eighth Grade Painting: Unit 3 Knowledge ● ● ● ● ● ● ●

The skull as the underlying structure of the human face Standard facial proportions and their role in accurate portraiture How flesh tones are mixed from a complementary color pair The purpose of a quick-draw study as preparation for finished work How background design supports and reflects the subject What balanced page design and full paint coverage look like in a finished painting How to independently select and apply an intentional color palette

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can draw and paint a skull study, demonstrating understanding of facial proportions and underlying bone structure. I can select a complementary color pair and mix the neutral flesh tones that result from combining them. I can complete a quick-draw study of a face as preparation for a finished portrait. I can paint a portrait of a musician and design a background that reflects their music. I can create a balanced page design with full paint coverage of the canvas. I can set up my workspace, manage my materials, and clean up independently.

Key Vocabulary: proportion, facial proportions, flesh tones, complementary pair, neutrals, quickdraw study, portrait, background design, balanced page design, full paint coverage, color palette, analogous, complementary STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Color Techniques: Flesh color mixing charts and value scales from complementary colors Finished Piece: Final full color acrylic painting Studio Habits: Workspace maintenance

Completed Content Exercises: ● Facial proportion study ● Drawing and painted study of the skull ● Initial sketch of musician of choice ● Written summary with defining reasons for choosing the subject to paint.

251

Eighth Grade Painting: Unit 3 STAGE 3: LEARNING PLAN First Topic: The Underlying Skull

Estimated # of Lessons: 3

Learning Targets: Essential Questions: ● I can draw and paint a skull study, ● Why do studio routines and responsible demonstrating understanding of facial material use matter for artists? proportions and underlying bone structure. ● How does studying structure and proportion ● I can complete a quick-draw study of a face help me paint a more convincing face? as preparation for a finished portrait. ● I can set up my workspace, manage my materials, and clean up independently. Learning Activities: ● Proportions of the head and face ● Skull drawing ● Skull Painting ● Initial sketch study of subject

Second Topic: Make your Musician Come to Life!

Estimated # of Lessons :6-7

Learning Targets: ● ● ● ●

Essential Questions: ● How does studying structure and proportion I can select a complementary color pair and help me paint a more convincing face? mix the neutral flesh tones that result from ● How can artists mix colors to represent the combining them. diversity of human skin tones? I can paint a portrait of a musician and ● How can artists use color, composition, and design a background that reflects their subject choice to make a painting that says music. something person I can create a balanced page design with full paint coverage of the canvas. I can set up my workspace, manage my materials, and clean up independently.

Learning Activities: ● Sketch basic drawing of subject on canvas ● Choose flesh tones ● Paint final portrait using photo for reference ● Create background reflective of style of musician.

252

Grade Eight Murals

253

Grade 8 Murals Transform our school's walls into art that tells powerful stories. We work both independently and collaboratively to design and paint large-scale murals that brighten our school for everyone. Through research and careful planning, we choose subjects and symbols that connect to history, culture, and our own experiences, then bring them to life using color, line, shape, and composition. We learn hands-on mural painting techniques while practicing safety and proper care of materials in the studio and on-site. By the end of the course, we have the skills to create public art that makes a lasting impact on our school environment. Unit 1: Stories Worth Telling — Research and Concept Development 6-7 days

Unit 2: From Sketch to Scale—Design & Composition

Unit 3: Making Your Mark—Mural Painting & Installation

8-9 days

14-17 days

We start by exploring meaningful themes by Now we transform the concept into a visual researching historical, cultural, and community design by creating sketches, scaled drawings, stories that matter to you and your school. and color studies for the mural. Experiment Through individual brainstorming and with color, line, shape, and composition to collaborative discussion, you'll identify subjects make our design compelling and readable from and symbols that connect personal experiences a distance. We practice balancing your to larger ideas. We learn how public art individual creative vision with collaborative communicates with diverse audiences and decision-making as you prepare your design for begin developing concepts for murals that tell large-scale painting. powerful stories.

Let’s bring our mural to life using hands-on painting techniques in the studio and on-site around the school. Learn and practice safety protocols, proper material care, and collaborative painting strategies as we work both independently and as part of a team. By the end of this course, we create a public art installation that transforms school spaces and leaves a lasting impact on our community.

254

Eighth Grade Murals: Unit 1 Course Name: Murals Est. # of Lessons: 6-7

Unit 1 Title: Stories Worth Telling — Research and Concept Development

Unit Overview: We start by exploring meaningful themes by researching historical, cultural, and community stories that matter to you and your school. Through individual brainstorming and collaborative discussion, you'll identify subjects and symbols that connect personal experiences to larger ideas. We learn how public art communicates with diverse audiences and begin developing concepts for murals that tell powerful stories. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ●

VA:Cr1.1.8a - Document early stages of the creative process visually and/or verbally in traditional or new media VA:Cr1.2.8a - Collaboratively shape an artistic investigation of an aspect of present-day life using a contemporary practice of art and design VA:Cr2.3.8a - Select, organize, and design images and words to make visually clear and compelling presentations VA:Re7.1.8a - Explain how a person's aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others VA:Cn10.1.8a - Make art collaboratively to reflect on and reinforce positive aspects of group identity VA:Cn11.1.8a - Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity

Transfer Goals ● ●

● ● ●

●

Understandings ●

●

Public art has the power to represent, celebrate, & reflect the identities and values of a community. Collaboration in the early stages of art-making helps shape investigations that reflect multiple perspectives & strengthen group identity. Planning a mural requires understanding how the physical site—including surface type, scale, and location—will affect design and material choices.

● ● ● ●

What stories from our history, culture, and experiences deserve to be seen by everyone in our school? How can public art speak to people with different backgrounds and perspectives? Why is planning important before creating murals? What challenges do artists face when working together as a team?

255

Eighth Grade Murals: Unit 1 Knowledge ●

Research & Inquiry ● ● ● ●

Research methods for historical, cultural, and community themes Site analysis (surface type, scale, location, viewing distance) Primary vs. secondary sources Identifying meaningful subjects and stories

Public Art & Communication ● ● ● ●

Role of public art in communities How murals represent group identity and values Symbols and visual language in public art Designing for diverse audiences

● ●

● ● ● ● ● ●

Concept Development ●

Skills (Framed as Learning Targets) I can research historical, cultural, and community themes to identify meaningful subjects for a mural. I can connect personal experiences to broader stories that will resonate with diverse audiences in our school. I can explain how public art represents and reflects the identity and values of a community. I can develop a mural concept that uses subjects and symbols to communicate a powerful message. I can consider how the physical site will affect my mural concept and design choices. I can collaborate with others to discuss and refine ideas for public art that tells important stories. I can document and present my research and concept ideas clearly.

Brainstorming and idea generation strategies Connecting personal experience to universal themes Documenting the creative process

Key Vocabulary: mural, public art, symbol, visual language, concept, theme, community identity, audience, brainstorm, research STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Concept Pitch: Present final mural concept to the class, explaining the research behind it, how it connects to community identity, and how site considerations shaped the idea

Completed Content Exercises: ● Research notes based on a historical, cultural, or community theme ● Site analysis notes (surface type, scale and measurements, location, viewing distance) ● Sketchbook of ideas/concepts for the mural ● Pitch individual ideas for the mural to partner or team to develop the idea ● Reflection connecting concept to community identity and diverse audiences

256

Eighth Grade Murals: Unit 1 STAGE 3: LEARNING PLAN First Topic: Intro to Murals

Estimated # of Lessons: 6-7

Learning Targets: ● I can research historical, cultural, and community themes to identify meaningful subjects for a mural. ● I can connect personal experiences to broader stories that will resonate with diverse audiences in our school. ● I can explain how public art represents and reflects the identity and values of a community. ● I can develop a mural concept that uses subjects and symbols to communicate a powerful message. ● I can consider how the physical site will affect my mural concept and design choices. ● I can collaborate with others to discuss and refine ideas for public art that tells important stories. ● I can document and present my research and concept ideas clearly.

Essential Questions: ● What stories from our history, culture, and experiences deserve to be seen by everyone in our school? ● How can public art speak to people with different backgrounds and perspectives? ● Why is planning important before creating murals? ● What challenges do artists face when working together as a team?

Learning Activities: ● Introducing public art and murals ● Research methods and gathering sources ● Site analysis ● Brainstorming and concept development ● Concept pitch preparation and presentation

257

Eighth Grade Murals: Unit 2 Course Name: Murals Est. # of Lessons: 8-9

Unit 2 Title: From Sketch to Scale—Design & Composition

Unit Overview: Now we transform the concept into a visual design by creating sketches, scaled drawings, and color studies for the mural. Experiment with color, line, shape, and composition to make our design compelling and readable from a distance. We practice balancing your individual creative vision with collaborative decision-making as you prepare your design for large-scale painting. STAGE 1: DESIRED RESULTS Established Goals ● ●

● ● ●

VA:Cr1.1.8a - Document early stages of the creative process visually and/or verbally in traditional or new media VA:Cr2.1.8a - Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing VA:Cr2.3.8a - Select, organize, and design images and words to make visually clear and compelling presentations VA:Cr3.1.8a - Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Re8.1.8a - Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, art-making approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed

Transfer Goals ● ● ●

● ● ●

●

Understandings ●

● ●

Translating ideas into large-scale public art requires intentional design choices about color, line, shape, and composition that work from a distance. Artists experiment, take risks, and revise their work throughout the creative process to achieve their vision. Successful collaborative murals balance

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens) Essential Questions

● ● ● ●

How do I know when my design is working— and when it needs revision? What makes a mural readable and compelling from across a room or hallway? How do I translate a powerful idea into a visual design that works on a wall-sized scale? When creating art together, how do we honor both individual vision and group

258

Eighth Grade Murals: Unit 2

●

individual creative expression with shared decision-making and group goals. The interaction of visual elements—subject matter, form, structure, and media— determines how effectively a mural communicates its message.

decisions?

Knowledge ●

Design Development ● ● ● ●

Skills (Framed as Learning Targets)

Thumbnail sketching Scaled drawings and grid method Color studies and color theory basics Transferring designs to large scale

● ●

Composition & Visual Elements ● ● ● ●

Principles of composition (balance, emphasis, movement, unity) Readability from a distance Use of color, line, and shape to convey mood and message Focal point and visual hierarchy

Process & Collaboration ● ● ●

● ● ●

I can translate my concept into visual designs through sketches, scaled drawings, and color studies. I can apply color, line, shape, and composition principles to create a design that is compelling and readable from a distance. I can experiment with design choices and make revisions based on feedback and selfreflection. I can explain how my design choices communicate the intended message and mood. I can scale my design appropriately for largescale execution. I can balance my individual creative vision with collaborative decision-making when designing a group mural.

Criteria for evaluating work in progress Giving and receiving constructive feedback Balancing individual vision with group goals

Key Vocabulary: thumbnail, scale, grid method, composition, focal point, visual hierarchy, color study, balance, emphasis, unity, revision, feedback STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Scaled Design: A presentation-ready scaled drawing with color studies that demonstrates composition principles, readability from a distance, and clear communication of the mural's message

Completed Content Exercises: ● Thumbnail sketches exploring multiple design directions ● Draft scaled drawings showing grid method application ● Color studies experimenting with mood and readability ● Revised designs showing response to

Design Rationale: Written or verbal explanation of how design choices communicate the intended message and mood

259

Eighth Grade Murals: Unit 2 feedback Team Check-ins: balancing individual contributions with group vision Peer Critique: documented feedback given and received STAGE 3: LEARNING PLAN First Topic: Developing Ideas for Mural

Estimated # of Lessons: 8-9

Learning Targets: Essential Questions: ● I can translate my concept into visual ● How do I know when my design is working— designs through sketches, scaled drawings, and when it needs revision? and color studies. ● What makes a mural readable and compelling ● I can apply color, line, shape, and from across a room or hallway? composition principles to create a design ● How do I translate a powerful idea into a that is compelling and readable from a visual design that works on a wall-sized scale? distance. ● When creating art together, how do we ● I can experiment with design choices and honor both individual vision and group make revisions based on feedback and selfdecisions? reflection. ● I can explain how my design choices communicate the intended message and mood. ● I can scale my design appropriately for large-scale execution. ● I can balance my individual creative vision with collaborative decision-making when designing a group mural. Learning Activities: ● Thumbnail sketching and composition principles ● Color theory and color studies ● Grid method and scaling techniques ● Peer critique and revision cycles ● Final design presentation

260

Eighth Grade Murals: Unit 3 Course Name: Murals Unit 3 Title: Making Your Mark—Mural Painting & Installation Est. # of Lessons: 14-16 Unit Overview: Let’s bring our mural to life using hands-on painting techniques in the studio and on-site around the school. Learn and practice safety protocols, proper material care, and collaborative painting strategies as we work both independently and as part of a team. By the end of this course, we create a public art installation that transforms school spaces and leaves a lasting impact on our community. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

VA:Cr2.1.8a - Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing VA:Cr3.1.8a - Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress VA:Pr5.1.8a - Collaboratively prepare and present selected theme-based artwork for display, and formulate exhibition narratives for the viewer VA:Pr6.1.8a - Analyze why and how an exhibition or collection may influence ideas, beliefs, and experiences VA:Cn10.1.8a - Make art collaboratively to reflect on and reinforce positive aspects of group identity

Transfer Goals ● ●

● ● ●

Understandings ●

● ● ●

Creating permanent public art requires technical skill, safety awareness, & responsibility for materials & the environment. Artists experiment, take risks, & revise their work throughout the creative process to achieve their vision. The process of transforming a design into a finished mural involves problem-solving, reflection, & ongoing revision. Working collaboratively on large-scale projects requires both independence & teamwork, with each person contributing to a unified vision that impacts the

Essential Questions ● ● ● ● ●

What does it take to transform a design on paper into art that changes a physical space? What painting techniques help me execute my design effectively at large scale? How does creating permanent public art differ from making art just for yourself? What story will our mural tell viewers who see it every day? What does it mean to leave a lasting mark on our school community?

261

Eighth Grade Murals: Unit 3 ●

community. Public art installations communicate narratives that can shape how viewers see themselves and their community. Knowledge

Methods & Techniques: • Prepare wall surfaces for paint application • Use projectors & measuring devices for transfer • Mix paint for proper colors & consistency • Brush techniques for large-scale painting • Layering and blending on walls Safety & Materials: • Safety protocols for mural painting (ladders, ventilation, workspace) • Proper care & storage of brushes, paints, & equipment • Prepare & maintain a public workspace Collaboration & Execution: • Dividing work on a large-scale collaborative project • Work independently within a team structure • Problem-solving during execution Presentation & Impact: • Developing exhibition narratives • How public art influences viewer perception • Documenting finished work Key Vocabulary: prime, transfer, projector, grid, ladder safety, ventilation, workspace, exhibition narrative, installation, community impact

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can use mural painting techniques to execute my design both in the studio and onsite. I can follow safety protocols and care for materials and workspace responsibly. I can work both independently and collaboratively to complete sections of a large-scale mural. I can problem-solve and make revisions as challenges arise during painting. I can help develop a narrative that explains the mural's meaning to viewers. I can reflect on how our mural transforms school spaces and impacts our community.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Public Installation of Mural: Completed mural demonstrating technical execution, collaboration, and faithful translation of design Exhibition Narrative: Written or recorded statement explaining the mural's meaning for viewers

Completed Content Exercises: ● Demonstrate painting techniques (brush work, mixing, layering) ● Safety protocol checklist/observation ● Problem-solving log documenting challenges and solutions during painting ● Draft exhibition narrative with peer feedback ● Reflection on personal contribution to the collaborative work and community impact

262

Eighth Grade Murals: Unit 3 ●

Progress Check-ins: individual section completion

STAGE 3: LEARNING PLAN First Topic: Preparing to Paint the Mural

Estimated # of Lessons: 4-5

Learning Targets: ● I can use mural painting techniques to execute my design both in the studio & onsite & follow safety protocols and care for materials and workspace responsibly.

Essential Questions: ● What does it take to transform a design on paper into art that changes a physical space? ● How does creating permanent public art differ from making art just for yourself? ● What story will our mural tell viewers?

Learning Activities: ● Safety protocols and materials introduction ● Surface preparation and transfer methods ● Painting technique practice Second Topic: Executing Mural

Estimated # of Lessons:10-12

Learning Targets: ● I can use mural painting techniques to execute my design, in the studio & on-site. ● I can follow safety protocols & care for materials & workspace responsibly. ● I can work both independently & collaboratively to complete sections of a large-scale mural & problem-solve & make revisions as challenges arise during painting. ● I can help develop a narrative that explains the mural's meaning to viewers. ● I can reflect on how our mural transforms school spaces and impacts our community.

Essential Questions: ● What painting techniques help me execute my design effectively at large scale? ● How does creating permanent public art differ from making art just for yourself? ● What story will our mural tell viewers who see it every day? ● What does it mean to leave a lasting mark on our school community?

Learning Activities: ● Mural execution—studio and on-site (8-10) ● Exhibition narrative development (1) ● Final reflection and documentation (1)

263

Photography I PHOTOGRAPHY COURSE # WAN104 STEM, HUM)

0.5 credit (FVA,

Students will be introduced to the art of photography and DSLR cameras. In this course they will use the Adobe suite programs: Bridge, Lightroom, and Photoshop. They will be introduced to the exposure triangle and learn how to adjust camera settings to achieve proper exposure. Students will also be introduced to rules of composition in order to produce high quality images.

264

Photography I (Semester Course) Photography I is an introduction to photography as both a technical craft and a creative practice. We learn to operate DSLR cameras, control exposure settings, and compose intentional images. As the course progresses, we build confidence through hands-on shooting, digital editing, and experimentation — developing the skills and instincts to make deliberate choices behind the lens and in post-production. The course culminates in an independent photographic project that brings everything we've learned to life. Unit 1: Foundations & Equipment Literacy 3-4 lessons

Unit 2: Exposure Triangle 4 lessons

Unit 3: Composition 2-3 lessons

Unit 4: Post Production 3-4 lessons

Unit 5: Focus & Depth of Field 3-4 lessons

Unit 6: Motion & Experimental Photography 3-4 lessons

Unit 7: Visual Synthesis 2 lessons

Every photographer starts by understanding the tool in their hands. We learn how cameras capture light, how to safely handle and operate DSLR equipment, and how to organize our digital files. This groundwork — both technical and habitual — is what makes everything else possible. Before we can make great images, we have to know our gear.

Three settings control everything about how light enters your camera: ISO, aperture, and shutter speed. We experiment with each one separately through hands-on labs, then learn to balance all three together — shifting from relying on automatic mode to making deliberate, manual decisions. This is where we stop pointing and shooting and start thinking photographically.

Technical control matters, but so does where you point the camera. We explore the visual strategies photographers use to organize a frame — rule of thirds, leading lines, balance, emphasis, negative space — and discover how these choices change what a viewer notices and feels. We analyze professional photographs, then go out and apply these principles in our own work.

Capturing the image is only part of the process. We step into Adobe Lightroom to learn how editing shapes the mood, clarity, and impact of a photograph. Using a non-destructive workflow, we practice exposure adjustments, color correction, and cropping — and start developing a personal aesthetic through five distinct editing styles. This is where a good photo becomes our photo.

Now we use aperture not just to control light, but to direct the viewer's eye. Through macro and environmental shooting exercises, we learn how shallow and deep depth of field change what a photograph communicates — isolating a subject, revealing context, or setting a mood. Small adjustments create completely different images.

Photography doesn't have to freeze reality. We experiment with shutter speed to capture, blur, and paint with motion — slowing down time, freezing an instant, or letting light trace a path across the frame. This unit is about creative risk-taking: trying things, seeing what happens, and discovering what we're capable of when we stop playing it safe.

This is where it all comes together. Drawing on everything — exposure, composition, focus, editing — we plan and execute an independent photographic series, making intentional decisions at every stage from concept to final image. This is where technical skill becomes personal voice. 265

Photography I: Unit 1 Course Name: Photography I

Unit 1 Title: Foundations & Equipment Literacy

Est. # of Lessons: 3-4

Unit Overview: Every photographer starts by understanding the tool in their hands. We learn how cameras capture light, how to safely handle and operate DSLR equipment, and how to organize our digital files. This groundwork — both technical and habitual — is what makes everything else possible. Before we can make great images, we have to know our gear. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Pr4.1.HSI: Analyze and prepare work for presentation. VA:Re7.2.HSI: Analyze how one’s understanding of the world is affected by experiencing visual imagery. VA:Cr2.2.HSI: Explain how traditional and non-traditional materials may impact human health and the environment and demonstrate safe handling of materials, tools, and equipment.

Transfer Goals ● ●

Understandings ● ●

●

Organized file management and workflow practices are essential to digital photography. Photography has evolved through technological innovation and continues to influence how people document and interpret the world. Photography is both a technical practice and a way of seeing — how we use tools shapes what we are able to notice and capture. Responsible habits with equipment and files are not just practical requirements; they are what make creative work possible over time.

Essential Questions ● ●

How does a camera capture and record light? Why is responsible equipment handling important in photography? ● How do photographers organize and manage digital images? ● How has photography changed the way people see and document the world? ● What does it mean to be responsible with a powerful tool?

Knowledge ● ●

Basic camera components and functions (lens, shutter button, viewfinder, mode dial, LCD screen, battery, memory card) How digital cameras capture light using a lens and image sensor

Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

Skills (Framed as Learning Targets) ● ● ●

I can describe how cameras capture light and create a photograph. I can identify and describe the main parts of a DSLR camera. I can demonstrate safe handling of a DSLR

266

Photography I: Unit 1 ● ● ● ●

Safe camera handling practices including straps, lens care, and tripod use SD card basics and how digital photographs are stored as image files File transfer and organization using folders and naming conventions The evolution of photography from early pinhole cameras to modern digital imaging

● ● ●

camera, including strap use and lens care. I can set up and use a tripod correctly. I can insert, remove, and manage SD cards properly. I can organize digital image files using an appropriate folder structure.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Camera Proficiency Check: Including how to identify major camera components, safely operate a DSLR camera, mount and adjust a tripod, insert and remove SD cards properly, capture a correctly framed image, and transfer and organize image files

Completed Content: ● Camera parts identification activity ● Equipment handling practice ● Tripod setup demonstration ● File transfer and organization exercise Discussion: Review of the history of photography Exit ticket: photography workflow reflection

STAGE 3: LEARNING PLAN First Topic: Photography as a Process

Estimated # of Lessons: 1-2

Learning Targets : ● I can describe how cameras capture light and create a photograph.

Essential Questions: ● How does a camera capture and record light? ● How has photography changed the way people see and document the world?

Learning Activities: ● ● ● ●

Brief history of photography overview Early photography image analysis Pinhole camera demonstration or activity Discussion of photography as art, documentation, and technology

Second Topic: Equipment Responsibility

Estimated # of Lessons: 1

Learning Targets: ● I can identify and describe the main parts of a DSLR camera. ● I can demonstrate safe handling of a DSLR camera, including strap use and lens care. ● I can set up and use a tripod correctly.

Essential Questions: ● Why is responsible equipment handling important in photography? ● What does it mean to be responsible with a powerful tool?

267

Photography I: Unit 1 Learning Activities: ● Camera parts identification lesson ● Equipment agreement review ● Safe camera handling demonstration ● Tripod setup and control practice ● Individual camera proficiency check Third Topic: Files, Workflow, & Setup

Estimated # of Lessons: 1

Learning Targets: ● I can insert, remove, and manage SD cards properly. ● I can organize digital image files using an appropriate folder structure.

Essential Questions: ● How do photographers organize and manage digital images?

Learning Activities: ● ● ● ● ●

SD card basics and storage discussion Image transfer demonstration Folder structure modeling File naming practice Introduction to the photography workflow (Camera → Transfer → Organize → Edit → Export)

268

Photography I: Unit 2 Course Name: Photography I

Unit 2 Title: Exposure Triangle

Est. # of Lessons: 4

Unit Overview: Three settings control everything about how light enters your camera: ISO, aperture, and shutter speed. We experiment with each one separately through hands-on labs, then learn to balance all three together — shifting from relying on automatic mode to making deliberate, manual decisions. This is where we stop pointing and shooting and start thinking photographically. STAGE 1: DESIRED RESULTS Established Goals ● ●

Transfer Goals ● ● ●

Understandings ● ● ●

Proper exposure depends on balancing ISO, aperture, and shutter speed. Every camera setting is a creative choice, not just a technical one. Photographers who understand their settings can shape an image before they press the shutter — rather than hoping the camera makes the right decision.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ●

The exposure triangle: ISO, aperture, and shutter speed ISO and image sensitivity to light (noise/grain) Aperture and lens opening (f-stop values, depth of field) Shutter speed and motion control (freeze vs blur) Camera shooting modes: manual, aperture priority, shutter priority Adjusting exposure settings for different lighting conditions

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How do camera settings influence both the technical and artistic qualities of a photograph? How do photographers use technical control to communicate ideas and mood? What tradeoffs do photographers make when balancing exposure settings? Skills (Framed as Learning Targets)

● ● ● ● ●

I can adjust ISO to respond to different lighting conditions. I can adjust aperture to control light entering the camera. I can adjust shutter speed to control exposure and motion. I can balance ISO, aperture, and shutter speed to achieve a properly exposed image. I can select and use aperture priority or shutter priority mode intentionally.

269

Photography I: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Manual Exposure Photo Challenge: Students capture photographs in manual mode that demonstrate proper exposure under different lighting conditions while intentionally adjusting ISO, aperture, and shutter speed.

Completed Content Exercises: ● Comparison documents ● Note taking review ● Exposure triangle simulator handout ● Contact sheet submission practice

STAGE 3: LEARNING PLAN First Topic: ISO

Estimated # of Lessons: 1

Learning Targets: ● I can adjust ISO to respond to different lighting conditions.

Essential Questions: ●

How do camera settings influence both the technical and artistic qualities of a photograph?

Learning Activities: ● Presentation w/ note taking ● Photo shoot ● Post Production comparison/discussion Second Topic: Aperture

Estimated # of Lessons: 1

Learning Targets: ● I can adjust aperture to control light entering the camera. ● I can select and use aperture priority or shutter priority mode intentionally.

Essential Questions: ●

How do photographers use technical control to communicate ideas and mood?

Learning Activities: ● Presentation w/ note taking ● Photo shoot ● Post Production comparison/discussion Third Topic: Shutter Speed

Estimated # of Lessons: 1

Learning Targets: ● I can adjust shutter speed to control exposure and motion. ● I can select and use aperture priority or shutter priority mode intentionally.

Essential Questions: ●

How do photographers use technical control to communicate ideas and mood?

270

Photography I: Unit 2 Learning Activities: ● Presentation w/ note taking ● Photo shoot ● Post Production comparison/discussion Fourth Topic: Putting it all Together

Estimated # of Lessons: 1

Learning Targets: ● I can balance ISO, aperture, and shutter speed to achieve a properly exposed image.

Essential Questions: ●

What tradeoffs do photographers make when balancing exposure settings?

Learning Activities: ● Online simulator packet ● Group discussion

271

Photography I: Unit 3 Course Name: Photography I

Unit 3 Title: Composition

Est. # of Lessons: 2-3

Unit Overview: Technical control matters, but so does where you point the camera. We explore the visual strategies photographers use to organize a frame — rule of thirds, leading lines, balance, emphasis, negative space — and discover how these choices change what a viewer notices and feels. We analyze professional photographs, then go out and apply these principles in our own work. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Re7.1.HSI: Hypothesize ways in which art influences perception and understanding of human experiences. VA:Re7.2.HSI: Analyze how one's understanding of the world is affected by experiencing visual imagery.

Transfer Goals ● ● ●

Understandings ●

Effective composition strengthens clarity, storytelling, and visual impact. ● Visual strategies — lines, balance, framing, space — are how photographers direct attention and shape what a viewer feels. ● Breaking or bending compositional rules can be as deliberate and effective as following them — rules are starting points, not limits.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ●

Rule of thirds and subject placement Leading lines and directional movement Framing and use of negative space Balance and visual weight (symmetry and asymmetry) Patterns, repetition, and unity Emphasis and focal point

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts)

How do rules of composition help guide the viewer’s eye through an image? What makes a photograph visually engaging or effective? How do compositional choices affect what a viewer feels, not just what they see?

Skills (Framed as Learning Targets) ●

● ●

I can use at least three compositional strategies — such as rule of thirds, leading lines, or framing — to organize a photograph intentionally. I can identify compositional techniques in professional photographs. I can compose images that emphasize a clear subject.

272

Photography I: Unit 3 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Composition Photo Series: Students create a set of photographs demonstrating multiple compositional strategies such as rule of thirds, leading lines, framing, and patterns. Images should show intentional subject placement and visual organization.

Completed Content Exercises: ● Composition image analysis activity ● Compositional scavenger hunt Discussion: Conversation with peers on visual organization Exit Ticket: Reflection on composition choices

STAGE 3: LEARNING PLAN First Topic: Understanding Composition

Estimated # of Lessons: 1

Learning Targets : ● I can identify compositional techniques in professional photographs.

Essential Questions: ● How do rules of composition help guide the viewer’s eye through an image? ● What makes a photograph visually engaging or effective?

Learning Activities: ● Introduction to rules ● Analysis of professional photographs ● Identification of rules Second Topic: Shoot Your Shot

Estimated # of Lessons: 1-2

Learning Targets: ● I can use at least three compositional strategies — such as rule of thirds, leading lines, or framing — to organize a photograph intentionally. ● I can compose images that emphasize a clear subject.

Essential Questions: ● How do rules of composition help guide the viewer’s eye through an image? ● How do compositional choices affect what a viewer feels, not just what they see?

Learning Activities: ● Planning document and research ● Photo challenge showcasing multiple attempts at each rule

273

Photography I: Unit 4 Course Name: Photography I

Unit 4 Title: Post-Production

Est. # of Lessons: 3-4

Unit Overview: Capturing the image is only part of the process. We step into Adobe Lightroom to learn how editing shapes the mood, clarity, and impact of a photograph. Using a non-destructive workflow, we practice exposure adjustments, color correction, and cropping — and start developing a personal aesthetic through five distinct editing styles. This is where a good photo becomes our photo. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress. VA:Pr4.1.HSI: Analyze, select, and curate artifacts and/or artworks for presentation.

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

Editing allows photographers to refine and enhance an image while preserving the original photograph. Post-production decisions influence the mood, clarity, and visual impact of a photograph. Professional editing workflows help photographers organize and manage digital images efficiently. Editing is not correction, it is interpretation. Every adjustment reflects a choice about what the image is trying to say. The editing process is where a photograph becomes distinctly yours.

Essential Questions ● ●

Knowledge ● ● ● ●

Basic Lightroom editing tools: crop, rotate, exposure, contrast, color temperature Non-destructive editing workflow Image adjustments and tonal control (highlights, shadows, contrast) Editing styles and visual mood (bright & airy, dark & moody, black & white, high

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can editing influence the mood or meaning of a photograph? Where is the line between enhancing a photograph and changing its meaning?

Skills (Framed as Learning Targets) ● ● ●

I can import photographs into editing software. I can crop and straighten an image to improve composition. I can adjust exposure, contrast, highlights, and shadows in Lightroom to enhance an image.

274

Photography I: Unit 4 ●

contrast, vintage) Ethical considerations in photo editing

● ● ●

I can identify different editing styles and describe their visual effect. I can export edited images for sharing or printing. I can describe the editing choices I made and explain how they reflect the mood or meaning I wanted to create.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Editing Portfolio: Students edit and refine a small set of photographs using Lightroom tools and aesthetic editing styles. Final images demonstrate intentional adjustments to exposure, color, cropping, and visual mood.

Completed Content Exercises: ● ● ● ●

Lightroom tool practice exercises (crop, exposure, color adjustments) Editing style comparison activity Peer review discussing editing choices and visual mood Contact sheet submission showing before and after edits

Exit Ticket: Reflection on editing decisions STAGE 3: LEARNING PLAN First Topic: Introduction to Lightroom

Estimated # of Lessons: 1

Learning Targets : ● I can import photographs into editing software. ● I can adjust exposure, contrast, highlights, and shadows in Lightroom to enhance an image.

Essential Questions: ●

Where is the line between enhancing a photograph and changing its meaning?

Learning Activities: ● Introduction to Lightroom interface ● Demonstration of the non-destructive editing workflow and version history ● (import → organize → edit → export) ● Overview of editing panels: light, color, effects, detail ● Students use sample photos to manipulate

275

Photography I: Unit 4 Second Topic: Editing Styles

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ●

I can identify different editing styles and describe their visual effect. I can describe the editing choices I made and explain how they reflect the mood or meaning I wanted to create.

●

How can editing influence the mood or meaning of a photograph?

Learning Activities: ● Introduction and guided practice ● Students practice creating each editing style on sample photos Third Topic: Making Aesthetic Choices

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

● ● ●

I can crop and straighten an image to improve composition. I can adjust exposure, contrast, highlights, and shadows in Lightroom to enhance an image. I can export edited images for sharing or printing.

●

How can editing influence the mood or meaning of a photograph?

Learning Activities: ● Students import their own images and apply light and color edits ● Students export images for final review and critique

276

Photography I: Unit 5 Course Name: Photography I

Unit 5 Title: Focus and Depth of Field

Est. # of Lessons: 3-4

Unit Overview: Now we use aperture not just to control light, but to direct the viewer's eye. Through macro and environmental shooting exercises, we learn how shallow and deep depth of field change what a photograph communicates — isolating a subject, revealing context, or setting a mood. Small adjustments create completely different images. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress. VA:Re7.2.HSI: Analyze how one's understanding of the world is affected by experiencing visual imagery.

Transfer Goals ● ● ●

Understandings

Essential Questions

● What you choose to keep in focus is a

●

● Blurring the background is not just a

●

statement about what matters.

technique — it is a way of telling the viewer where to look and what to feel.

Knowledge ● ● ● ● ●

Depth of field and focus distance Aperture (f-stop) and depth of field Shallow depth of field and subject isolation Deep depth of field and environmental detail Macro photography and close focusing

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How can photographers use focus to guide viewer attention? How does depth of field influence how a photograph is interpreted?

Skills (Framed as Learning Targets) ● ● ●

I can adjust the aperture to control the depth of field. I can use focus intentionally to emphasize a subject. I can create photographs with both shallow and deep depth of field.

277

Photography I: Unit 5 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Depth of field photo series Students produce a series of photographs demonstrating control of shallow and deep depth of field using aperture and focus.

Completed Content Exercises: ● ● ●

Depth-of-field comparison activity Aperture practice shooting Peer review of focus choices

Exit Ticket: Reflections on focus and subject emphasis

STAGE 3: LEARNING PLAN First Topic: Environmental Scenes

Estimated # of Lessons: 2

Learning Targets : ● I can create photographs with both shallow and deep depth of field.

Essential Questions: ●

How does depth of field influence how a photograph is interpreted?

Learning Activities: ● ●

Students photograph environmental scenes, demonstrating both shallow depth of field to isolate subjects and deep depth of field to capture detail across the frame. Students experiment with: subject distance, aperture adjustments, foreground, midground, and background relationships

Second Topic: Emphasis through Focus

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

●

I can adjust the aperture to control the depth of field and use focus intentionally to emphasize a subject.

●

How can photographers use focus to guide viewer attention? How does depth of field influence how a photograph is interpreted?

Learning Activities: ● ● ●

Students photograph a subject while intentionally controlling depth of field. Students experiment with subject placement, background blur, close focusing, and isolating the subject from the environment. Students review and select images that most effectively emphasize the subject.

278

Photography I: Unit 6 Course Name: Photography I

Unit 6 Title: Motion & Experimental Photography

Est. # of Lessons: 3-4

Unit Overview: Photography doesn't have to freeze reality. We experiment with shutter speed to capture, blur, and paint with motion — slowing down time, freezing an instant, or letting light trace a path across the frame. This unit is about creative risk-taking: trying things, seeing what happens, and discovering what we're capable of when we stop playing it safe. STAGE 1: DESIRED RESULTS Established Goals ● ●

Transfer Goals ● ● ●

Understandings

● Not every great photograph is the result of

● ●

knowing what you are doing — some of the best images come from trying something and seeing what happens. Experimentation allows photographers to discover unexpected visual possibilities. Shutter speed can transform how motion is perceived in a photograph.

Essential Questions ● ●

Knowledge ● ● ● ●

Shutter speed controls motion Freezing motion vs motion blur Long exposure photography Timing and sequencing in action photography

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How can photographers represent motion in a still image? How can experimentation lead to new creative outcomes in photography?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can adjust shutter speed to freeze motion. I can use slow shutter speeds to create motion blur. I can use long exposure to create intentional light or motion effects in a photograph. I can capture a moving subject at a decisive moment using fast shutter speed. I can create photographs that emphasize movement.

279

Photography I: Unit 6 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Motion & Experimental Photo Series: Students produce a collection of photographs demonstrating different approaches to capturing motion. Images may include techniques such as freezing action, motion blur, long exposure effects, or experimental lighting.

Completed Content Exercises: ● ● ●

Shutter speed comparison activity (freezing motion vs motion blur) Peer critique discussing motion and composition Contact sheet review showing experimentation with motion techniques

Exit Ticket: Reflection on shutter speed choices STAGE 3: LEARNING PLAN First Topic: Freezing Motion

Estimated # of Lessons: 1

Learning Targets :

Essential Questions:

● ●

I can adjust shutter speed to freeze motion. I can capture a moving subject at a decisive moment using fast shutter speed.

●

How can photographers represent motion in a still image?

Learning Activities: ●

Students experiment with fast shutter speeds to capture movement.

Second Topic: Motion Blur

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ●

I can use slow shutter speeds to create motion blur. I can create photographs that emphasize movement.

● ●

How can photographers represent motion in a still image? How can experimentation lead to new creative outcomes in photography?

Learning Activities: ●

Students experiment with slow shutter speeds to create blur effects.

280

Photography I: Unit 6 Third Topic: Long Exposure

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

●

I can use long exposure to create intentional light or motion effects in a photograph.

●

How can experimentation lead to new creative outcomes in photography?

Learning Activities: ● ● ● ●

Students experiment with long exposure photography to create motion effects and explore how time can influence visual design. Students practice adjusting shutter speed to create intentional motion blur, stabilizing the camera using tripods or stable surfaces, and photographing moving subjects or light sources. Students also consider how composition principles—such as leading lines, emphasis, and balance— can strengthen images that include motion. Students review and analyze their photographs to evaluate how motion and composition work together to create visual impact.

281

Photography I: Unit 7 Course Name: Photography I

Unit 7 Title: Visual Synthesis

Est. # of Lessons: 2

Unit Overview: This is where it all comes together. Drawing on everything — exposure, composition, focus, editing — we plan and execute an independent photographic series, making intentional decisions at every stage from concept to final image. This is where technical skill becomes personal voice. STAGE 1: DESIRED RESULTS Established Goals ● ●

Transfer Goals ● ●

●

Understandings

● Photographers use planning,

experimentation, and revision to refine their work. ● Technical control allows photographers to make intentional creative choices. ● A photographic series communicates a point of view through consistent visual decisions.

Essential Questions ●

How do photographers refine their work before presenting it to an audience? ● How do photographers combine technical and creative decisions to create strong images? ● What does it mean for a body of work to have a point of view? ● How do you know when a photograph — or a project — is finished?

Knowledge ● ● ● ● ●

Planning and visualizing a photographic concept Subject styling and visual arrangement Combining exposure, composition, and depth of field Editing and refining final images Preparing images for presentation

Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

Skills (Framed as Learning Targets) ● ● ●

282

Photography I: Unit 7 ● ●

I can select and present my strongest images. I can make independent exposure decisions without relying on automatic mode.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Photography Project: Students produce a small series of photographs that demonstrate intentional use of exposure, composition, depth of field, and editing techniques. Images should show thoughtful subject arrangement and visual styling, such as food or product photography.

Completed Content Exercises: ● ● ● ●

Project planning discussion Image review and feedback checkpoints Editing progress checks Peer critique of draft images

STAGE 3: LEARNING PLAN First Topic: Guided Synthesis Project

Estimated # of Lessons: 1

Learning Targets :

Essential Questions:

● ● ● ●

I can make deliberate composition and lighting decisions that support my photographic concept. I can select and apply editing adjustments that support the mood and intent of my final series. I can select and present my strongest images. I can make independent exposure decisions without relying on automatic mode.

● ●

How do photographers refine their work before presenting it to an audience? How do photographers combine technical and creative decisions to create strong images?

Learning Activities: ● ● ●

Students complete a guided photography project that requires them to apply multiple camera settings and visual strategies simultaneously. Students practice balancing ISO, aperture, and shutter speed, applying composition techniques, controlling depth of field, and refining images through basic editing. Teacher provides demonstrations, feedback, and technical support during the shooting and editing process.

283

Photography I: Unit 7 Second Topic: Final Photo shoot

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ● ● ● ●

I can develop a concept and create a shot plan before a photo shoot. I can make deliberate composition and lighting decisions that support my photographic concept. I can select and apply editing adjustments that support the mood and intent of my final series. I can select and present my strongest images. I can make independent exposure decisions without relying on automatic mode.

● ● ● ●

How do photographers refine their work before presenting it to an audience? How do photographers combine technical and creative decisions to create strong images? What does it mean for a body of work to have a point of view? How do you know when a photograph — or a project — is finished?

Learning Activities: ● ●

Students develop a concept for their final photographic series. Students complete final photo shoot of subject

284

Photography II PHOTOGRAPHY II COURSE # WAN204 STEM, HUM)

0.5 credit (FVA,

PREREQUISITE: WAN104 Photography In this course students will solidify their understanding of the technical elements of the camera and the exposure triangle as well as the art form of taking photos. Advanced lighting techniques will be introduced through use of studio strobes and continuous lights. Bi-weekly critiques will take place for the Top Photographer challenges. Hard work is necessary both during class time and at home in order to be successful.

285

Photography II (Semester Course) Photography II is where technical fluency becomes creative confidence. We arrive knowing our cameras — now we learn to see with them. This course deepens our control of exposure and composition, pushes us into abstract and experimental territory, and introduces us to the art and craft of professional lighting. From natural light to studio strobes, from macro details to portrait sessions, we build the range and intentionality that define a photographer with a point of view. The course culminates in an independent project where every decision — concept, light, composition, edit — is ours to make. Unit 1: Creative Exposure Control & Editing 3-4 lessons

Unit 2: Advanced Composition 3-4 lessons

Unit 3: Abstract & Experimental Photography 3-4 lessons

Unit 4: Lighting & Mood 3-4 lessons

Unit 5: Studio Lighting 3-4 lessons

Unit 6: Final Project 4-5 lessons

We don't start from scratch — we start from strength. This unit sharpens the exposure skills we built in Photography I, moving from basic control to genuine fluency. We revisit ISO, aperture, and shutter speed not as settings to remember but as tools to think with, refining how technical decisions and editing shape the final image.

Technical control opens the door — composition decides what we do once we're inside. In this unit, we expand our visual vocabulary by exploring the full range of elements and principles that organize a frame: line, shape, tone, color, texture, space, balance, pattern, emphasis. We experiment with perspective and camera angles, discovering how shifts in position, perspective, and framing can completely change what an image communicates.

What happens when we stop photographing things and start photographing ideas? In this unit, we use macro lenses, selective focus, bokeh, and black and white to push past literal representation and into visual abstraction. We learn to find images inside images — in surfaces, shadows, patterns, textures, and tonal relationships that most people walk right past.

Light is never neutral. In this unit, we study how the direction, quality, and color of light shape the feeling of a photograph — the difference between a scene that feels warm and inviting and one that feels cold and tense. Working with natural and available light, we learn to read a scene before we shoot it and position ourselves to use what's already there.

Now we take everything we know about light and put it completely under our control. Working with studio strobes and continuous lights, we explore the classic portrait lighting patterns — Rembrandt, loop, butterfly — and learn how the placement of a single light source can sculpt a face, create drama, or shift a mood entirely. The studio is where intention and technique meet.

This is the unit where everything we've built becomes something that is unmistakably ours. We develop a concept, make deliberate choices about light, composition, and editing, and produce a cohesive series that represents our photographic voice. We don't just show what we can do — we show what we have to say.

286

Photography II: Unit 1 Course Name: Photography II

Unit 1 Title: Creative Exposure Control

Est. # of Lessons: 3-4

Unit Overview: We don't start from scratch — we start from strength. This unit sharpens the exposure skills we built in Photography I, moving from basic control to genuine fluency. We revisit ISO, aperture, and shutter speed not as settings to remember but as tools to think with, refining how technical decisions and editing shape the final image. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.HSII: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation.

Transfer Goals ● ● ●

Understandings ● ●

●

Photographers intentionally balance ISO, aperture, and shutter speed to achieve specific visual outcomes. Knowing how to adjust a setting and knowing why are two different things — fluency is when technique becomes instinct. Every editing decision is an interpretive choice about what the photograph is really trying to say.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ● ●

Exposure triangle: ISO, aperture, shutter speed ISO sensitivity and image noise Aperture and depth of field Shutter speed and motion control Editing workflow and editing styles Adjusting tone, color, and cropping in postproduction

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How do photographers control light to achieve specific visual results? How do exposure decisions influence the artistic impact of a photograph? How can editing refine and strengthen a photograph? What is the difference between using a camera and thinking with one? Skills (Framed as Learning Targets)

● ● ●

I can select ISO, aperture, and shutter speed settings that achieve a specific creative or technical intention. I can compare two exposures and explain how the settings difference changed the image. I can make targeted editing adjustments that serve the mood and intent of a specific photograph.

287

Photography II: Unit 1 ●

I can apply an editing style that enhances the mood of a photograph.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Exposure & Editing Comparison Series: Students produce a series of photographs that intentionally vary ISO, aperture, and shutter speed to explore how each setting influences exposure, depth of field, motion, and image quality. Students then refine their images using Lightroom or Photoshop, applying targeted adjustments to color, exposure, and composition.

Completed Content Exercises: ● ● ● ●

Exposure comparison activity Camera setting practice exercises Editing tool refresher exercises Peer discussion analyzing edited images

Exit Ticket: Reflection on exposure and editing decisions

STAGE 3: LEARNING PLAN First Topic: Reviewing the Exposure Triangle

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

● ●

I can select ISO, aperture, and shutter speed settings that achieve a specific creative or technical intention. I can compare two exposures and explain how the settings difference changed the image.

● ●

How do photographers control light to achieve specific visual results? How do exposure decisions influence the artistic impact of a photograph?

Learning Activities: • Exposure triangle review discussion • Camera demonstrations and practice adjusting settings • Guided exposure comparison shoot Students experiment with multiple combinations of ISO, aperture, and shutter speed. Second Topic: Editing Workflow Review

Estimated # of Lessons: 1-2

Learning Targets: ● I can make targeted editing adjustments that serve the mood and intent of a specific photograph. ● I can apply an editing style that enhances

Essential Questions: ● How can editing refine and strengthen a photograph? ● What is the difference between using a camera and thinking with one?

288

Photography II: Unit 1 the mood of a photograph. Learning Activities: Students revisit editing tools and workflows including: • cropping and composition adjustments • exposure and contrast adjustments • color balance and tone adjustments • comparing editing styles Students apply editing adjustments to photographs from the exposure shoot.

289

Photography II: Unit 2 Course Name: Photography II

Unit 2 Title: Advanced Composition

Est. # of Lessons: 3-4

Unit Overview: Technical control opens the door — composition decides what we do once we're inside. In this unit, we expand our visual vocabulary by exploring the full range of elements and principles that organize a frame: line, shape, tone, color, texture, space, balance, pattern, emphasis. We experiment with perspective and camera angles, discovering how shifts in position, perspective, and framing can completely change what an image communicates. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Re7.2.HSII: Evaluate the effectiveness of an image based on compositional elements and design choices. VA:Re9.1.HSII: Establish criteria to evaluate works of art.

Transfer Goals ● ● ●

Understandings ● ● ●

Strong photographic compositions use visual elements and design principles intentionally. A shift in position — even a small one — can completely change what an image means. Visual elements don't just describe a subject; they are the photographer's argument about how to see it.

Essential Questions ● ● ●

Knowledge ● ● ● ●

Elements of art in photography: line, shape/form, tone/value, color, texture, space Principles of design: balance (symmetry, asymmetry), pattern, emphasis, unity, variety Perspective and camera angles: high angle, eye level, low angle Creative cropping and framing

How do visual elements and design principles work together to guide viewer attention? How does where you stand change what a photograph says? When does following a compositional rule strengthen an image, and when does breaking it? Skills (Framed as Learning Targets)

● ● ●

I can make deliberate compositional choices using design principles and explain the effect on the viewer. I can use perspective and camera angles to create visual impact. I can compose photographs that guide the viewer’s eye toward a focal point.

290

Photography II: Unit 2 ●

Focal point and visual hierarchy STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Advanced Composition Photo Series: Students produce a series of photographs demonstrating intentional use of visual elements and design principles. Images should show thoughtful use of perspective, camera angle, and compositional strategies to guide viewer attention and strengthen storytelling. Students present selected images and explain how compositional choices influence viewer interpretation.

Completed Content Exercises: ● ● ● ●

Composition analysis activity Perspective and angle practice shoot FLAC shooting decision chart exercise Peer critique identifying elements and principles

Exit Ticket: Reflection on compositional choices

STAGE 3: LEARNING PLAN First Topic: Elements of Art in Photography

Estimated # of Lessons: 1

Learning Targets : ● I can make deliberate compositional choices using design principles and explain the effect on the viewer.

Essential Questions: ● How do visual elements and design principles work together to guide viewer attention?

Learning Activities: ● ● ●

Introduction to elements of art in photography Analysis of professional photographs identifying visual elements Guided shooting activity focusing on individual elements

Second Topic: Principles of Design & Visual Organization

Estimated # of Lessons: 1

Learning Targets: ● I can compose photographs that guide the viewer’s eye toward a focal point. ● I can make deliberate compositional choices using design principles and explain the effect on the viewer.

Essential Questions: ● How do visual elements and design principles work together to guide viewer attention? ● When does following a compositional rule strengthen an image, and when does breaking it?

Learning Activities: ●

Students explore design principles through photography exercises focusing on: symmetry vs asymmetry, pattern and repetition, emphasis and focal point, unity and variety

291

Photography II: Unit 2 ●

Students analyze how these principles guide viewer attention.

Third Topic: Perspective, Angle, and Framing

Estimated # of Lessons: 1-2

Learning Targets: ● I can use perspective and camera angles to influence how a viewer interprets an image.

Essential Questions: ● How does where you stand change what a photograph says?

Learning Activities: ● ●

Students experiment with different camera perspectives including: high angle (bird’s-eye view), eye-level perspective, low angle (worm’s-eye view) Students also practice creative cropping and framing to strengthen composition.

292

Photography II: Unit 3 Course Name: Photography II

Unit 3 Title: Abstract & Experimental Photography Est. # of Lessons: 3-4

Unit Overview: What happens when we stop photographing things and start photographing ideas? In this unit, we use macro lenses, selective focus, bokeh, and black and white to push past literal representation and into visual abstraction. We learn to find images inside images — in surfaces, shadows, patterns, textures, and tonal relationships that most people walk right past. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.HSII: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Re7.2.HSII: Evaluate how visual elements influence meaning and interpretation in works of art.

Transfer Goals ● ● ●

Understandings ● ● ●

When we remove the subject, what remains is the photographer's way of seeing. Abstraction isn't about making things unrecognizable — it's about making the viewer pay attention differently. Photographers can transform ordinary objects into expressive images through focus, perspective, and lighting choices.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Abstract photography and non-literal imagery Macro photography and close focus Bokeh and selective focus Black and white photography and tonal contrast Emphasizing visual elements such as pattern, form, color, and texture

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

What can a photograph communicate that a literal image cannot? How does close looking change what we find worth photographing? How do visual elements such as pattern, texture, and tone shape the meaning of an abstract photograph?

Skills (Framed as Learning Targets) ● ● ● ●

I can intentionally use visual elements such as pattern, form, and color to create abstract photographs. I can use macro and selective focus techniques to isolate visual details. I can use black and white photography to emphasize tone and contrast. I can produce a photograph in which the subject is not immediately recognizable and

293

Photography II: Unit 3 the visual interest comes from form, texture, or light. STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Abstract Photography Series: Students produce a Completed Content Exercises: series of abstract photographs that emphasize ● Abstract image analysis activity visual elements such as pattern, form, texture, and ● Macro photography practice shoot color. Images should demonstrate experimentation ● Black and white tonal study with techniques such as macro photography, ● Peer critique discussing abstraction and visual selective focus, and black and white imagery. elements Students present selected images and explain how visual elements such as pattern, texture, tone, or Exit Ticket: Reflection on experimental techniques color influence viewer interpretation. STAGE 3: LEARNING PLAN First Topic: Understanding Abstract Photography

Estimated # of Lessons: 1

Learning Targets: ● I can intentionally use visual elements such as pattern, form, and color to create abstract photographs. ● I can produce a photograph in which the subject is not immediately recognizable and the visual interest comes from form, texture, or light.

Essential Questions : ● What can a photograph communicate that a literal image cannot? ● How does close looking change what we find worth photographing?

Learning Activities: ●

Introduction to abstract photography Analysis of abstract photographs focusing on pattern, texture, color, and form Brainstorming exercise identifying potential abstract subjects

Second Topic: Macro/Selective Focus Exploration

Estimated # of Lessons: 1

Learning Targets: ● I can use macro and selective focus techniques to isolate visual details. ● I can intentionally use visual elements such as pattern, form, and color to create abstract photographs.

Essential Questions: ● How does close looking change what we find worth photographing? ● How do visual elements such as pattern, texture, and tone shape the meaning of an abstract photograph?

294

Photography II: Unit 3 Learning Activities: ● ●

Students experiment with techniques including: macro photography and close focusing, shallow depth of field, isolating textures, shapes, and patterns Students photograph small objects and surfaces to create abstract compositions.

Third Topic: Black & White and Tonal Emphasis

Estimated # of Lessons: 1-2

Learning Targets: ● I can use black and white photography to emphasize tone and contrast. ● I can produce a photograph in which the subject is not immediately recognizable and the visual interest comes from form, texture, or light.

Essential Questions: ● What can a photograph communicate that a literal image cannot? ● How do visual elements such as pattern, texture, and tone shape the meaning of an abstract photograph?

Learning Activities: ● ●

Students explore black and white photography by focusing on: tone and contrast, light and shadow, pattern and texture Students refine images through editing to emphasize tonal relationships.

295

Photography II: Unit 4 Course Name: Photography II

Unit 4 Title: Lighting & Mood

Est. # of Lessons: 3-4

Unit Overview: Light is never neutral. In this unit, we study how the direction, quality, and color of light shape the feeling of a photograph — the difference between a scene that feels warm and inviting and one that feels cold and tense. Working with natural and available light, we learn to read a scene before we shoot it and position ourselves to use what's already there. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Re8.1.HSII: Interpret an artwork by analyzing how visual elements and contextual information convey meaning.

Transfer Goals ● ● ●

Understandings ●

●

Light is never neutral — every lighting condition carries an emotional charge before the photographer even touches the camera. Learning to read light is learning to read mood; photographers who see light well see more than photographers who don't.

Essential Questions ● ●

Knowledge ● ● ● ● ●

Directional lighting: front, side, back, and under lighting Light quality: hard light vs soft light Light and mood in photography Color temperature and emotional tone High-key lighting and bright tonal compositions

How does the same subject look completely different depending on the light? How do photographers use what's already there rather than creating everything from scratch?

Skills (Framed as Learning Targets) ● ● ● ●

I can analyze how lighting direction shapes the mood of a photograph and apply that knowledge in my own shooting. I can position the light source to highlight form and texture. I can position a light source to create a specific emotional effect and describe the relationship between the two. I can evaluate a photograph's lighting and explain how a different choice would change its emotional effect.

296

Photography II: Unit 4 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Lighting & Mood Photo Series: Students create a series of photographs that use observed lighting conditions to convey different moods. The images show purposeful use of light direction, contrast, and color. Students analyze the lighting before shooting and submit selected photos with brief reflections on how lighting, positioning, and camera choices shaped the final mood.

Completed Content Exercises: ● ● ● ●

Lighting analysis activity Directional lighting practice shoot High-key lighting experiment Peer critique discussing lighting and mood

Exit Ticket: Reflection on lighting choices

STAGE 3: LEARNING PLAN First Topic: Understanding Light Direction

Estimated # of Lessons: 1

Learning Targets: ● I can analyze how lighting direction shapes the mood of a photograph and apply that knowledge in my own shooting. ● I can position a light source or subject to highlight form and texture.

Essential Questions: ● How does the same subject look completely different depending on the light?

Learning Activities: ● Introduction to directional lighting (front, side, back, under) ● Analysis of professional photographs focusing on lighting direction ● Guided photo shoot, experimenting with different light positions Second Topic: Light Quality & Mood

Estimated # of Lessons: 1

Learning Targets: ● I can position a light source to create a specific emotional effect and describe the relationship between the two. ● I can analyze how lighting direction shapes the mood of a photograph.

Essential Questions: ● How does light influence the emotional tone of a photograph?

Learning Activities: ● Students experiment with lighting conditions including: hard vs soft light, photographing in direct sun vs shade, using shadows to create contrast ● Students analyze how lighting changes the mood of an image. Third Topic: Color & High-Key Lighting

Estimated # of Lessons: 1-2

Learning Targets: ● I can evaluate a photograph's lighting and

Essential Questions: ● How do photographers use what's already

297

Photography II: Unit 4 explain how a different choice would change its emotional effect.

●

there rather than creating everything from scratch? How does light influence the emotional tone of a photograph?

Learning Activities: ● Students experiment with: high-key lighting conditions, color temperature and white balance adjustments, and photographing bright or minimal scenes ● Students analyze how tone and color influence visual impact.

298

Photography II: Unit 5 Course Name: Photography II

Unit 5 Title: Studio Lighting

Est. # of Lessons: 3-4

Unit Overview: Now we take everything we know about light and put it completely under our control. Working with studio strobes and continuous lights, we explore the classic portrait lighting patterns — Rembrandt, loop, butterfly — and learn how the placement of a single light source can sculpt a face, create drama, or shift a mood entirely. The studio is where intention and technique meet. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Pr5.1.HSII: Analyze and evaluate the presentation of artistic work for effectiveness.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Studio lighting allows photographers to intentionally control highlights, shadows, and contrast. The placement and direction of light influence how a subject’s form and facial features appear. Different lighting patterns create distinctive visual effects in portrait photography. In the studio, light becomes a material that photographers shape to communicate mood and character.

Essential Questions ● ● ●

Knowledge ● ● ●

Studio lighting equipment: strobes and continuous lights Portrait lighting patterns: Rembrandt, loop, butterfly Low-key lighting and high contrast

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

What does it mean to have complete control over something as fluid as light? How does the way we light a person change what we say about them? How do lighting patterns influence the way we see a subject’s form and personality?

Skills (Framed as Learning Targets) ● ● ●

I can position studio lights to control highlights and shadows. I can create portrait lighting patterns such as Rembrandt, loop, and butterfly. I can adjust lighting placement and angle to

299

Photography II: Unit 5 ● ●

Light placement and shadow control Key light and fill light relationships

● ●

shape facial features and form. I can create low-key lighting to produce dramatic portraits. I can set up and troubleshoot a studio lighting configuration independently.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Studio Portrait Lighting Series: Students create a series of portraits using studio lighting equipment. The images demonstrate intentional use of lighting patterns, direction, and shadow to shape the subject’s appearance and mood. Students present selected portraits and explain how their lighting setup influenced form, expression, and emotional tone.

Completed Content Exercises: ● ● ● ●

Studio lighting setup practice Lighting pattern identification activity Portrait lighting practice shoot Peer critique discussing lighting techniques

Exit Ticket: Reflection on lighting decisions

STAGE 3: LEARNING PLAN First Topic: Introduction to Studio Lighting

Estimated # of Lessons: 1

Learning Targets: ● I can position studio lights to control highlights and shadows. ● I can set up and troubleshoot a studio lighting configuration independently.

Essential Questions: ● What does it mean to have complete control over something as fluid as light?

Learning Activities: ● Introduction to studio lighting equipment (strobes and continuous lights) Demonstration of basic lighting setups ● Students practice adjusting light placement and observing shadow changes Second Topic: Portrait Lighting Patterns

Estimated # of Lessons: 1

Learning Targets: ● I can create portrait lighting patterns such as Rembrandt, loop, and butterfly. ● I can adjust lighting placement and angle to shape facial features and form.

Essential Questions: ● How do lighting patterns influence the way we see a subject’s form and personality?

Learning Activities: ● Students practice creating portrait lighting patterns including: Rembrandt lighting, Loop lighting, Butterfly lighting ● Students photograph classmates using different lighting patterns and analyze visual differences.

300

Photography II: Unit 5 Third Topic: Low-Key Lighting & Dramatic Portraits

Estimated # of Lessons: 1-2

Learning Targets: ● I can create low-key lighting to produce dramatic portraits. ● I can position studio lights to control highlights and shadows.

Essential Questions: ● How does the way we light a person change what we say about them?

Learning Activities: ● Students experiment with: low-key lighting setups, controlling shadows and contrast, adjusting light distance and angle ● Students refine portrait images that emphasize dramatic lighting effects.

301

Photography II: Unit 6 Course Name: Photography II

Unit 6 Title: Final Project

Est. # of Lessons: 4-5

Unit Overview:This is the unit where everything we've built becomes something that is unmistakably ours. We develop a concept, make deliberate choices about light, composition, and editing, and produce a cohesive series that represents our developing photographic voice. We don't just show what we can do — we show what we have to say. STAGE 1: DESIRED RESULTS Established Goals ● ●

Transfer Goals ● ● ●

Understandings ● ● ●

A cohesive series is not a collection of good photographs — it is a sustained argument about how to see something. The hardest creative decision is often not what to make but what to keep. A photographer’s point of view emerges through consistent choices about subject, composition, lighting, and editing.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Planning a photographic concept or theme Combining composition, lighting, and camera techniques Editing and refining images Image selection and visual sequencing Presenting photographic work

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do photographers develop a point of view rather than just a style? What do you want someone to feel or understand after seeing your work? How do photographers decide which images belong in a series and which do not?

Skills (Framed as Learning Targets) ● ● ●

I can develop a written concept that identifies my subject, intended mood, lighting approach, and compositional strategy. I can make independent composition and lighting decisions that are consistent with my project concept. I can select editing adjustments that serve my project's visual concept rather than applying a default style.

302

Photography II: Unit 6 ● ●

I can select and sequence my strongest images to create a cohesive photographic series. I can explain the creative decisions behind my work.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Photography Series: Students create a cohesive series of photographs that show intentional use of composition, lighting, and creative techniques to communicate a clear concept or point of view. They present their final images with a short artist statement explaining the project concept and creative decisions behind the work.

Completed Content Exercises: ● ● ● ●

Project proposal or planning outline Image progress review checkpoints Peer critique sessions Editing progress checks

Exit Ticket: Reflection on creative decisions

STAGE 3: LEARNING PLAN First Topic: Planning a Photographic Concept

Estimated # of Lessons: 1

Learning Targets : ● I can develop a written concept that identifies my subject, intended mood, lighting approach, and compositional strategy. ● I can explain the creative decisions behind my work.

Essential Questions: ● How do photographers develop a point of view rather than just a style? ● What do you want someone to feel or understand after seeing your work?

Learning Activities: ● ● ●

Students brainstorm and develop a concept for their final photography project. Students consider: subject or theme, visual style, lighting and composition choices Students create a brief plan outlining their project idea.

Second Topic: Photographing the Project

Estimated # of Lessons: 1

Learning Targets: ● I can make independent composition and lighting decisions that are consistent with my project concept.

Essential Questions: ● How do photographers develop a point of view rather than just a style?

Learning Activities:

303

Photography II: Unit 6 ● ● ●

Students photograph images for their project while applying techniques learned throughout the course. Students experiment with: composition strategies, lighting techniques, creative camera techniques Students review and refine images through class feedback.

Third Topic: Editing & Presentation

Estimated # of Lessons: 2-3

Learning Targets: ● I can select editing adjustments that serve my project's visual concept rather than applying a default style. ● I can select and sequence my strongest images to create a cohesive photographic series. ● I can explain the creative decisions behind my work.

Essential Questions: ● How do photographers decide which images belong in a series and which do not? ● What do you want someone to feel or understand after seeing your work?

Learning Activities: ● ● ●

Students edit and refine their photographs using post-production tools. Select their strongest images, organize a final series, write a short artist statement Students present their final work and participate in critique discussions.

304

Photography III PHOTOGRAPHY III COURSE # WAN304 STEM, HUM)

0.5 credit (FVA,

PREREQUISITE: WAN204 Photography II This advanced photography course focuses on refining artistic voice, technical mastery, and professional practice. Students will explore a range of professional photography pathways, including portrait, wedding, product, pet, sports, forensic, and fine art photography, gaining insight into how photographic skills translate across industries. The course culminates in the creation of a cohesive professional portfolio and exhibition, preparing students for postsecondary study, creative careers, or entrepreneurial opportunities in photography and visual media.

305

Photography III (Semester Course) Photography III is where we stop asking what photography can do and start asking what we have to say with it. This course is about developing a professional identity — finding your influences, mastering the advanced technical tools that expand what's possible, and building the conceptual thinking that turns a collection of images into a body of work. We explore where photography lives professionally: in studios and galleries, at weddings and sporting events, in forensic labs and fine art collections. We experiment with advanced lighting, digital compositing, and conceptual storytelling. And we finish by doing what professionals do — curating, writing, and presenting a portfolio that represents not just our skills, but our point of view. Unit 1: Style Exploration 3-4 lessons

Unit 2: Advanced Lighting Techniques 4-5 lessons

Unit 3: Advanced Editing & Compositing 3-4 lessons

Unit 4: Professional Practices 3-4 lessons

Unit 5: Conceptual Photography 3-4 lessons

Unit 6: Portfolio Showcase 3-4 lessons

Before we can develop our own voice, we need to know whose voices have shaped the conversation. In this unit, we study influential photographers across a range of genres — documentary, fine art, portraiture, conceptual, commercial — and ask what makes each one recognizable. Then we try it ourselves, recreating and emulating styles not to copy them, but to understand them from the inside. This is where we begin to figure out who we are by discovering who we're drawn to.

Light has always been our medium — now we push it to its limits. In this unit, we move beyond portrait setups and into the dynamic world of motion, athletics, color lighting, and atmospheric effects. We work with color lighting, smoke, and dramatic staging to create images that feel less like photographs and more like moments that couldn't have happened any other way. This is technical ambition in service of visual storytelling.

The camera captures a moment — but Photoshop can build a world. In this unit, we move into high-end retouching, image compositing, and cinematic color grading. We learn to combine multiple images into a single cohesive concept, manipulate reality with precision and intention, and use color as an emotional language for storytelling. This is where digital craft meets artistic vision.

Photography isn't just an art form — it's a profession with specialties, clients, and career paths. In this unit, we explore the full range of industries where photographers work: portrait, wedding, product, pet, sports, forensic, fine art. We study how professional photographers develop a specialty and a reputation, and we experiment with shooting in different professional genres to test where our own interests and instincts lead.

This is the unit where we stop photographing things and start making arguments. Conceptual photography uses symbolism, metaphor, staging, and visual narrative to communicate ideas that cannot simply be captured — they must be constructed. We develop concepts, plan shoots around them, and discover how much intention and meaning a single image can carry when every element in the frame is a deliberate choice.

Everything we've built — technical mastery, creative range, conceptual thinking, professional awareness — comes together here in a single cohesive portfolio. We curate, sequence, refine, write, and present. We make the decisions a professional photographer makes before showing work to the world: what stays, what goes, what it means, and how to say so. This is the course's final answer to the question we started with — not just what can we do, but what do we have to say? 306

Photography III: Unit 1 Course Name: Photography III

Unit 1 Title: Style Exploration

Est. # of Lessons: 3-4

Unit Overview: Before we can develop our own voice, we need to know whose voices have shaped the conversation. In this unit, we study influential photographers across a range of genres — documentary, fine art, portraiture, conceptual, commercial — and ask what makes each one recognizable. Then we try it ourselves, recreating and emulating styles not to copy them, but to understand how artistic choices shape meaning. This is where we begin to figure out who we are by discovering who we're drawn to. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Re7.2.HSIII: Evaluate how visual elements and artistic choices influence meaning in works of art. VA:Re9.1.HSIII: Establish and apply criteria to evaluate works of art and design.

Transfer Goals ● ●

Understandings ● ● ●

Every photographer's voice is partly borrowed -style emerges from knowing what you love and making it your own. You can't find your own point of view without first understanding what other points of view are possible. A photographer’s style is revealed through consistent choices about subject matter, composition, lighting, and editing.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Photographic genres: documentary, fine art, portraiture, conceptual, commercial Influential photographers & stylistic approaches Visual style & artistic voice Techniques used to recreate photographic styles Analyzing photographic work through critique

Explore, develop, & refine artistic skills across diverse media & techniques. (VOG: Effective Communicators) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

What is the difference between being influenced by someone and imitating them? How do you know when you've found a photographic style that is genuinely yours? How do a photographer’s technical and visual choices shape their recognizable style?

Skills (Framed as Learning Targets) ● ● ●

I can analyze the visual style of a photographer and explain the artistic choices that make their work recognizable. I can recreate photographic techniques used by a professional photographer to understand how their style is constructed. I can experiment with different photographic genres and reflect on how they relate to my developing photographic voice.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

307

Photography III: Unit 1 Summative Assessment

Formative Assessment

Photographic Style Exploration Project: Students create a photographic series that emulates the style of a selected photographer or genre. The images demonstrate understanding of the original work’s visual techniques and stylistic choices. Students present their series with a brief analysis explaining the elements they replicated and how those choices shape meaning.

Completed Content Exercises: ● ● ● ●

Photographer research activity Image analysis discussion Style recreation practice shoot Peer critique identifying stylistic elements

Exit Ticket: Reflection on personal artistic interests

STAGE 3: LEARNING PLAN First Topic: Exploring Photographic Styles

Estimated # of Lessons: 1

Learning Targets: ● I can analyze the visual style of a photographer and explain the artistic choices that make their work recognizable.

Essential Questions: ● How do a photographer’s technical and visual choices shape their recognizable style?

Learning Activities: ● ● ●

Introduction to different photographic genres Analysis of influential photographers Group discussion identifying stylistic elements such as composition, lighting, and subject matter

Second Topic: Photographer Recreation

Estimated # of Lessons: 1-2

Learning Targets: ● I can recreate photographic techniques used by a professional photographer to understand how their style is constructed.

Essential Questions: ● What is the difference between being influenced by someone and imitating them?

Learning Activities: Students select a photographer or style to study and attempt to recreate the visual approach. Students consider composition and framing, lighting style, and subject matter and mood Second Topic: Style Emulation Shoot

Estimated # of Lessons: 1

Learning Targets: ● I can experiment with different photographic genres and reflect on how they relate to my developing photographic voice.

Essential Questions: ● How do you know when you've found a photographic style that is genuinely yours?

Learning Activities: Students complete a style emulation shoot inspired by the techniques they studied. Students reflect on which stylistic elements align with their personal interests and artistic direction.

308

Photography III: Unit 2 Course Name: Photography III

Unit 2 Title: Advanced Lighting Techniques

Est. # of Lessons: 4-5

Unit Overview: Light has always been our medium — now we push it to its limits. In this unit, we move beyond portrait setups and into the dynamic world of motion, athletics, color lighting, and atmospheric effects. We work with color lighting, smoke, and dramatic staging to create images that feel less like photographs and more like moments that couldn't have happened any other way. This is technical ambition in service of visual storytelling. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSIII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Re8.1.HSIII: Analyze how visual elements and artistic decisions contribute to meaning and impact.

Transfer Goals ● ● ●

Understandings ●

● ●

At the advanced level, lighting doesn't just illuminate a subject — it constructs a world that couldn't exist without the photographer's intention. The most powerful images often show something that feels simultaneously real and impossible. Complex photographic images are the result of deliberate planning and coordinated technical decisions.

Essential Questions ● ● ●

Knowledge ● ● ● ●

Motion lighting and capturing movement Lighting techniques for athletics and action photography Color lighting effects and creative lighting setups Atmospheric effects such as smoke or haze

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How do photographers create images that feel like they couldn't have happened any other way? Where is the line between capturing a moment and constructing one? How can lighting design transform ordinary action into dramatic visual storytelling?

Skills (Framed as Learning Targets) ● ●

I can design and implement a lighting setup that emphasizes motion or athletic energy in a photograph. I can use color lighting or atmospheric effects intentionally to create a specific mood or visual impact.

309

Photography III: Unit 2 ●

Lighting for dramatic storytelling in sports photography

●

I can create photographs in which lighting and motion work together intentionally to communicate a clear visual narrative.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Dynamic Lighting Photo Series: Students create a series of photographs using advanced lighting techniques and deliberate lighting design to enhance motion, atmosphere, and visual storytelling in action-based images. They present selected photographs and explain how their lighting choices shaped the sense of movement, mood, and narrative.

Completed Content Exercises: ● ● ● ●

Lighting experiment practice shoot Motion photography exercises Color lighting experimentation Peer critique discussing lighting techniques

Exit Ticket: Reflection on lighting choices and visual impact

STAGE 3: LEARNING PLAN First Topic: Lighting for Motion and Action

Estimated # of Lessons: 1

Learning Targets: ● I can design and implement a lighting setup that emphasizes motion or athletic energy in a photograph.

Essential Questions: ● How can lighting design transform ordinary action into dramatic visual storytelling?

Learning Activities: ● ● ●

Introduction to motion lighting techniques Demonstrations showing how lighting interacts with movement Practice photographing moving subjects with controlled lighting

Second Topic: Creative Lighting Effects

Estimated # of Lessons: 1

Learning Targets: ● I can use color lighting or atmospheric effects intentionally to create a specific mood or visual impact.

Essential Questions: ● Where is the line between capturing a moment and constructing one?

Learning Activities: ● ●

Students experiment with lighting setups that include: colored lighting effects, dramatic lighting angles, atmospheric elements such as smoke or haze Students evaluate how lighting influences mood and visual impact.

310

Photography III: Unit 2 Third Topic: Athlete Storytelling

Estimated # of Lessons: 2-3

Learning Targets: ● I can create photographs in which lighting and motion work together to communicate a clear visual narrative.

Essential Questions: ● How do photographers create images that feel like they couldn't have happened any other way?

Learning Activities: ● ●

Students photograph athletes or action-based subjects while applying advanced lighting techniques. Students focus on: capturing motion and energy, dramatic lighting effects, storytelling through visual composition

311

Photography III: Unit 3 Course Name: Photography III

Unit 3 Title: Advanced Editing & Compositing

Est. # of Lessons: 3-4

Unit Overview: The camera captures a moment — but Photoshop can build a world. In this unit, we move into high-end retouching, image compositing, and cinematic color grading. We learn to combine multiple images into a single cohesive concept, manipulate reality with precision and intention, and use color as an emotional language for storytelling. This is where digital craft meets artistic vision. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSIII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Re7.2.HSIII: Evaluate how artistic choices influence meaning and interpretation.

Transfer Goals ● ● ●

Understandings ● ● ●

When we can build any reality we want, every choice becomes a statement about what we believe is worth imagining. The difference between photography and digital art is no longer technical — it is intentional. Successful composite images require visual coherence — light, color, and perspective must work together to make the constructed image believable.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Advanced retouching techniques Image compositing and layering Surreal and conceptual imagery Digital manipulation techniques Cinematic color grading and tonal adjustments

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How can editing techniques transform the meaning of a photograph? What can a constructed image say that a captured one cannot? When does digital manipulation serve a creative vision and when does it replace one?

Skills (Framed as Learning Targets) ● ● ●

I can combine multiple images to create a composite photograph. I can use masking, healing, and layer blending to seamlessly integrate elements across multiple images. I can develop a cinematic color grade that creates a consistent emotional tone across a

312

Photography III: Unit 3 ●

series of images. I can produce a composite image in which lighting, color, and visual elements work together to support a unified visual concept.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Conceptual Composite Image: Students create a digitally manipulated photograph that combines multiple images into a cohesive visual concept. The final work demonstrates intentional compositing, advanced retouching, and cinematic color grading. Students present the finished image and explain how their editing choices support the overall concept.

Completed Content Exercises: ● ● ● ●

Compositing practice exercises Retouching technique demonstrations Color grading experimentation Peer critique discussing editing techniques

Exit Ticket: Reflection on editing decisions and visual impact

STAGE 3: LEARNING PLAN First Topic: Advanced Retouching Techniques

Estimated # of Lessons: 1

Learning Targets : ● I can use masking, healing, and layer blending to seamlessly integrate elements across multiple images.

Essential Questions: ● How can editing techniques transform the meaning of a photograph?

Learning Activities: ●

Demonstration of advanced retouching techniques. Practice removing distractions and refining details. Students edit and refine existing photographs

Second Topic: Image Compositing

Estimated # of Lessons: 1

Learning Targets: ● I can combine multiple images to create a composite photograph. ● I can produce a composite image in which lighting, color, and visual elements support a unified visual concept.

Essential Questions: ● What can a constructed image say that a captured one cannot?

Learning Activities: ●

Students experiment with compositing techniques including: layering multiple images, blending backgrounds and subjects, creating surreal or conceptual scenes

313

Photography III: Unit 3 ●

Students create a composite image using multiple photographic sources.

Third Topic: Cinematic Color Grading

Estimated # of Lessons: 1-2

Learning Targets: ● I can develop a cinematic color grade that creates a consistent emotional tone across a series of images.

Essential Questions: ● When does digital manipulation serve a creative vision and when does it replace one?

Learning Activities: ● ●

Students explore: cinematic color grading techniques, tonal adjustments and color harmony, enhancing mood through color Students refine their composite images using advanced color adjustments.

314

Photography III: Unit 4 Course Name: Photography III

Unit 4 Title: Professional Practices

Est. # of Lessons: 3-4

Unit Overview: Photography isn't just an art form — it's a profession with specialties, clients, and career paths. In this unit, we explore the full range of industries where photographers work: portrait, wedding, product, pet, sports, forensic, fine art. We study how professional photographers develop a specialty and a reputation, and we experiment with shooting in different professional genres to test where our own interests and instincts lead. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Pr4.1.HSIII: Analyze, select, and curate artifacts and/or artworks for presentation. VA:Cn10.1.HSIII: Synthesize knowledge of social, cultural, and historical contexts to inform artistic decisions.

Transfer Goals ● ● ●

Understandings ●

● ●

The same technical skill means something entirely different depending on the context it serves — a wedding, a courtroom, a gallery. Choosing a photographic specialty is not just a career decision — it is a statement about what kind of stories you want to tell. Professional photographers adapt their visual style and technical approach to meet the expectations of different industries and audiences.

Essential Questions ● ● ●

Knowledge ● ● ●

Photography career pathways (portrait, wedding, product, pet, sports, forensic, fine art) Professional portfolio development Networking and professional

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How does where you work change what your photographs are for? How do photographers decide what kind of work is worth dedicating themselves to? How do different photography industries shape the way images are created and presented?

Skills (Framed as Learning Targets) ● ●

I can identify the distinct visual language and technical demands of at least three professional photography fields. I can produce photographs in two different professional genres and explain how each

315

Photography III: Unit 4 ● ●

communication Creative direction and client-based photography Presenting photographic work professionally

● ●

required different technical and visual decisions. I can adapt my shooting approach to meet the visual conventions of a specific professional photography genre. I can communicate creative ideas and artistic decisions clearly.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Professional Photography Exploration Project: Completed Content Exercises: Students research a professional photography field ● Career research activity and create a photographic project inspired by that ● Practice shoots industry. The work demonstrates understanding of ● Peer critique of project ideas the field’s visual conventions, technical approaches, and storytelling expectations. Exit Ticket: Reflection on career interests and artistic Students present their images with a brief goals explanation of how the project reflects professional practices within that genre. STAGE 3: LEARNING PLAN First Topic: Exploring Photography Careers

Estimated # of Lessons: 1

Learning Targets: ● I can identify the distinct visual language and technical demands of at least three professional photography fields.

Essential Questions: ● How do different photography industries shape the way images are created and presented?

Learning Activities: ●

●

Students research photography fields such as: ○ portrait photography ○ wedding photography ○ product photography ○ pet photography ○ sports photography ○ forensic photography ○ fine art photography Students examine examples of professional work and discuss the skills required in each field.

316

Photography III: Unit 4 Second Topic: Genre Exploration Photo Shoots

Estimated # of Lessons: 1-2

Learning Targets: ● I can adapt my shooting approach to meet the visual conventions of a specific professional photography genre. ● I can produce photographs in two different professional genres and explain how each required different technical and visual decisions.

Essential Questions: ● How does where you work change what your photographs are for?

Learning Activities: ● ●

Students experiment with photographing subjects inspired by professional photography genres. Students analyze how each genre requires different approaches to composition, lighting, and storytelling.

Third Topic: Creative Direction & Professional Identity

Estimated # of Lessons: 1

Learning Targets: ● I can communicate creative ideas and artistic decisions clearly.

Essential Questions: ● How do photographers decide what kind of work is worth dedicating themselves to?

Learning Activities: ● ●

Students reflect on the photography styles they explored and discuss which genres align with their interests. Students consider: personal artistic strengths, possible career pathways, and how different styles could influence their final portfolio work.

317

Photography III: Unit 5 Course Name: Photography III

Unit 5 Title: Conceptual Photography

Est. # of Lessons: 3-4

Unit Overview: This is the unit where we stop photographing things and start making arguments. Conceptual photography uses symbolism, metaphor, staging, and visual narrative to communicate ideas that cannot simply be captured — they must be constructed. We develop concepts, plan shoots around them, and discover how much intention and meaning a single image can carry when every element in the frame is a deliberate choice. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSIII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Re8.1.HSIII: Analyze how visual elements and artistic choices convey meaning in works of art.

Transfer Goals ● ● ●

Understandings ● ● ●

A photograph can be an argument — every staged element is a claim about what something means. The hardest thing about conceptual work isn't the technique — it's having something genuinely worth saying. Symbolism and visual metaphor allow photographers to communicate ideas that cannot be expressed literally.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Conceptual photography and visual storytelling Symbolism and visual metaphor Narrative photography and staged imagery Developing themes for photographic series Communicating ideas through visual composition

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

What is the difference between an image that shows something and an image that means something? How do you develop an idea that is worth constructing rather than just capturing? How do visual symbols and metaphors shape the way viewers interpret an image?

Skills (Framed as Learning Targets) ●

● ●

I can create a photograph in which a specific idea or emotion is communicated through deliberate staging, symbolism, or composition rather than literal subject matter. I can intentionally use symbolism and metaphor to convey meaning in an image. I can develop a written concept plan that

318

Photography III: Unit 5

●

specifies the idea, symbols, staging, and visual choices before I shoot. I can produce a cohesive set of conceptual images unified by a single idea or theme.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Conceptual Photography Series: Students create a small series of conceptual photographs that communicate an idea, theme, or emotion through intentional use of symbolism, visual metaphor, or narrative storytelling. They present the series with a brief explanation of the concept and the visual strategies used to convey their idea.

Completed Content Exercises: ● ● ● ●

Concept brainstorming exercises Symbolism and metaphor exploration Peer critique of conceptual ideas Image planning sketches or concept outlines

Exit Ticket: Reflection on potential themes for final portfolio work

STAGE 3: LEARNING PLAN First Topic: Understanding Conceptual Photography

Estimated # of Lessons: 1

Learning Targets: ● I can create a photograph in which a specific idea or emotion is communicated through deliberate staging, symbolism, or composition. ● I can use symbolism and metaphor to convey meaning in an image.

Essential Questions: ● What is the difference between an image that shows something and an image that means something?

Learning Activities: ● ● ●

Introduction to conceptual photography Analysis of conceptual photographic works Discussion of symbolism, metaphor, and narrative imagery

Second Topic: Developing Visual Metaphors

Estimated # of Lessons: 1

Learning Targets: ● I can intentionally use symbolism and metaphor to convey meaning in an image.

Essential Questions: ● How do visual symbols and metaphors shape the way viewers interpret an image?

Learning Activities:

319

Photography III: Unit 5 ● ●

Students experiment with creating photographs that include: symbolic objects, staged scenes, visual metaphors Students discuss how visual choices influence interpretation.

Third Topic: Concept Development for a Series

Estimated # of Lessons: 1-2

Learning Targets: ● I can develop a written concept plan that specifies the idea, symbols, staging, and visual choices before I shoot. ● I can produce a cohesive set of conceptual images unified by a single idea or theme.

Essential Questions: ● How do you develop an idea that is worth constructing rather than just capturing?

Learning Activities: ● ●

Students begin planning a conceptual photography series by: brainstorming themes, sketching or outlining ideas, and photographing initial concept images Students reflect on how these ideas might evolve into their final portfolio project.

320

Photography III: Unit 6 Course Name: Photography III

Unit 6 Title: Portfolio Showcase

Est. # of Lessons: 3-4

Unit Overview: Everything we've built — technical mastery, creative range, conceptual thinking, professional awareness — comes together here in a single cohesive portfolio. We curate, sequence, refine, write, and present. We make the decisions a professional photographer makes before showing work to the world: what stays, what goes, what it means, and how to say so. This is the course's final answer to the question we started with — not just what can we do, but what do we have to say? STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr3.1.HSIII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Pr4.1.HSIII: Analyze, select, and curate artifacts and/or artworks for presentation.

Transfer Goals ● ● ●

●

Understandings ● ● ●

A portfolio is not a collection of your best work — it is an argument about who you are as a photographer. Curation is a creative act: what you leave out shapes the meaning of what stays in. • A portfolio communicates with an audience — how images are sequenced and presented shapes how viewers interpret the work.

Essential Questions ● ● ●

Knowledge ● ● ●

Planning a photographic theme or concept Image selection and visual sequencing Refining photographs through editing

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

What do I want someone to know about me from looking at my work — and what do I want to leave unsaid? How do I know when a body of work is ready to be seen? How do photographers decide which images belong together in a portfolio?

Skills (Framed as Learning Targets) ● ●

I can plan and develop a photographic series based on a theme or concept. I can make independent technical and

321

Photography III: Unit 6 ● ●

Writing artist statements Preparing work for exhibition or portfolio presentation

● ● ●

creative decisions that support my portfolio concept. I can evaluate and select my strongest photographs for presentation. I can communicate the ideas behind my work through an artist statement. I can present my work professionally in a portfolio or exhibition.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Photography Portfolio: Students produce a cohesive photography portfolio consisting of a curated and sequenced series of images that demonstrate their artistic voice and technical development. Students present their final images along with a written artist statement explaining the concept, inspiration, and creative decisions behind their work.

Completed Content Exercises: ● ● ● ●

Portfolio concept proposal Image progress reviews Peer critique sessions Editing and sequencing checkpoints

Exit Ticket: Reflection on artistic decisions

STAGE 3: LEARNING PLAN First Topic: Portfolio Concept Development

Estimated # of Lessons: 1

Learning Targets: ● I can plan and develop a photographic series based on a theme or concept. ● I can make independent technical and creative decisions that support my portfolio concept.

Essential Questions: ● What do I want someone to know about me from looking at my work — and what do I want to leave unsaid?

Learning Activities: ●

●

Students develop ideas for their portfolio series by: ○ brainstorming themes or concepts ○ reviewing work created in previous units ○ planning subjects and shooting approaches Students create a short proposal outlining their project concept.

Second Topic: Photographing the Portfolio Series

Estimated # of Lessons: 1

Learning Targets: ● I can make independent technical and creative decisions that support my

Essential Questions: ● How do I know when a body of work is ready to be seen?

322

Photography III: Unit 6 portfolio concept. Learning Activities: ● ●

Students photograph images for their portfolio series while applying skills learned throughout the course, including: composition strategies, lighting techniques, and conceptual storytelling Students receive feedback and revise images during the shooting process.

Third Topic: Editing, Sequencing & Presentation

Estimated # of Lessons: 1-2

Learning Targets: ● I can evaluate and select my strongest photographs for presentation. ● I can communicate the ideas behind my work through an artist statement. ● I can present my work professionally in a portfolio or exhibition.

Essential Questions: ● How do photographers decide which images belong together in a portfolio?

Learning Activities: ●

●

Students finalize their portfolio by: ○ editing and refining images ○ selecting a cohesive group of photographs ○ writing an artist statement ○ preparing images for exhibition or digital presentation Students present their final portfolios and participate in critique discussions.

323

Digital Design Foundations DIGITAL DESIGN FOUNDATIONS COURSE # WAN105 STEM, HUM)

0.5 credit (FVA,

This introductory course lays the groundwork for students interested in digital art, design, and media production. Students will explore core Adobe Creative Cloud programs—including Photoshop, Illustrator, InDesign, and After Effects—while developing essential computer skills and learning to navigate creative digital environments. Through hands-on projects, students will apply the elements of art and principles of design to create compelling visual compositions, motion graphics, and layout designs. This course also introduces students to careers in digital design fields such as animation, journalism, web design, and marketing. It serves as a prerequisite for advanced coursework in Photoshop, Illustrator, and Animation.

324

Digital Design Foundations (Semester Course) Every image you scroll past, every logo you recognize, every animation that catches your eye — someone designed that. In this course, we become that someone. Using Adobe Photoshop, Illustrator, and InDesign, we'll learn to edit and manipulate images, build clean vector graphics, design professional layouts, and create animations — developing a digital design toolkit that spans from a business card to a billboard to a website. Along the way, we'll explore careers in fields like animation, journalism, web design, and marketing, and begin building the skills and portfolio that open doors to advanced coursework in Photoshop, Illustrator, and Animation. Unit 1: Computer Basics 2-3 Lessons

Unit 2: Intro to Photoshop 5-6 Lessons

Unit 3: Intro to Illustrator 6-7 Lessons

Unit 4: InDesign Basics 3-4 Lessons

Unit 5: Animation 3-4 Lessons

Unit 6: Web Design 3-4 Lessons

Before we create, we need to know how to work smart and work right. We'll tackle the problems designers face every day — lost files, wrong formats, missing fonts — and build the habits that separate professionals from amateurs. This is the foundation everything else builds on.

Now that we know how to work smart, we pick up our first major creative tool. Photoshop lets us transform ordinary photos into something extraordinary — painting with digital brushes, blending images, and manipulating color and light to create mood and meaning. By the end, we'll have created original digital paintings and photo composites that tell visual stories.

Photoshop works with photos — but what about the logos, icons, and typography you see everywhere? That's Illustrator. We'll learn to use the pen tool, shape-building tools, and type tools to create vector graphics that stay crisp from a business card to a billboard. By the end, we'll have designed original icons and a calligram that turns words into visual art.

We can create images and graphics — but how do designers combine text and visuals into something people actually want to read? That's the art of layout. Using InDesign, we'll learn how grids, typography, and white space guide the viewer's eye exactly where we want it to go — then put it into practice with business cards and a magazine spread.

Everything we've created so far has been still. Now we make it move. We'll learn frame-byframe animation — the same principle behind every cartoon and motion graphic you've ever seen — and export animated GIFs that could live on a real website.

We've built images, graphics, layouts, and animations. Now we bring it all together. We'll explore careers in digital design, then each design and publish a professional website that presents our research and showcases everything we've learned. This is where we stop practicing design and start presenting ourselves as designers.

325

Digital Design Foundations: Unit 1 Course Name: Digital Design Foundations Unit 1 Title: Computer Basics Est. # of Lessons: 2-3 Unit Overview: Before we create, we need to know how to work smart and work right. We'll tackle the problems designers face every day — lost files, wrong formats, missing fonts — and build the habits that separate professionals from amateurs. This is the foundation everything else builds on. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.2.IIa: Demonstrate awareness of ethical implications of making and distributing creative work. VA:Re9.1.HSI: Establish relevant criteria in order to evaluate a work of art or collection of works. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking.

Transfer Goals ●

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Understandings ● ●

Ethical use of imagery, copyright law, and crediting sources are integral to being a professional digital artist. Digital tools require patience, adaptability, and problem-solving.

Essential Questions ● ●

Knowledge ● ● ● ● ●

Common file types and extensions used in digital art (.jpg, .png, .psd, .ai, .indd, .mp4, etc.) Difference between local and cloud storage Digital copyright, fair use, and attribution principles Essential keyboard shortcuts and workspace customization How to troubleshoot file or program issues

Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

What habits keep a designer from losing work or wasting time? How do I make informed, ethical choices when using and sharing digital media? Skills (Framed as Learning Targets)

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I can identify file types for specific uses in design projects. I can apply keyboard shortcuts to improve efficiency. I can demonstrate ethical, responsible digital use through hypothetical scenarios showcasing knowledge of copyright law and fair use guidelines. I can perform basic operations (set up a project file with proper naming and format for a design task) using design software. I can resolve basic software and file issues independently.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

326

Digital Design Foundations: Unit 1 Summative Assessment File Type Identification Quiz: common digital file types used in design (.jpg, .png, .psd, .ai, etc.) and identify appropriate formats for different design purposes. Keyboard Shortcuts Quiz: identify and apply commonly used keyboard shortcuts in design software. Digital Copyright & Fair Use Graphic: create a visual infographic explaining copyright, fair use, and proper attribution practices.

Formative Assessment Completed Content Exercises: Design Software interface scavenger hunt Class discussions

STAGE 3: LEARNING PLAN First Topic: Computer Basics

Estimated # of Lessons: 1

Learning Targets: ● I can identify file types for specific uses in design projects. ● I can apply keyboard shortcuts to improve efficiency. ● I can perform basic operations using design software. ● I can resolve basic software and file issues independently.

Essential Questions: ● What habits keep a designer from losing work or wasting time?

Learning Activities: ● Class discussion and visual brainstorm on “What is digital design?” Identify and categorize common file types. ● Practice customizing the workspace and using keyboard shortcuts efficiently. ● Group tasks simulating “broken files” and “missing fonts”; problem-solve and share strategies. ● Set up folders and naming conventions; compare local vs. cloud systems. Second Topic: Copyright Law

Estimated # of Lessons: 1-2

Learning Targets: ● I can demonstrate ethical, responsible digital use through hypothetical scenarios.

Essential Questions: ● How do I make informed, ethical choices when using and sharing digital media?

Learning Activities: ● Analyze real-world design copyright cases ● Create a visual graphic on fair use guidelines and where to find them

327

Digital Design Foundations: Unit 2 Course Name: Digital Design Foundations Unit 2 Title: Intro to Photoshop Est. # of Lessons: 5-6 Unit Overview: Now that we know how to work smart, we pick up our first major creative tool. Photoshop lets us transform ordinary photos into something extraordinary — painting with digital brushes, blending images, and manipulating color and light to create mood and meaning. By the end, we'll have created original digital paintings and photo composites that tell visual stories. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.HSI: Shape an artistic investigation of an aspect of presentday life using a contemporary practice of art and design. VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.3.HSI: Apply visual organizational strategies to design and produce a work of art that clearly communicates information or ideas. VA:Re9.1.HSI: Apply criteria to evaluate artistic work.

Transfer Goals ●

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Understandings ● ● ●

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Photoshop is both a technical and creative platform for communication through digital imagery. Effective use of layers, adjustments, and selection tools allows artists to enhance and transform visual meaning. The elements of art (line, color, value, texture) and principles of design (contrast, balance, emphasis) guide all composition and editing decisions. Layers are the foundation of nondestructive editing and allow flexibility throughout the creative process.

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How do artists use layers, blend modes, and selection tools to create cohesive digital compositions? How does organization impact the efficiency and effectiveness of digital artwork? In what ways do color blending, value, and filters enhance form, depth, and mood in digital art?

328

Digital Design Foundations: Unit 2 Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Photoshop interface (tools, panels, menus, layers, and adjustment panels) and customization How to save and export digital artwork for multiple purposes (print, screen, web) Selection tools (marquee, lasso, magic wand, quick select) Layer management: stacking, naming, grouping, masking, and blend modes How to use brushes for painting, blending, and texturing How to apply adjustment layers and filters for artistic effects

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I can navigate, customize, and manage the Photoshop workspace and files efficiently. I can use brushes, selections, masks, and blend modes to create digital imagery. I can create a composite image using blend modes and opacity to communicate an idea or mood. I can apply the principles of design and color to improve composition and visual communication. I can reflect on how my design choices affect meaning and viewer interpretation.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Photoshop Digital Artwork (Composite or Digital Painting): Students will create an original digital artwork using layers, selections, masks, brushes, and adjustment tools. The composition should demonstrate effective use of color, value, and design principles to communicate a mood or visual idea.

Critique: Class discussions Exit Ticket: Self-reflection based on the project checklist

STAGE 3: LEARNING PLAN First Topic: Program Basics

Estimated # of Lessons: 1

Learning Targets: ● I can navigate, customize, and manage the Photoshop workspace and files efficiently.

Essential Questions: ● How do artists use layers, blend modes, and selection tools to create cohesive digital compositions? ● How does organization impact the efficiency and effectiveness of digital artwork? ● In what ways do color blending, value, and filters enhance form, depth, and mood in digital art?

Learning Activities: ● Guided Program exploration via the elements of art

329

Digital Design Foundations: Unit 2 Second Topic: Drawing

Estimated # of Lessons: 2-3

Learning Targets: Essential Questions: ● I can use brushes, selections, masks, ● How do artists use layers, blend modes, and blend modes to create digital and selection tools to create cohesive imagery. digital compositions? ● I can apply the principles of design and ● How does organization impact the color to improve composition and visual efficiency and effectiveness of digital communication. artwork? ● I can reflect on how my design choices ● In what ways do color blending, value, affect meaning and viewer and filters enhance form, depth, and interpretation. mood in digital art? Learning Activities: ● Intro to Blending, Forms Drawing ● Apple Drawing Third Topic: Modifiers

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can create a composite image using ● How do artists use layers, blend modes, blend modes and opacity to and selection tools to create cohesive communicate an idea or mood. digital compositions? ● I can apply the principles of design and ● How does organization impact the color to improve composition and visual efficiency and effectiveness of digital communication. artwork? ● I can reflect on how my design choices ● In what ways do color blending, value, affect meaning and viewer and filters enhance form, depth, and interpretation. mood in digital art? Learning Activities: ● Photo Manipulation

330

Digital Design Foundations: Unit 3 Course Name: Digital Design Foundations Unit 3 Title: Intro to Illustrator Est. # of Lessons: 6-7 Unit Overview: Photoshop works with photos — but what about the logos, icons, and typography you see everywhere? That's Illustrator. We'll learn to use the pen tool, shape-building tools, and type tools to create vector graphics that stay crisp from a business card to a billboard. By the end, we'll have designed original icons and a calligram that turns words into visual art STAGE 1: DESIRED RESULTS Established Goals ●

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Transfer Goals ● ● ●

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Understandings ● ● ● ● ●

Vector artwork is created from paths and anchor points, allowing scalability and clean precision. Typography can express tone, emotion, and hierarchy beyond the words themselves. The pen tool, shape builder, and pathfinder are essential for creating complex vector forms. Color choices—particularly within a limited scheme—impact mood, unity, and visual clarity. Design relies on balancing technical control with creative experimentation.

Essential Questions ● ● ● ●

Knowledge ● ●

The difference between vector and raster graphics Illustrator interface: artboards, toolbars, color panels, and layers

How do vector tools allow artists to design with precision and control? How can simple shapes, lines, and typography communicate complex ideas? How can typography be used as both text and image to communicate meaning? How do color and design choices shape mood, unity, and communication?

Skills (Framed as Learning Targets) ● ●

I can navigate and organize the Illustrator workspace. I can draw and edit precise vector paths using the pen tool.

331

Digital Design Foundations: Unit 3 ● ● ● ●

Pen tool mechanics: anchor points, handles, and Bézier curves How to use type tools and adjust kerning, tracking, and alignment (typography) How to apply gradients and monochromatic color schemes (fill, stroke) Shape-building and pathfinder operations for combining or dividing forms

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I can manipulate and stylize text using type tools and shape interactions. I can apply monochromatic color schemes to create mood and unity. I can use the shape builder and pathfinder tools to construct clean, cohesive designs. I can explain why I made specific choices about shape, color, and typography in my designs.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Vector Icon Design: Design an original icon using the pen tool, shapes, and pathfinder operations. Typographic Calligram: Create a calligram in which typography forms a visual image related to the word or concept.

Critique: Class discussions Exit Ticket: Self-reflection based on the project checklist

STAGE 3: LEARNING PLAN First Topic: Program Basics

Estimated # of Lessons: 1

Learning Targets: ● I can navigate and organize the Illustrator workspace.

Essential Questions: ●

How do vector tools allow artists to design with precision and control?

Learning Activities: ● Guided Program exploration via the elements of art Second Topic: Pen Tool

Estimated # of Lessons: 3-4

Learning Targets: ● I can draw and edit precise vector paths using the pen tool. ● I can use the shape builder and pathfinder tools to construct clean, cohesive designs. ● I can explain why I made specific choices about shape, color, and typography in my designs.

Essential Questions: ● How do vector tools allow artists to design with precision and control? ● How can simple shapes, lines, and typography communicate complex ideas? ● How can typography be used as both text and image to communicate meaning?

332

Digital Design Foundations: Unit 3 ●

How do color and design choices shape mood, unity, and communication?

Learning Activities: ● Pen Tool Practice ● Icon Design ● Monochromatic Landscape Third Topic: Typography

Estimated # of Lessons: 2

Learning Targets: ● I can manipulate and stylize text using type tools and shape interactions. ● I can apply monochromatic color schemes to create mood and unity. ● I can explain why I made specific choices about shape, color, and typography in my designs.

Learning Activities: ● Calligram

333

Digital Design Foundations: Unit 4 Course Name: Digital Design Foundations

Unit 4 Title: Intro to InDesign Est. # of Lessons: 3-4

Unit Overview: We can create images and graphics — but how do designers combine text and visuals into something people actually want to read? That's the art of layout. Using InDesign, we'll learn how grids, typography, and white space guide the viewer's eye exactly where we want it to go — then put it into practice with business cards and a magazine spread. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.2.HSI: Shape an artistic investigation using contemporary art and design practices. VA:Cr2.1.HSI: Engage in making a design without having a preconceived plan. VA:Cr2.3.HSI: Apply organizational strategies to produce a work that communicates clearly. VA:Re9.1.HSI: Apply criteria to evaluate artistic work.

Transfer Goals ● ● ●

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Understandings ● ● ● ●

Design layout and typography work together to guide a viewer’s eye and communicate hierarchy. Consistent alignment, margins, and grids create balance and readability. Choice of font, spacing, and image placement affects message and tone. Designers plan for multiple formats (flyer, poster, magazine spread, digital ad) using the same visual principles.

Essential Questions ● ● ●

Knowledge ● ● ● ●

The structure and interface of InDesign (panels, pages, guides, text frames). Core layout principles: alignment, proximity, contrast, repetition, balance. How to use paragraph and character styles for consistent formatting. How to import and manage images and text within a grid.

How can layout and typography work together to communicate a message clearly? What makes a page design visually engaging and readable? Why do designers use grids, alignment, and consistent margins?

Skills (Framed as Learning Targets) ● ● ● ●

I can navigate InDesign’s workspace and create multi-page layouts. I can establish margins, guides, and columns to build visual structure. I can apply text hierarchy using styles, scale, and alignment. I can place, crop, and align images effectively within a design.

334

Digital Design Foundations: Unit 4 ●

How to export print-ready PDFs and digital documents

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I can export layouts in proper print and digital formats. I can look at my own layout and identify what a viewer would see first — and decide if that's what I intended.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Business Card Design: Design a professional Critique: Class discussions business card using typography, alignment, and Exit Ticket: Self-reflection based on the project layout principles. checklist Magazine Layout Spread: Create a two-page magazine layout using grids, image placement, & typographic hierarchy to organize information clearly & visually engage the viewer. STAGE 3: LEARNING PLAN First Topic: Program Basics

Estimated # of Lessons: 1

Learning Targets: ● I can navigate InDesign’s workspace ● I can establish margins, guides, and columns to build visual structure.

Essential Questions: ● What makes a page design visually engaging and readable? ● Why do designers use grids, alignment, and consistent margins?

Learning Activities: ● Guided Program exploration via the principles of design Second Topic: Layout Design

Estimated # of Lessons: 2-3

Learning Targets: ● I can navigate InDesign’s workspace and create multi-page layouts. ● I can apply text hierarchy using styles, scale, and alignment. ● I can place, crop, and align images effectively within a design. ● I can look at my own layout and identify what a viewer would see first — and decide if that's what I intended. ● I can export layouts in proper print and digital formats.

Essential Questions: ● How can layout and typography work together to communicate a message clearly?

Learning Activities: ● Business cards ● Magazine Spread

335

Digital Design Foundations: Unit 5 Course Name: Digital Design Foundations

Unit 5 Title: Animation

Est. # of Lessons: 3-4

Unit Overview: Everything we've created so far has been still. Now we make it move. We'll learn frame-by-frame animation — the same principle behind every cartoon and motion graphic you've ever seen — and export animated GIFs that could live on a real website. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.2.HSI: Shape an artistic investigation using a contemporary practice of art and design. VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.3.HSI: Apply visual organizational strategies to produce a work that communicates clearly. VA:Pr6.1.HSI: Analyze and describe the impact of presentation and audience in design. VA:Re9.1.HSI: Apply criteria to evaluate artistic work.

Transfer Goals ● ● ●

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Understandings ●

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Proper exporting & rendering settings ensure that finished animations play smoothly & maintain quality for digital sharing or presentation. Frame-by-frame animation creates the illusion of movement. Small visual changes between frames can communicate motion. Timing & repetition affect how animation is perceived. Export settings impact how animations display online.

Essential Questions ● ● ●

Knowledge ● ● ●

How to export videos & GIFs properly for web or presentation. What frame animation is (frame, keyframe) How frames are sequenced on a timeline (frames per second)

How do still images create the illusion of motion? How does timing affect the way an animation feels? What can motion communicate that a still image can't?

Skills (Framed as Learning Targets) ● ● ●

I can create a frame-by-frame animation using layers in Photoshop. I can use the Timeline panel to sequence frames. I can adjust timing to control animation speed.

336

Digital Design Foundations: Unit 5 ● ●

Basic animation principles (timing, repetition, movement) How animated graphics are used in digital media and websites

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I can export an animated GIF suitable for web use. I can explain what my animation communicates that a still version of the same graphic wouldn't.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Animated Graphic GIF: Students create a frameby-frame animation using Photoshop’s Timeline panel that demonstrates sequencing, timing, and motion. The final animation is exported as a looping GIF suitable for web display.

Critique: Class discussions Exit Ticket: Self-reflection based on the project checklist

STAGE 3: LEARNING PLAN First Topic: Animation Intro

Estimated # of Lessons: 1

Learning Targets: ● I can create a frame-by-frame animation using layers in Photoshop. ● I can use the Timeline panel to sequence frames. ● I can adjust timing to control animation speed.

Essential Questions: ● How do still images create the illusion of motion? ● How does timing affect the way an animation feels? ● Why might animation be useful in digital design and web content?

Learning Activities: ● Teacher demo: Frame animation in Photoshop ● Guided practice: Animate a simple shape or text ● Preview and adjust timing together as a class Second Topic: Frame Animation

Estimated # of Lessons: 2-3

Learning Targets: ● I can create a frame-by-frame animation using layers in Photoshop. ● I can use the Timeline panel to sequence frames. ● I can adjust timing to control animation speed and export an animated GIF suitable for web use.

Essential Questions: ● How do still images create the illusion of motion? ● How does timing affect the way an animation feels? ● I can explain what my animation communicates that a still version of the same graphic wouldn't.

Learning Activities: Design a simple animated graphic ● Use at least 6–10 frames to show movement or change ● Control timing using the Timeline panel ● Export the animation as a looping GIF ● Reflect on how the animation could be used on a website

337

Digital Design Foundations: Unit 6 Course Name: Digital Design Foundations Est. # of Lessons: 3-4

Unit 6 Title: Web Design & Presentation

Unit Overview: We've built images, graphics, layouts, and animations. Now we bring it all together. We'll explore careers in digital design, then each design and publish a professional website that presents our research and showcases everything we've learned. This is where we stop practicing design and start presenting ourselves as designers. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cn10.1.HSI: Synthesize knowledge of design and technology to make connections to personal and career goals. VA:Pr6.1.HSI: Present work for a specific purpose or audience. VA:Re9.1.HSI: Apply criteria to evaluate and reflect on artistic work.

Transfer Goals ● ● ●

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Understandings ● ● ● ●

Research helps designers discover career options and the skills employers value. Professional portfolios/websites communicate creativity/technical ability. Layout, color, and typography choices affect how information is understood. Clear writing and visual design together make ideas more engaging.

Essential Questions ● ● ●

Knowledge ● ● ● ●

Basic website structure (home page, subpages, navigation bar). Best practices for layout, typography, and image use. File types and copyright for online content . How to cite sources and embed (or hyperlink) images or media (attribution).

Where can digital design skills take me beyond the classroom? How do layout, color, and typography affect how people read information? How can I make my website professional and easy to navigate?

Skills (Framed as Learning Targets) ● ● ● ●

I can research a career in design and summarize findings. I can reflect on personal career interests and goals. I can design and publish a website with multiple pages. I can organize content using headings, images, and links.

338

Digital Design Foundations: Unit 6 ●

I can apply design principles to a digital layout.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Digital Portfolio Website: design and publish a multi-page website that includes career research and showcases selected projects from the course. The website should demonstrate organization, navigation structure, and effective visual design.

Critique: Class discussions Exit Ticket: Self-reflection based on the project checklist

STAGE 3: LEARNING PLAN First Topic: Career Exploration

Estimated # of Lessons: 1

Learning Targets: ● I can research a career in design and summarize findings. ● I can reflect on personal career interests and goals.

Essential Questions: ● Where can digital design skills take me beyond the classroom?

Learning Activities: ● Research and peer discussions Second Topic: Web Design Basics

Estimated # of Lessons: 1

Learning Targets: ● I can design and publish a website with multiple pages and organize content using headings, images, and links. ● I can apply design principles to a digital layout.

Essential Questions: ● Where can digital design skills take me beyond the classroom? ● How do layout, color, and typography affect how people read information? ● How can I make my website professional and easy to navigate?

Learning Activities: Guided mock website creation Third Topic: Website Design

Estimated # of Lessons: 1-2

Learning Targets: ● I can design and publish a website with multiple pages and organize content using headings, images, and links. ● I can apply design principles to a digital layout.

Essential Questions: ● How can I make my website professional and easy to navigate?

Learning Activities: ● Final website design

339

Digital Publications DIGITAL PUBLICATIONS COURSE # WAN208 STEM, HUM)

0.5 credit (FVA,

Prerequisite: WAN105 Dig. Design Foundations This project-based course blends photography, graphic design, and editorial production as students work to create real-world publications like yearbooks, newsletters, and promotional campaigns. Students will learn layout design, visual storytelling, branding, and screen printing techniques while using tools like Adobe InDesign, Photoshop, and Lightroom. From capturing compelling photos to designing polished layouts and promotional graphics, students will gain hands-on experience in every stage of publication. This course emphasizes collaboration, creativity, and career readiness, and is ideal for students interested in media, web and/or print design, marketing, or journalism.

340

Digital Publications (Semester Course) This project-based course blends photography, graphic design, and editorial production as students work to create real-world publications like yearbooks, newsletters, and promotional campaigns. Students will learn layout design, visual storytelling, branding, and screen printing techniques while using tools like Adobe InDesign, Photoshop, and Lightroom. From capturing compelling photos to designing polished layouts and promotional graphics, students will gain hands-on experience in every stage of publication. This course emphasizes collaboration, creativity, and career readiness, and is ideal for students interested in media, web and/or print design, marketing, or journalism. Unit 1: Introduction to Publications 3 Lessons

Unit 2: Photography for Publication 3-4 Lessons

Unit 3: Graphic Design 3-5 Lessons

Unit 4: Screen Printing 5 Lessons

Unit 5: Publication Development 6 Lessons

Unit 6: Brand Identity 5 Lessons

We start by asking a simple question: why do publications exist? We'll look closely at real examples — yearbooks, magazines, flyers, campaigns — and learn to read them the way designers do. By the time we're done, we'll understand that every layout choice, every color, every font is a decision made for a reason. That critical eye travels with us for the rest of the course.

Now that we know what makes a publication work, we learn to create the images that live inside one. We'll explore how photographic choices — what we frame, what we leave out, how we sequence images — shape what a reader feels and understands. The photos we capture here become the raw material we'll design with in Unit 3.

We have images. We have a sense of audience. Now we learn how to bring it all together on a page. We'll discover that great layout design is about guiding the reader's eye before they even realize it's happening — through hierarchy, typography, alignment, and white space. We'll design real layouts using our own photography, and we'll see how design can elevate content or quietly undermine it.

So far we've worked entirely on screen, where editing is easy and mistakes are cheap. Now we take our designs into the physical world. Screen printing teaches us that production has constraints — and that working within those constraints actually makes us sharper designers. What we learn here about bold, deliberate design choices will make our digital work stronger when we return to it in Unit 5.

This is where everything we've built comes together. We'll plan, design, and produce a real publication — working under deadlines, making editorial decisions, and maintaining consistency across every page. We'll learn that a publication isn't a collection of great individual pieces. It's a system, and every choice either holds it together or pulls it apart.

We close the course by zooming out. We'll develop a cohesive brand identity — one that ties color, typography, tone, and imagery into something recognizable and intentional. Then we'll present our body of work and do what designers do every day: explain what we made, why we made it, and who it's for.

341

Digital Publications: Unit 1 Course Name: Digital Publications

Unit 1 Title: Introduction to Publications

Est. # of Lessons: 3

Unit Overview: We start by asking a simple question: why do publications exist? We'll look closely at real examples — yearbooks, magazines, flyers, campaigns — and learn to read them the way designers do. By the time we're done, we'll understand that every layout choice, every color, every font is a decision made for a reason. That critical eye travels with us for the rest of the course. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ●

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Understandings ● ● ●

Every element of a publication—layout, color, typography, imagery—is a deliberate decision for a specific audience & purpose. How information is arranged on a page shapes what readers notice, believe, and remember. Consistent branding signals to an audience who a publication is for before they read a single word.

Essential Questions ● ●

Knowledge ● ● ●

The types and purposes of publications such as yearbooks, magazines, newsletters, and promotional materials. The components of publication layouts, including headlines, body text, captions, margins, and white space. How branding and visual identity create consistency and align with a target audience.

Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

Why do publications exist, and who are they designed for? How do layout and branding choices influence how information is understood?

Skills (Framed as Learning Targets) ● ● ●

I can analyze the purpose and audience of a publication. I can identify key components of a publication layout. I can explain how branding choices support a publication’s message.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE

342

Digital Publications: Unit 1 Summative Assessment

Formative Assessment

Publication Analysis & Redesign: Students analyze an existing publication and redesign a single page or spread to better communicate purpose, audience, and hierarchy.

Completed Content Exercises: ● Publication critique discussions ● Layout labeling activity Exit Ticket: Reflections on audience and purpose

STAGE 3: LEARNING PLAN First Topic: Purpose & Power of Publications

Estimated # of Lessons: 1

Learning Targets : ● I can analyze the purpose and audience of a publication. ● I can explain how branding choices support a publication’s message.

Essential Questions: ● Why do publications exist, and who are they designed for?

Learning Activities: ● Publication gallery walk (yearbooks, magazines, flyers, digital publications) ● Audience identification challenge (Who is this for? What clues tell us?) ● Small-group discussion: purpose vs. persuasion vs. information ● Quick written reflection connecting audience to design choices Second Topic: Anatomy of a Layout

Estimated # of Lessons: 1

Learning Targets: ● I can identify key components of a publication layout. ● I can analyze the purpose & audience of a publication.

Essential Questions: ● How do layout and branding choices influence how information is understood?

Learning Activities: ● Layout deconstruction (label headlines, body text, captions, margins) ● Hierarchy ranking exercise (what do you notice first, second, third?) ● Before/after layout comparisons ● Sketch-based layout redesign focusing on readability Third Topic: Branding & Audience

Estimated # of Lessons: 1

Learning Targets: ● I can explain how branding choices support a publication’s message. ● I can analyze the purpose and audience of a publication.

Essential Questions: ● How do layout and branding choices influence how information is understood?

Learning Activities: ● Brand comparison activity (consistent vs. inconsistent publications) ● Color, font, and tone analysis tied to audience ● Mini redesign challenge: adjust branding elements for a new audience ● Exit ticket: explain one branding decision using correct vocabulary

343

Digital Publications: Unit 2 Course Name: Digital Publications

Unit 2 Title: Photography for Publications

Est. # of Lessons: 3-4

Unit Overview: Now that we know what makes a publication work, we learn to create the images that live inside one. We'll explore how photographic choices — what we frame, what we leave out, how we sequence images — shape what a reader feels and understands. The photos we capture here become the raw material we'll design with in Unit 3. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

MA:Cr3.1.I: Refine media artworks to improve clarity and purpose MA:Re7.1.I : Analyze how components communicate meaning MA:Re8.1.I: Interpret intent and meaning MA:Pr4.1.I: Integrate content and form into unified productions VA:Cr2.3.I: Select and organize images and words to communicate clearly VA:Cr3.1.I: Revise and refine using criteria VA:Re7.2.I: Analyze how images influence meaning and audience

Transfer Goals ● ● ●

Understandings ● ● ● ●

A photograph doesn't just document a moment — it constructs one through the choices a photographer makes. Composition and framing determine what a viewer notices, feels, and believes about a subject. Image selection is an editorial decision — choosing what to include shapes what the story becomes. The sequence in which images appear shapes the story a reader constructs from them.

Essential Questions ● ●

Knowledge ● ● ●

The role of photography in publications, including editorial, documentary, and promotional imagery. How composition, framing, focal point, and subject placement influence how viewers interpret meaning. How image selection and sequencing

Build visual literacy skills through interpretation and analysis of visual language (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions for a target audience (VOG: Effective Communicators) Initiate and follow through on creative projects with adaptability and purpose (VOG: Self-Directed Learners)

How do photographs communicate information and story within a publication? How do photographic choices influence what an audience notices and remembers?

Skills (Framed as Learning Targets) ● ● ●

I can analyze photographs used in publications for purpose, audience, and impact. I can capture photographs intentionally designed for publication use. I can select and sequence images to support visual storytelling.

344

Digital Publications: Unit 2

●

support visual storytelling within a publication. How photographers consider audience, context, and purpose when creating images for editorial use. STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Photography for Publication Spread: Students plan, capture, and curate a small set of photographs intended for a publication context (article, feature, or spread), demonstrating intentional composition, storytelling, and audience awareness.

Completed Content Exercises: ● Photo analysis discussions ● Contact sheet review and selection rationale ● Composition practice critiques Exit Ticket: Reflections on storytelling and audience impact

STAGE 3: LEARNING PLAN First Topic: Photography as Communication

Estimated # of Lessons: 1

Learning Targets: ● I can analyze photographs used in publications for purpose, audience, and impact.

Essential Questions: ● How do photographs communicate information and story within a publication?

Learning Activities: ● Gallery walk of editorial photography ● Group discussion: What story is this image telling? ● Audience inference challenge using photographs alone ● Written reflection: image meaning vs. viewer interpretation Second Topic: Composition for Publication

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ●

I can capture photographs intentionally designed for publication use. I can analyze photographs used in publications for purpose and impact.

●

How do photographic choices influence what an audience notices and remembers?

Learning Activities: ● ● ● ●

Composition mini-lessons (framing, focal point, balance) In-class shooting challenges Before/after composition comparisons Peer critique focused on clarity and emphasis

345

Digital Publications: Unit 2 Third Topic: Image Selection & Visual Storytelling

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

● ●

I can select and sequence images to support visual storytelling. I can analyze photographs used in publications for purpose and audience.

●

How do photographs communicate information and story within a publication?

Learning Activities: ● ● ● ●

Contact sheet review and editing decisions Image sequencing exercises (best image ≠ best story image) Caption-free storytelling challenge Draft layout planning for summative spread

346

Digital Publications: Unit 3 Course Name: Digital Publications

Unit 3 Title: Graphic Design

Est. # of Lessons: 3-5

Unit Overview: We have images. We have a sense of audience. Now we learn how to bring it all together on a page. We'll discover that great layout design is about guiding the reader's eye before they even realize it's happening — through hierarchy, typography, alignment, and white space. We'll design real layouts using our own photography, and we'll see how design can elevate content or quietly undermine it. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

VA:Cr2.3.I : Select, organize, and design images and words to communicate meaning VA:Cr3.1.I: Apply relevant criteria to revise and refine work VA:Re7.2.I: Analyze how visual imagery influences meaning and audience VA:Pr5.1.I: Analyze and apply methods for preparing work for presentation MA:Cr3.1.I: Refine media artworks to improve clarity and purpose MA:Re7.1.I: Analyze how media components communicate meaning MA:Pr4.1.I: Integrate content and form into unified media productions

Transfer Goals ● ●

●

Understandings ● ● ● ●

Great design guides the reader's eye before they realize it's happening. Hierarchy determines what a reader notices first, next, and last — and that sequence shapes meaning. Typography is not just how words look — it's part of what they say. Consistency across a publication signals to readers that someone is in control of the experience.

Essential Questions ● ●

Knowledge

●

white space guide how information is read and understood. How typography choices influence readability, tone, and audience perception.

How do layout and design choices influence how information is understood? How do designers guide what a viewer notices first, next, and last?

Skills (Framed as Learning Targets) ●

● How layout hierarchy, alignment, and

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

● ●

I can design publication layouts that communicate clearly to a specific audience. I can use hierarchy, alignment, and typography intentionally in a layout. I can analyze and revise layouts based on design principles and criteria.

347

Digital Publications: Unit 3

●

How consistent design systems and grid structures improve clarity and professionalism in publications. How design decisions connect to audience, purpose, and communication goals.

●

I can justify layout and typography choices using design vocabulary.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Publication Layout Project: Students design a publication page or spread (article, feature, or editorial layout) that demonstrates clear hierarchy, effective typography, and audience awareness. Students revise work based on critique and justify design decisions.

Completed Content Exercises: ● Layout analysis critiques ● Typography practice tasks ● Hierarchy sketch checks ● Peer feedback and revision logs Exit Ticket: Reflections on using design vocabulary

STAGE 3: LEARNING PLAN First Topic: Layout & Hierarchy

Estimated # of Lessons: 1-2

Learning Targets:

Relevant Essential Questions (from Stage 1):

● ●

I can design publication layouts that communicate clearly to a specific audience. I can use hierarchy, alignment, and typography intentionally in a layout.

●

How do layout and design choices influence how information is understood?

Learning Activities: ● ● ● ●

Professional layout analysis (magazines, yearbooks, digital spreads) Hierarchy ranking exercise (what do you see first, second, third?) Sketching layout thumbnails Digital layout construction practice

Second Topic: Typography & Readability

Estimated # of Lessons: 1-2

Learning Targets: ● I can use hierarchy, alignment, and typography intentionally in a layout. ● I can design layouts that communicate clearly to a specific audience.

Essential Questions: ●

How do designers guide what a viewer notices first, next, and last?

Learning Activities: ● ●

Typography comparison activities Readability testing challenges

348

Digital Publications: Unit 3 ● ●

Type hierarchy redesign exercises Peer critique focused on text clarity

Third Topic: Consistency, Revision & Refinement

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ●

I can analyze and revise layouts based on design principles and criteria. I can justify layout and typography choices using design vocabulary.

●

How do layout and design choices influence how information is understood?

Learning Activities: ● ● ● ●

Consistency audits across layouts Guided critique and revision cycles Final layout refinement for summative submission Written design justification

349

Digital Publications: Unit 4 Course Name: Digital Publications Est. # of Lessons: 5

Unit 4 Title: Screen Printing & Promotional Design

Unit Overview:So far we've worked entirely on screen, where editing is easy and mistakes are cheap. Now we take our designs into the physical world. Screen printing teaches us that production has constraints — and that working within those constraints actually makes us sharper designers. What we learn here about bold, deliberate design choices will make our digital work stronger when we return to it in Unit 5. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ●

VA:Cr2.1.I: Experiment, plan, and make works using appropriate tools and processes VA:Cr3.1.I: Apply criteria to revise and refine work VA:Pr5.1.I: Analyze and apply methods for preparing work for presentation VA:Pr6.1.I: Share and justify presentation choices MA:Cr2.1.I: Develop and organize ideas, plans, and models for media productions MA:Cr3.1.I: Refine media artworks for technical quality and purpose MA:Pr5.1.I: Demonstrate technical skills and workflow roles in producing media

Transfer Goals ● ●

●

Understandings ● ● ● ●

Digital designs often must be adapted for physical production Print processes impose constraints that influence design decisions Preparation and craftsmanship directly affect print quality Promotional materials support and extend publication identity

Essential Questions ● ●

Knowledge ● ● ●

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do production constraints shape design decisions? How does translating a digital design into a physical format change the creative process?

Skills (Framed as Learning Targets)

The screen printing process, including stencils, emulsion preparation, registration, and ink transfer. How digital artwork must be prepared and simplified for successful physical printing.

●

How contrast, positive and negative space,

●

● ●

I can adapt digital designs for physical production constraints. I can prepare artwork for screen printing accurately and intentionally. I can evaluate printed results and revise designs accordingly. I can explain the design decisions I made in

350

Digital Publications: Unit 4

●

and color choices affect print clarity and quality. How promotional materials extend and reinforce a publication’s visual identity.

●

response to production constraints. I can present work professionally and explain production decisions.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Screen-Printed Promotional Piece: Students design and produce a screen-printed promotional item (poster, tote, or shirt) that supports a publication’s identity. Students justify design adaptations made for the printing process and evaluate final print quality.

Completed Content Exercises: ● Artwork preparation checks ● Print setup observations ● Test print evaluations ● Peer feedback on clarity and contrast Exit Ticket: Reflecting on production decisions

STAGE 3: LEARNING PLAN First Topic: Designing for Print Constraints

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

● ●

I can adapt digital designs for physical production constraints. I can explain the design decisions I made in response to production constraints.

●

How do production constraints shape design decisions?

Learning Activities: ● ● ● ●

Digital vs printed design comparisons Simplification challenge (reduce complexity for print) Contrast and legibility tests Design revision based on print limitations

Second Topic: Screen Printing Process & Preparation

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

●

I can prepare artwork for screen printing accurately and intentionally.

●

How does translating a digital design into a physical format change the creative process?

Learning Activities: ●

Screen prep demonstration

351

Digital Publications: Unit 4 ● ● ●

Artwork output and transparency preparation Registration practice Test printing and adjustment

Third Topic: Printing, Evaluation & Revision

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ● ●

I can evaluate printed results and revise designs accordingly. I can present work professionally and explain production decisions. I can explain the design decisions I made in response to production constraints.

●

How do production constraints shape design decisions?

Learning Activities: ● ● ● ●

Final printing session Print quality evaluation rubric Written reflection on design adaptations Group critique

352

Digital Publications: Unit 5 Course Name: Digital Publications

Unit 5 Title: Publication Development

Est. # of Lessons: 6

Unit Overview: This is where everything we've built comes together. We'll plan, design, and produce a real publication — working under deadlines, making editorial decisions, and maintaining consistency across every page. We'll learn that a publication isn't a collection of great individual pieces. It's a system, and every choice either holds it together or pulls it apart. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ●

Transfer Goals ●

●

Understandings ● ● ● ●

Professional publication production requires planning, collaboration, and consistent design systems. Editorial decisions shape how stories and information are communicated Revision and critique improve clarity and quality Deadlines and workflow management are essential to professional production

Essential Questions ● ●

Knowledge ● ●

The stages of publication production, including planning, design, revision, and final production. The roles and responsibilities within a

Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment to creative contributions in society. (VOG: Responsible Citizens)

How do individual design choices contribute to a cohesive publication? What does it take to move from individual pieces to a finished publication?

Skills (Framed as Learning Targets) ● ●

I can contribute effectively to the planning and production of a publication. I can design and revise layouts that align with an established publication identity.

353

Digital Publications: Unit 5

● ●

publication team, such as editors, designers, photographers, and content creators. How consistency across layouts, typography, and imagery supports clarity and professionalism. How critique, revision, and deadlines function within a collaborative production workflow.

● ●

I can meet deadlines and adapt work based on feedback and production needs. I can present work professionally and explain my design decisions

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Collaborative Publication Project: Students work individually or in teams to design and produce a cohesive publication (digital or print). Each student contributes assigned content and layouts, revises work through critique cycles, and meets production deadlines. Students submit a brief reflection explaining their role and design decisions.

Completed Content Exercises: ● Planning documents and production schedules ● Draft layout critiques ● Consistency checks ● Peer and instructor feedback sessions ● Deadline checkpoints

STAGE 3: LEARNING PLAN First Topic: Planning & Editorial Structure

Estimated # of Lessons: 2

Learning Targets :

Essential Questions:

●

I can contribute effectively to the planning and production of a publication.

●

What does it take to move from individual pieces to a finished publication?

Learning Activities: ● ● ● ●

Publication planning meeting simulation Content mapping and sequencing Role assignment (editor, designer, photographer, etc.) Timeline and deadline planning for each production role

Second Topic: Design, Revision & Consistency

Estimated # of Lessons: 3

Learning Targets: ● I can design and revise layouts that align with an established publication identity. ● I can meet deadlines and adapt work based on feedback and production needs.

Essential Questions: ●

How do individual design choices contribute to a cohesive publication?

354

Digital Publications: Unit 5 Learning Activities: ● ● ● ●

Production work sessions Guided critique cycles Consistency audits across pages Instructor check-ins

Third Topic: Final Production & Presentation

Estimated # of Lessons: 1

Learning Targets: ● I can meet deadlines and adapt work based on feedback and production needs. ● I can present work professionally and explain my design decisions.

Essential Questions: ●

What does it take to move from individual pieces to a finished publication?

Learning Activities: ● ● ● ●

Final layout refinements Export and submission preparation Group reflection and critique Production wrap-up discussion

355

Digital Publications: Unit 6 Course Name: Digital Publications

Unit 6 Title: Brand Identity

Est. # of Lessons: 5

Unit Overview: We close the course by zooming out. We'll develop a cohesive brand identity — one that ties color, typography, tone, and imagery into something recognizable and intentional. Then we'll present our body of work and do what designers do every day: explain what we made, why we made it, and who it's for. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

VA:Cr2.1.I: Experiment, plan, and make works using appropriate tools and processes VA:Cr3.1.I: Apply criteria to revise and refine work VA:Pr6.1.I: Share and justify presentation choices MA:Cr2.1.I: Develop and organize ideas, plans, and models for media productions MA:Cr3.1.I: Refine media artworks for technical quality and purpose MA:Pr6.1.I: Evaluate and refine media work for presentation and distribution

Transfer Goals ●

●

Understandings ● ● ● ●

A strong brand identity relies on consistency, clarity, and intent. Design choices communicate values, tone, and audience focus. Professional presentation requires reflection and justification. Growth as a designer becomes visible when you can explain not just what you made, but why every choice matters.

Essential Questions ● ●

Knowledge ● ●

●

The components of a brand identity, including color palettes, typography systems, tone, and visual style. How consistent visual choices across layouts and promotional materials strengthen recognition and communication. How designers prepare and present work professionally for critique, publication, or

Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How does a cohesive visual identity strengthen communication across media? How do designers communicate their thinking and growth through their work?

Skills (Framed as Learning Targets) ● ● ●

I can develop a cohesive brand identity for a publication or organization. I can apply consistent design choices across multiple publication assets. I can present my design work in a clear and professional format.

356

Digital Publications: Unit 6 ●

portfolio use. How reflecting on design decisions and creative growth supports professional communication. STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Brand Identity Capstone Project: Students develop a cohesive brand identity for a publication, organization, or personal project. The capstone includes a logo, color palette, and typography system, along with publication layout examples, a promotional graphic or screen-printed item, and a one-page portfolio website presenting the brand.

Completed Content Exercises: ● Brand concept sketches and planning documents ● Identity consistency checks ● Draft asset critiques ● Presentation rehearsal feedback Exit Ticket: Reflection prompts

STAGE 3: LEARNING PLAN First Topic: Brand Identity Development

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

●

I can develop a cohesive brand identity for a publication or organization.

●

How does a cohesive visual identity strengthen communication across media?

Learning Activities: ● ● ● ●

Brand analysis of real publications Identity brainstorming and mood boards Color and typography selection Brand direction approval checkpoint

Second Topic: Applying Brand Identity Across Assets

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

● ●

I can apply consistent design choices across multiple publication assets. I can present my design work in a clear and professional format.

●

How does a cohesive visual identity strengthen communication across media?

Learning Activities:

357

Digital Publications: Unit 6 ● ● ● ● ●

Examine examples of designer portfolio websites Translate brand identity elements into a simple website layout Build a one-page brand portfolio site including: brand logo, color palette, typography, sample publication layouts, and promotional material Review site organization and visual consistency Peer feedback on clarity and brand communication

Third Topic: Capstone Presentation & Reflection

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can present my design work in a clear and professional format.

●

How do designers communicate their thinking and growth through their work?

Learning Activities: ● ● ● ●

Portfolio curation Presentation preparation Final critique and showcase Written reflection and self-assessment

358

Digital Design II: Photoshop DIGITAL DESIGN II: PHOTOSHOP COURSE # WAN205 STEM, HUM)

0.5 credit (FVA,

Prerequisite: WAN105 Dig. Design Foundations Students will build upon knowledge gained in Digital Design Foundations to explore advanced concepts and tools in Adobe Photoshop. Through hands-on projects and realworld design challenges, students will deepen their technical proficiency in areas such as photo manipulation, non-destructive editing, color correction, typography, and layout design. Emphasis will be placed on creative problem-solving, professional workflows, and preparation for industry standards. The course will conclude with students taking the Adobe Certified Professional Exam in Photoshop, providing the opportunity to earn a career-readiness credential that demonstrates industry competence and enhances future academic or employment pathways.

359

Digital Design II: Photoshop (Semester Course) We learned the basics of Photoshop in Digital Design Foundations. Now we go deeper — from casual users to working designers. This course follows the arc of a real professional project: set up the workspace, organize files, create and edit visual elements, refine and retouch images, and deliver finished work that meets industry specifications. Along the way, we'll develop the visual judgment, professional vocabulary, and workflow habits needed to earn the Adobe Certified Professional credential in Photoshop. Unit 1: Interface 3 Lessons

Unit 2: Organizing Documents 3 Lessons

Unit 3: Visual Elements 6 Lessons

Unit 4: Image Adjustment 6 Lessons

Unit 5: Publishing 6 Lessons

Unit 6: Design Industry 6 Lessons

Professional designers don't just open Photoshop and start clicking — they set up every project with intention. We start this course the same way: choosing the right document settings for print, web, or video, customizing our workspace for speed, and organizing assets before we create. These setup habits are easy to skip and hard to fix later.

We used layers in Foundations. Now we learn to think with them. Professional files can contain dozens of layers, and the difference between a file that's easy to revise and one that's a nightmare comes down to organization. We'll learn to use grouping, masking, blending modes, and nondestructive workflows that keep every decision reversible.

Our workspace is set up and our files are organized. Now we start making things. We'll create raster and vector graphics, manipulate typography, and use selections and transformations to build compositions with precision. The real skill isn't knowing every tool — it's knowing which one to reach for and why.

A great photo and a published photo are rarely the same image. Now we learn the editing skills that close that gap — correcting color and exposure, retouching flaws, and applying filters and styles with intention. The key principle: every edit should make the image stronger without making it look edited.

We've created, edited, and refined our work. Now it has to go somewhere — a website, a printer, a video, a client's inbox. Choosing the wrong format, resolution, or color space can ruin hours of creative work in the final step. We'll learn to prepare and export files so they look exactly as we intended, no matter where they end up.

Knowing Photoshop is one thing. Thinking like a designer is another. In this final unit, we step back from the tools and focus on the decisions that come before and after the creative work — identifying purpose and audience, navigating copyright, and using professional language to explain and defend our choices. This is where technical skill becomes professional practice — and where we prepare to prove it on the Adobe Certified Professional exam.

360

Digital Design II: Unit 1 Course Name: Digital Design II: Photoshop

Unit 1 Title: Interface

Est. # of Lessons: 3

Unit Overview: Professional designers don't just open Photoshop and start clicking — they set up every project with intention. We start this course the same way: choosing the right document settings for print, web, or video, customizing our workspace for speed, and organizing assets before we create. These setup habits are easy to skip and hard to fix later. STAGE 1: DESIRED RESULTS Established Goals ●

●

VA:Cr1.2.HSII: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design.

Transfer Goals ● ●

●

Understandings ● ● ● ● ● ●

Correct document setup affects image quality, performance, and final output. Photoshop’s interface can be customized to improve workflow efficiency. Non-printing tools such as rulers, guides, and grids support accuracy and alignment. Proper asset importing and organization prevents errors and workflow disruptions. Managing colors, brushes, styles, and patterns supports consistency across designs. Efficient setup and navigation are critical for success on the Adobe Certified Professional exam.

Essential Questions ● ●

Knowledge ● ● ●

How to select appropriate document settings based on output purpose (print, web, video). How resolution, color mode, bit depth, and canvas size impact image quality. How the Photoshop interface is organized and how panels, tools, and menus work

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Why does professional-quality work begin before any editing happens? How do setup, navigation, and/or asset choices affect the success of a project from start to finish?

Skills (Framed as Learning Targets) ● ● ●

I can set up a Photoshop document with the right settings for its intended output — and explain why those settings matter. I can customize my workspace and preferences to support how I work. I can import, organize, and manage assets so a project stays efficient as it grows.

361

Digital Design II: Unit 1 ● ● ● ● ●

together. How and why to customize workspaces and application preferences. How non-printing tools (rulers, guides, grids, zooming, panning) support layout accuracy. The difference between opening, placing, embedding, and linking assets. How foreground/background colors, swatches, and gradients support consistent design. Why organized setup and resource management improve workflow and exam performance.

● ●

I can identify and fix setup problems before they affect the final output. I can organize and apply colors, swatches, and gradients

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Photoshop Project Setup & Workflow Practical: Create Photoshop documents for multiple output purposes (print, web, and screen), configure workspace and preferences, import and manage assets, and demonstrate accurate layout using non-printing tools while maintaining organized, professional files.

Completed Content Exercises: ● Workspace and interface identification checks ● Document setup exit tickets ● Asset import practice tasks ● Preference configuration checks ● Instructor observation during guided practice

STAGE 3: LEARNING PLAN First Topic: Photoshop Interface & Preferences

Estimated # of Lessons: 1

Learning Targets : Essential Questions: ● I can set up a Photoshop document with ● Why does professional-quality work begin the right settings for its intended output — before any editing happens? and explain why those settings matter. ● I can customize my workspace and preferences to support how I work. ● I can identify and fix setup problems before they affect the final output. Learning Activities: ● Demonstration of document setup options ● Guided comparison of output types ● Preset creation and reuse activity ● Exam-style scenario questions ● Interface walkthrough ● Workspace customization challenge ● Preferences exploration checklist

362

Digital Design II: Unit 1 Second Topic: Navigation

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can customize my workspace and ● How do setup, navigation, and/or asset preferences to support how I work. choices affect the success of a project from ● I can identify and fix setup problems before start to finish? they affect the final output. Learning Activities: ● Zoom, pan, and canvas navigation drills ● Rulers, guides, and grid setup practice ● Alignment accuracy challenge Third Topic: Importing Assets

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can import, organize, and manage assets ● How do setup, navigation, and/or asset so a project stays efficient as it grows. choices affect the success of a project from ● I can identify and fix setup problems before start to finish? they affect the final output. ● I can organize and apply colors, swatches, and gradients Learning Activities: ● Asset import comparison (open vs place vs paste) ● Camera Raw walkthrough ● Swatch, gradient, and brush organization activity

363

Digital Design II: Unit 2 Course Name: Digital Design II: Photoshop

Unit 2 Title: Organizing Documents

Est. # of Lessons: 3

Unit Overview: We used layers in Foundations. Now we learn to think with them. Professional files can contain dozens of layers, and the difference between a file that's easy to revise and one that's a nightmare comes down to organization. We'll learn to use grouping, masking, blending modes, and nondestructive workflows that keep every decision reversible. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Re9.1.HSII: Establish relevant criteria in order to evaluate a work of art or collection of works.

Transfer Goals ● ●

●

Understandings ● ● ● ● ●

Layers allow designers to organize and manage complex documents efficiently. Different layer types serve different purposes within a Photoshop file. Masks and blending modes control visibility without permanently altering image data. Nondestructive editing preserves flexibility and editability. Professional document organization improves workflow efficiency and exam performance.

Essential Questions ● ●

Knowledge ● ● ● ● ●

How layers function as the foundation for organizing visual content in Photoshop. How different layer types serve different purposes within a document. How grouping, naming, and ordering layers improves workflow efficiency. How opacity, fill, and blending modes affect layer visibility and interaction. How layer masks and clipping masks

Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

What makes a Photoshop file easy to revise — and what makes it a nightmare? When is it worth the extra effort to keep an edit reversible?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can use the Layers panel to manage visual content. I can identify and differentiate between layer types. I can modify layer visibility using opacity, blending modes, and masks. I can apply masks to control visibility nondestructively. I can choose between destructive and

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Digital Design II: Unit 2 ● ● ●

control visibility without deleting pixels. The difference between destructive and nondestructive editing workflows. Why Smart Objects, Smart Filters, and adjustment layers preserve editability. How organized layer structure supports professional practice and exam success.

● ●

nondestructive methods and explain why I chose one over the other. I can apply Smart Objects, Smart Filters, and adjustment layers appropriately. I can organize layers in a complex Photoshop document.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Layered Document Workflow Practical: Create a multi-layer Photoshop document using masks, blending modes, and nondestructive editing techniques to organize and manage complex visual content.

Completed Content Exercises: ● Layers panel skill checks ● Masking practice activities ● Layer-type identification quizzes ● Teacher observation during guided practice Exit Ticket: Reflections with scenario-based exam questions

STAGE 3: LEARNING PLAN First Topic: Layers Panel & Organization

Estimated # of Lessons: 1

Learning Targets: ● I can use the Layers panel to manage visual content. ● I can organize layers in a complex Photoshop document.

Essential Questions: ● What makes a Photoshop file easy to revise — and what makes it a nightmare?

Learning Activities: ● Layers panel walkthrough ● Layer organization checklist activity ● File clean-up challenge (exam-style) Second Topic: Layer Types & Visibility Controls

Estimated # of Lessons: 1

Learning Targets: ● I can identify and differentiate between layer types. ● I can modify layer visibility using opacity, blending modes, and masks.

Essential Questions: ● When is it worth the extra effort to keep an edit reversible?

Learning Activities: ● Layer type comparison activity ● Opacity vs. blend mode experimentation ● Mask application practice

365

Digital Design II: Unit 2 Third Topic: Masks & Nondestructive Editing

Estimated # of Lessons: 1

Learning Targets: ● I can apply masks to control visibility nondestructively. ● I can choose between destructive and nondestructive methods and explain why I chose one over the other. ● I can apply Smart Objects, Smart Filters, and adjustment layers appropriately.

Essential Questions: ● When is it worth the extra effort to keep an edit reversible?

Learning Activities: ● Mask refinement exercises ● Smart Object vs raster comparison ● Nondestructive workflow decision scenarios

366

Digital Design II: Unit 3 Course Name: Digital Design II: Photoshop

Unit 3 Title: Visual Elements

Est. # of Lessons: 6

Unit Overview: Our workspace is set up and our files are organized. Now we start making things. We'll create raster and vector graphics, manipulate typography, and use selections and transformations to build compositions with precision. The real skill isn't knowing every tool — it's knowing which one to reach for and why. STAGE 1: DESIRED RESULTS Established Goals ●

●

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

Photoshop includes both raster-based and vector-based tools. Different tools are designed for specific visual tasks. Accurate selections and transformations are essential for professional editing. Typography choices affect readability, hierarchy, and communication. Efficient tool selection improves workflow and exam performance.

Essential Questions ● ● ●

Knowledge ● ● ● ● ● ●

The difference between raster and vector elements in Photoshop. How core tools are used to create and modify visual elements. How selections control where edits are applied. How selection refinement improves accuracy and realism. How text functions as a design element and can be edited or rasterized. The difference between resizing and

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

How does effective typography improve communication and hierarchy (what a viewer notices first and remembers most)? How do I decide which tool is right for the job? What makes a composition feel intentional rather than assembled?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can create and edit raster images using core Photoshop tools. I can create and edit vector shapes and paths. I can add and format text using character and paragraph settings. I can convert text to raster graphics when appropriate. I can make, refine, save, and load selections. I can transform images, layers, and selections accurately.

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Digital Design II: Unit 3 ● ●

resampling images. How transformations affect scale, orientation, and layout. Why selecting the appropriate tool improves efficiency and accuracy STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Visual Elements Creation Project: Students design a Photoshop composition incorporating raster and vector elements, typography, selections, and transformations while selecting tools appropriate to each task.

Completed Content Exercises: ● Tool-identification checks ● Selection-refinement practice activities ● Typography formatting exercises ● Transformation accuracy challenges Exit Ticket: Reflections using scenario-based exam questions

STAGE 3: LEARNING PLAN First Topic: Raster & Vector Image Creation

Estimated # of Lessons: 2

Learning Targets:: ● I can create and edit raster images using core Photoshop tools. ● Create and edit vector shapes and paths.

Essential Question : ● How do I decide which tool is right for the job? ● What makes a composition feel intentional rather than assembled?

Learning Activities: ● Raster vs. vector comparison ● Tool-based drawing exercises ● Shape and path editing practice Second Topic: Typography

Estimated # of Lessons: 2

Learning Targets: ● I can add and format text using character and paragraph settings. ● I can convert text to raster graphics when appropriate.

Essential Questions: ● How does effective typography improve communication and hierarchy (what a viewer notices first and remembers most)? ● What makes a composition feel intentional rather than assembled?

Learning Activities: ● Typography formatting practice ● Hierarchy and readability exercises ● Rasterizing type scenarios

368

Digital Design II: Unit 3 Third Topic: Making/Modifying Selections & Transformations

Estimated # of Lessons: 2

Learning Targets: ● I can transform images, layers, and selections accurately. ● I can make, refine, save, and load selections.

Essential Questions: ● How do I decide which tool is right for the job? ● What makes a composition feel intentional rather than assembled?

Learning Activities: ● Resize vs. resample comparisons ● Transform tool exercises ● Precision transformation challenges ● Selection tool comparison ● Select and Mask workspace practice ● Selection refinement challenges

369

Digital Design II: Unit 4 Course Name: Digital Design II: Photoshop

Unit 4 Title: Image Adjustment

Est. # of Lessons: 6

Unit Overview: A great photo and a published photo are rarely the same image. Now we learn the editing skills that close that gap — correcting color and exposure, retouching flaws, and applying filters and styles with intention. The key principle: every edit should make the image stronger without making it look edited. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

Transfer Goals ●

●

Understandings ● ● ● ● ● ●

Image adjustments affect tone, color, contrast, and overall visual impact. Retouching tools are designed for specific reconstruction and repair tasks. Over-editing can reduce realism and credibility. Nondestructive workflows preserve flexibility and image quality. Filters and styles can be applied destructively or nondestructively depending on workflow choices. Professional designers evaluate edits critically rather than applying effects automatically.

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ●

How can designers evaluate whether an image has been edited effectively? When does editing improve an image — and when does it start to hurt credibility? How do designers decide which details to fix and which to leave alone?

370

Digital Design II: Unit 4 Knowledge ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

How image adjustments affect tone, color, and contrast. How histograms provide visual feedback about exposure and tonal range. The purpose of adjustment layers versus direct adjustments. How retouching tools repair and reconstruct images. How Content-Aware tools analyze surrounding pixels. How photographic adjustments enhance or reduce emphasis. The difference between filters and Smart Filters. How layer styles affect the appearance and consistency of design elements. Why subtle, intentional edits produce professional results.

● ● ● ● ● ● ● ●

I can apply basic auto-correction tools appropriately. I can use adjustment layers to evaluate and modify tone and color. I can interpret histograms to guide adjustment decisions. I can retouch and reconstruct images using appropriate tools. I can apply photographic effects while preserving realism. I can apply filters destructively or nondestructively. I can create, manage, and apply layer styles effectively. I can evaluate and refine edits based on visual outcomes and intent.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Image Refinement & Enhancement Project: Enhance and retouch images using adjustment layers, retouching tools, filters, and styles while maintaining realism and nondestructive workflows.

Completed Content Exercises: ● Adjustment tool comparison exercises ● Retouching practice checkpoints ● Histogram interpretation activities ● Filter vs Smart Filter decision scenarios Exit Ticket: Reflections using exam-style questions

STAGE 3: LEARNING PLAN First Topic: Evaluating Images & Making Adjustments

Estimated # of Lessons: 2

Learning Targets: ● I can apply basic auto-correction tools appropriately. ● I can use adjustment layers to evaluate and modify tone and color. ● I can interpret histograms to guide adjustment decisions.

Essential Questions: ● How can designers evaluate whether an image has been edited effectively? ● How do designers decide which details to fix and which to leave alone?

Learning Activities: ● Before-and-after analysis

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Digital Design II: Unit 4 ● ●

Histogram reading exercises Adjustment layer practice

Second Topic: Retouching & Reconstruction

Estimated # of Lessons: 2

Learning Targets: ● I can retouch and reconstruct images using appropriate tools. ● I can apply photographic effects while preserving realism. ● I can evaluate and refine edits based on visual outcomes and intent.

Essential Questions: ● When does editing improve an image — and when does it start to hurt credibility? ● How do designers decide which details to fix and which to leave alone?

Learning Activities: ● Retouching tool comparison ● Object removal practice ● Realism evaluation activity Third Topic: Filters & Layer Styles

Estimated # of Lessons: 2

Learning Targets: ● I can apply filters destructively or nondestructively. ● I can create, manage, and apply layer styles effectively.

Essential Questions: ● How can designers evaluate whether an image has been edited effectively? ● When does editing improve an image — and when does it start to hurt credibility?

Learning Activities: ● Filter vs Smart Filter comparison ● Layer style creation and reuse ● Style consistency challenge

372

Digital Design II: Unit 5 Course Name: Digital Design II: Photoshop

Unit 5 Title: Publishing Digital Media

Est. # of Lessons: 6

Unit Overview: We've created, edited, and refined our work. Now it has to go somewhere — a website, a printer, a video, a client's inbox. Choosing the wrong format, resolution, or color space can ruin hours of creative work in the final step. We'll learn to prepare and export files so they look exactly as we intended, no matter where they end up. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation. VA:Re9.1.HSII: Establish relevant criteria in order to evaluate a work of art or collection of works.

Transfer Goals ●

●

Understandings ● ● ● ● ●

Images must be prepared differently depending on their intended use. Incorrect export settings can reduce image quality or cause production errors. File format, resolution, color space, and dimensions affect how images display or print. Saving, exporting, and delivering files are distinct steps in a professional workflow. Accurate publishing decisions are critical for exam success and real-world design work.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

How publishing requirements differ for print, web, and screen-based media. How resolution, color space, and dimensions affect output quality. The purpose of Photoshop’s native file format. How file formats differ in quality, compression, and use cases. The difference between saving, exporting, and exporting assets and how metadata and compatibility settings affect files.

Why is saving and exporting considered part of the design process? How do we make sure our work looks the way we intended when someone else opens it? How do audience, platform, and context change what “correct” output looks like?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can check documents for errors and required specifications. I can prepare images for web, print, and video output. I can save projects using Photoshop’s native file format. I can evaluate and choose appropriate export formats and settings. I can export specific project elements accurately. I can justify publishing choices based on

373

Digital Design II: Unit 5 ●

Why accurate export settings are essential for professional delivery.

intended use.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Publishing & Export Practical: Prepare and export Photoshop files for print, web, and screen using appropriate formats, settings, and specifications.

Completed Content Exercises: ● Output comparison exercises ● File format matching activities ● Export setting checks ● Instructor observation during guided practice Exit Ticket: Reflections using exam-style questions

STAGE 3: LEARNING PLAN First Topic: Preparing Images for Output

Estimated # of Lessons: 2

Learning Targets: ● I can check documents for errors and required specifications. ● I can prepare images for web, print, and video output.

Essential Questions: ● How do we make sure our work looks the way we intended when someone else opens it? ● How do audience, platform, and context change what “correct” output looks like?

Learning Activities: ● Output requirement comparison ● Document checklist walkthrough ● Exam-style scenario analysis Second Topic: Saving & Exporting Files

Estimated # of Lessons: 2

Learning Targets: ● I can save projects using Photoshop’s native file format. ● I can evaluate and choose appropriate export formats and settings. ● I can export specific project elements accurately.

Essential Questions: ● Why is saving and exporting considered part of the design process? ● How do we make sure our work looks the way we intended when someone else opens it?

Learning Activities: ● Save vs Export demonstrations ● Format comparison activity ● Element export practice Third Topic: Publishing Accuracy & Review

Estimated # of Lessons: 2

Learning Targets: ● I can export specific project elements

Essential Questions: ● Why is saving and exporting considered part

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Digital Design II: Unit 5 ●

accurately. I can justify publishing choices based on intended use.

●

of the design process? How do audience, platform, and context change what “correct” output looks like?

Learning Activities: ● Publishing accuracy challenge ● Peer review using exam-aligned rubric ● Final export checklist

375

Digital Design II: Unit 6 Course Name: Digital Design II: Photoshop

Unit 6 Title: Design Industry

Est. # of Lessons: 6

Unit Overview: Knowing Photoshop is one thing. Thinking like a designer is another. In this final unit, we step back from the tools and focus on the decisions that come before and after the creative work — identifying purpose and audience, navigating copyright, and using professional language to explain and defend our choices. This is where technical skill becomes professional practice — and where we prepare to prove it on the Adobe Certified Professional exam. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ●

●

Understandings ● ● ● ● ● ● ●

Designers must consider purpose, audience, and context before making visual decisions. Clear communication is essential throughout the design process. Professional design work involves project management and collaboration. Copyright, licensing, and permissions affect how images may be used. Designers must use accurate terminology when discussing digital images. Design principles and composition influence readability, clarity, and impact. Industry knowledge supports ethical, effective, and exam-ready design practices.

Essential Questions ● ● ●

Knowledge ● ●

How purpose and audience influence design decisions. How designers communicate ideas

Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts)

What’s the difference between knowing Photoshop and thinking like a designer? How do we explain our creative choices using Photoshop to someone who isn’t a designer? What responsibilities come with sharing, reusing, or publishing visual work?

Skills (Framed as Learning Targets) ● ●

I can identify purpose, audience, and usage requirements for images. I can communicate design plans using

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Digital Design II: Unit 6 ● ● ● ● ● ●

throughout the design process. Basic project management concepts used in creative workflows. Legal and ethical considerations for using images and assets. Common terminology related to digital images and design. How design principles guide visual communication. How composition affects clarity, emphasis, and readability Why professional vocabulary supports collaboration and exam readiness.

● ● ● ● ●

appropriate terminology. I can apply basic project management concepts to creative work. I can identify legal and ethical considerations for using images. I can analyze designs using principles of design and composition. I can justify visual and professional decisions using industry language. I can use correct digital imaging and design terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Professional Practice & Exam Readiness Assessment: Analyze design scenarios, apply industry terminology, identify ethical and legal considerations, and justify design decisions using professional language.

Completed Content Exercises: ● Vocabulary checks ● Scenario-based discussions ● Design critique activities ● Exam-style multiple-choice practice ● Instructor observation

STAGE 3: LEARNING PLAN First Topic: Purpose, Audience & Communication

Estimated # of Lessons: 2

Learning Targets: ● I can identify purpose, audience, and usage requirements for images. ● I can communicate design plans using appropriate terminology. ● I can apply basic project management concepts to creative work.

Essential Questions: ● What’s the difference between knowing Photoshop and thinking like a designer? ● How do we explain our creative choices using Photoshop to someone who isn’t a designer?

Learning Activities: ● Design scenario analysis ● Client brief interpretation ● Communication strategy discussion Second Topic: Copyright, Licensing & Ethics

Estimated # of Lessons: 2

Learning Targets: ● I can identify legal and ethical considerations for using images.

Essential Questions: ● What responsibilities come with sharing, reusing, or publishing visual work?

Learning Activities:

377

Digital Design II: Unit 6 ● ● ●

Third Topic: Terminology, Design Principles & Composition

Estimated # of Lessons: 2

Learning Targets: ● I can use correct digital imaging and design terminology. ● I can analyze designs using principles of design and composition. ● I can justify visual and professional decisions using industry language.

Essential Questions: ● What’s the difference between knowing Photoshop and thinking like a designer? ● How do we explain our creative choices using Photoshop to someone who isn’t a designer?

Learning Activities: ● Vocabulary application exercises ● Visual analysis and critique ● Exam-style terminology practice

378

Digital Design II: Illustrator DIGITAL DESIGN II: ILLUSTRATOR COURSE # WAN206 STEM, HUM)

0.5 credit (FVA,

Prerequisite: WAN105 Dig. Design Foundations Students will build upon knowledge gained in Digital Design Foundations to develop advanced skills in Adobe Illustrator. Through hands-on projects, students will explore professional tools and techniques used in vector illustration, typography, layout design, and color theory. Emphasis will be placed on real-world application, creative problemsolving, and design for both digital and print media. The course will conclude with students taking the Adobe Certified Professional Exam in Illustrator, offering the opportunity to earn an industry-recognized credential that supports future college and career goals.

379

Digital Design II: Illustrator (Semester Course) In Digital Design Foundations, we got our first taste of Illustrator. Now we go deeper. Where Photoshop manipulates pixels, Illustrator builds with paths — precise, scalable artwork that stays sharp at any size, on any surface. In this course, we follow the arc of professional vector work: setting up documents, organizing complex files, creating and editing graphics with precision, designing with typography, and delivering finished artwork for print, web, and digital platforms. Along the way, we'll develop the precision, creative judgment, and professional vocabulary needed to earn the Adobe Certified Professional credential in Illustrator. Unit 1: Interface 6-8 Lessons

Unit 2: Organizing Documents 6 Lessons

Unit 3: Creating/ Modifying Vector Graphics 6 Lessons

Unit 4: Typography 5 Lessons

Unit 5: Publishing 3 Lessons

Before we draw a single path, we need to set up our workspace like professionals. In this unit, we learn to create documents for any output — mobile, web, print, video — and customize Illustrator's interface, preferences, and asset libraries so everything is organized and accessible. In Illustrator, precision starts before the first shape hits the artboard.

Vector files can get complex fast — dozens of layers, nested groups, stacked effects. The difference between a file that's easy to edit and one that falls apart when you change something comes down to how it's organized. In this unit, we learn to work with layers, groups, and Illustrator's Appearance panel — stacking fills, strokes, and effects nondestructively so every design decision stays reversible.

Our files are organized. Now we build. In this unit, we go deep into Illustrator's drawing and shape tools — constructing precise paths, editing anchor points, and transforming objects to create clean, scalable vector artwork. The goal isn't just knowing the tools; it's developing the control to draw exactly what we see in our heads.

In Illustrator, text isn't just something you read — it's something you design. In this unit, we learn to control every aspect of typography: formatting for readability and hierarchy, placing text on paths, and converting type to vector outlines when the design demands it. The line between text and graphic starts to blur — and that's where the creative possibilities open up.

We've built precise, organized vector artwork. Now we deliver it — and defend it. In this final unit, we learn to export work correctly for print, web, and digital platforms, manage files for collaboration, and navigate the legal and ethical responsibilities that come with professional design. This is also where we step back from the tools and practice explaining our creative decisions using professional language — the skill that ties everything together and prepares us for the Adobe Certified Professional exam.

380

Digital Design II: Illustrator: Unit 1 Course Name: Digital Design II: Illustrator

Unit 1 Title: Interface

Est. # of Lessons: 6-8

Unit Overview: Before we draw a single path, we need to set up our workspace like professionals. In this unit, we learn to create documents for any output — mobile, web, print, video — and customize Illustrator's interface, preferences, and asset libraries so everything is organized and accessible. In Illustrator, precision starts before the first shape hits the artboard. STAGE 1: DESIRED RESULTS Established Goals ●

●

VA:Cr1.2.HSII: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation.

Transfer Goals ● ●

●

Understandings ● ● ● ● ● ●

Correct document setup affects scalability, accuracy, and output quality. Illustrator’s interface and preferences can be customized to improve efficiency. Non-printing tools support precision and alignment in vector design. Proper asset management prevents broken links and workflow errors. Color systems, swatches, and gradients are central to professional vector design. Efficient setup and navigation are critical for success on the Illustrator certification exam.

Essential Questions ● ● ● ●

Knowledge ● ●

How to choose appropriate document settings based on output purpose (print, web, digital display, illustration). How artboards function within an Illustrator document and how they support multi-page designs.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Why does precision in vector design begin before the first shape is created? How do document settings influence accuracy, scale, and output in vector design? How do guides, grids, and non-printing tools shape structure and consistency in vector artwork? How does managing assets and color choices early support professional workflows?

Skills (Framed as Learning Targets) ● ● ● ●

I can create documents with appropriate settings for different output needs. I can create and reuse document presets. I can identify and manipulate elements of the Illustrator interface. I can customize, save, and reset

381

Digital Design II: Illustrator: Unit 1 ● ● ● ● ● ●

How the Illustrator interface is structured and how panels, toolbars, and workspaces function together. How and why to customize preferences to support efficient design workflows. How non-printing tools (rulers, guides, grids, snapping, view modes) support accuracy and alignment. The difference between linked and embedded assets and when each should be used. How color, swatches, gradients, brushes, symbols, styles, and patterns support consistency in vector design. Why organized setup and resource management improve both professional practice and exam performance.

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workspaces. I can configure application preferences to support efficient workflows. I can navigate documents using nonprinting tools and viewing modes. I can place, link, embed, and manage assets using the Links panel. I can set up and manage color resources — swatches, gradients, and libraries — to maintain consistency across a design.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Illustrator Project Setup & Workflow Practical: Create documents for multiple output purposes, configuring workspace and preferences, placing and managing linked assets while showing organization.

Completed Content Exercises: ● Interface identification checks ● Document setup exit tickets ● Asset placement and linking practice ● Color and swatch organization activities ● Instructor observation during guided practice

STAGE 3: LEARNING PLAN First Topic: Interface, Workspace & Preferences

Estimated # of Lessons: 2-3

Learning Targets: ● I can create documents with appropriate settings for different output needs. ● I can create and reuse document presets. ● I can identify and manipulate elements of the Illustrator interface. ● I can customize, save, and reset workspaces. ● I can configure application preferences to support efficient workflows.

Essential Questions: ● Why does precision in vector design begin before the first shape is created? ● How do document settings influence accuracy, scale, and output in vector design? ● How do guides, grids, and non-printing tools shape structure and consistency in vector artwork?

Learning Activities: ● Interface walkthrough ● Workspace customization challenge

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Digital Design II: Illustrator: Unit 1 ● ● ●

Preferences exploration checklist Document setup comparison Preset creation challenge

Second Topic: Navigation & Non-Printing Tools

Estimated # of Lessons: 2

Learning Targets: ● I can navigate documents using nonprinting tools and viewing modes.

Essential Questions: ● How do guides, grids, and non-printing tools shape structure and consistency in vector artwork?

Learning Activities: ● Outline vs Preview comparison ● Guide and grid alignment practice ● Precision navigation exercises Third Topic: Assets, Color, & Presets

Estimated # of Lessons: 2

Learning Targets: ● I can place, link, embed, and manage assets using the Links panel. ● I can set up and manage color resources — swatches, gradients, and libraries — to maintain consistency across a design.

Essential Questions: ● How does managing assets and color choices early support professional workflows?

Learning Activities: ● Asset linking vs embedding comparison ● Swatch and gradient organization ● Style and brush library exploration

383

Digital Design II: Illustrator: Unit 2 Course Name: Digital Design II: Illustrator

Unit 2 Title: Organizing Documents

Est. # of Lessons: 6

Unit Overview: Vector files can get complex fast — dozens of layers, nested groups, stacked effects. The difference between a file that's easy to edit and one that falls apart when you change something comes down to how it's organized. In this unit, we learn to work with layers, groups, and Illustrator's Appearance panel — stacking fills, strokes, and effects nondestructively so every design decision stays reversible. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

Transfer Goals ●

●

Understandings ● ● ● ● ●

Well-organized Illustrator files improve efficiency and reduce errors. Layers, groups, and sublayers help manage complex vector artwork. The Appearance panel allows multiple attributes to be applied nondestructively. Some edits permanently change vector paths, while others remain editable. Professional document organization improves collaboration and exam performance.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

How the Layers panel structures artwork using layers, groups, and sublayers. How grouping and stacking order affect visibility and selection. How the Appearance panel applies multiple attributes nondestructively. The difference between nondestructive edits and permanent changes to artwork. When to expand or outline artwork and the consequences of doing so.

Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

Why do some Illustrator files stay easy to edit while others fall apart? How do layers, groups, and stacking order help me stay in control of my design? When should I keep artwork editable, and when is it okay to make permanent changes?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can use the Layers panel to organize and manage artwork. I can group, ungroup, and manage sublayers effectively. I can apply and edit multiple appearance attributes nondestructively. I can distinguish between destructive and nondestructive editing. I can maintain clean, editable files for professional use and exam readiness.

384

Digital Design II: Illustrator: Unit 2 ●

Why clean organization improves workflow efficiency and exam readiness.

●

I can use the Appearance panel to control fills, strokes, and effects

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Organized Vector Document Project: Submit a multi-layer Illustrator file demonstrating organization, nondestructive appearance edits, and clear structure.

Completed Content Exercises: ● Layers panel skill checks ● Appearance panel practice activities ● Grouping vs compound path comparisons ● Instructor observation during guided practice Exit Ticket: Reflections using exam-style scenario questions

STAGE 3: LEARNING PLAN First Topic: Layers, Groups, & Document Structure

Estimated # of Lessons: 2

Learning Targets: ● I can use the Layers panel to manage and organize artwork. ● I can group, ungroup, and manage sublayers effectively.

Essential Questions: ● Why do some Illustrator files stay easy to edit while others fall apart? ● How do layers, groups, and stacking order help me stay in control of my design?

Learning Activities: ● Layers panel walkthrough ● File clean-up challenge ● Organization checklist activity Second Topic: Appearance Panel

Estimated # of Lessons: 2

Learning Targets: ● I can apply and modify multiple appearance attributes nondestructively. ● I can use the Appearance panel to control fills, strokes, and effects.

Essential Questions: ● Why do some Illustrator files stay easy to edit while others fall apart? ● When should I keep artwork editable, and when is it okay to make permanent changes?

Learning Activities: ● Appearance stacking exercises ● Multiple fill and stroke practice ● Attribute editing comparisons

385

Digital Design II: Illustrator: Unit 2 Third Topic: Destructive vs. Nondestructive Editing

Estimated # of Lessons: 2

Learning Targets: ● I can distinguish between destructive and nondestructive edits. ● I can maintain clean, editable files for professional use and exam readiness.

Essential Questions: ● Why do some Illustrator files stay easy to edit while others fall apart? ● When should I keep artwork editable, and when is it okay to make permanent changes?

Learning Activities: ● Expand Appearance vs live effects comparison ● Outline Stroke practice ● Workflow decision scenarios (exam-style)

386

Digital Design II: Illustrator: Unit 3 Course Name: Digital Design II: Illustrator Est. # of Lessons: 6

Unit 3 Title: Creating & Modifying Vector Graphics

Unit Overview: Our files are organized. Now we build. In this unit, we go deep into Illustrator's drawing and shape tools — constructing precise paths, editing anchor points, and transforming objects to create clean, scalable vector artwork. The goal isn't just knowing the tools; it's developing the control to draw exactly what we see in our heads. STAGE 1: DESIRED RESULTS Established Goals ●

●

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

Vector graphics are resolution-independent and scalable. Clean paths and accurate anchor point placement improve editability. Different drawing tools are designed for different types of shapes and curves. Transformations modify objects without changing their underlying structure. Efficient tool selection improves accuracy and exam performance.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

How vector paths are built using anchor points and direction handles. The difference between open and closed paths. How shape tools and drawing tools create different types of vector objects. How transformations affect size, orientation, and layout without loss of quality. Why clean construction improves future

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

How do we turn what we see in our heads into clean, precise vector artwork? How do different drawing tools influence how a vector illustration is created and refined? When does precision matter most — and when does it get in the way? How can transforming vector objects help refine or rethink a design without starting over? Skills (Framed as Learning Targets)

● ● ● ● ●

I can draw vector paths using Pen, Curvature, and Freeform Pen tools. I can edit paths by adding, deleting, and converting anchor points. I can create accurate shapes using shape tools. I can transform objects using scale, rotate, reflect, and other transforms. I can align and distribute objects precisely.

387

Digital Design II: Illustrator: Unit 3 editing and professional workflows.

● ●

I can choose the most efficient tool for a specific vector task. I can maintain clean, editable vector artwork.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Vector Illustration Project: Create an original illustration demonstrating clean paths, accurate transformations, and intentional tool choice.

Completed Content Exercises: ● Path-drawing practice checks ● Anchor point editing drills ● Shape precision exercises ● Transformation accuracy challenges Exit Ticket: Reflections with exam-style scenario questions

STAGE 3: LEARNING PLAN First Topic: Understanding Vector Paths & Drawing Tools

Estimated # of Lessons: 2

Learning Targets: ● I can draw vector paths using Pen, Curvature, and Freeform Pen tools. ● I can edit paths by adding, deleting, and converting anchor points.

Essential Questions: ● How do we turn what we see in our heads into clean, precise vector artwork? ● How do different drawing tools influence how a vector illustration is created and refined?

Learning Activities: ● Pen vs Curvature tool comparison ● Anchor point editing exercises ● Path accuracy challenges Second Topic: Shape Tools & Precision Drawing

Estimated # of Lessons: 2

Learning Targets: ● I can create accurate shapes using shape tools. ● I can transform objects using scale, rotate, reflect, and other transforms. ● I can align and distribute objects precisely.

Essential Questions: ● How do different drawing tools influence how a vector illustration is created and refined? ● When does precision matter most — and when does it get in the way?

Learning Activities: ● Shape tool construction practice ● Align and distribute challenges ● Smart Guide usage drills

388

Digital Design II: Illustrator: Unit 3 Third Topic: Transforming Vector Objects

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can transform objects using scale, rotate, ● When does precision matter most — and reflect, and other transforms. when does it get in the way? ● I can choose the most efficient tool for a ● How can transforming vector objects help specific vector task. refine or rethink a design without starting ● I can maintain clean, editable vector artwork. over? Learning Activities: ● Transform panel walkthrough ● Reflect and rotate exercises ● Object duplication and pattern-like repetition

389

Digital Design II: Illustrator: Unit 4 Course Name: Digital Design II: Illustrator

Unit 4 Title: Typography

Est. # of Lessons: 5

Unit Overview: In Illustrator, text isn't just something you read — it's something you design. In this unit, we learn to control every aspect of typography: formatting for readability and hierarchy, placing text on paths, and converting type to vector outlines when the design demands it. The line between text and graphic starts to blur — and that's where the creative possibilities open up. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation. VA:Re9.1.HSII: Establish relevant criteria in order to evaluate a work of art or collection of works.

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

Typography affects readability, hierarchy, and meaning. Illustrator offers multiple ways to create and control text. Character and paragraph settings must be adjusted intentionally. Text can be treated as editable type or converted to vector shapes. Professional typographic decisions support clear communication and exam success.

Essential Questions ● ● ● ●

Knowledge ●

●

● ● ●

When does text stop being something you read and start being something you see? How do small typographic choices change what a design communicates? How does the way text is placed and structured affect how it’s read and understood? When should type stay editable, and when should it become shapes? Skills (Framed as Learning Targets)

● The difference between point type, area

type, and type on a path. How character and paragraph settings affect text appearance. How typographic hierarchy guides viewer attention. When and why text should be converted to outlines. Why typographic consistency supports professional design.

Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

● ● ● ●

I can add and edit text using Illustrator’s type tools. I can differentiate between point type, area type, and type on a path. I can adjust character settings (kerning, tracking, leading, scale). I can adjust paragraph settings to improve readability and layout. I can create hierarchy using typographic choices. I can convert text to outlines when

390

Digital Design II: Illustrator: Unit 4 ●

appropriate. I can explain typographic decisions using correct terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Typographic Design Project: Design a layout demonstrating hierarchy, readability, and professional text handling.

Completed Content Exercises: ● Typography terminology checks ● Character vs paragraph adjustment exercises ● Hierarchy identification activities Exit Ticket: Reflections using exam-style multiplechoice questions

STAGE 3: LEARNING PLAN First Topic: Type Tools

Estimated # of Lessons: 2

Learning Targets: ● I can add and edit text using Illustrator’s type tools. ● I can differentiate between point type, area type, and type on a path.

Essential Questions: ● When does text stop being something you read and start being something you see? ● How does the way text is placed and structured affect how it’s read and understood?

Learning Activities: ● Type tool walkthrough ● Text type comparison exercises ● Overset text troubleshooting Second Topic: Character & Paragraph Controls

Estimated # of Lessons: 1

Learning Targets: ● I can adjust character settings (kerning, tracking, leading, scale). ● I can adjust paragraph settings to improve readability and layout.

Essential Questions: ● How do small typographic choices change what a design communicates? ● How does the way text is placed and structured affect how it’s read and understood?

Learning Activities: ● Kerning, tracking, and leading drills ● Hierarchy redesign challenge ● Paragraph formatting practice

391

Digital Design II: Illustrator: Unit 4 Third Topic: Advanced Text Handling

Estimated # of Lessons: 2

Learning Targets: ● I can create hierarchy using typographic choices. ● I can convert text to outlines when appropriate. ● I can explain typographic decisions using correct terminology.

Essential Questions: ● When does text stop being something you read and start being something you see? ● When should type stay editable, and when should it become shapes?

Learning Activities: ● Outlining vs editable type comparison ● Exam-style scenario analysis

392

Digital Design II: Illustrator: Unit 5 Course Name: Digital Design II: Illustrator

Unit 5 Title: Publishing

Est. # of Lessons: 3

Unit Overview: We've built precise, organized vector artwork. Now we deliver it — and defend it. In this final unit, we learn to export work correctly for print, web, and digital platforms, manage files for collaboration, and navigate the legal and ethical responsibilities that come with professional design. This is also where we step back from the tools and practice explaining our creative decisions using professional language — the skill that ties everything together and prepares us for the Adobe Certified Professional exam. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ●

●

Understandings ● ● ● ● ● ●

Artwork must be exported differently depending on its intended use. Incorrect export settings can compromise quality and usability. Designers must consider audience, purpose, and platform when delivering work. Professional communication and file management support collaboration. Legal and ethical guidelines govern how artwork and assets may be used. Industry vocabulary supports clear communication and exam success.

Essential Questions ● ●

Knowledge ● ● ●

How to prepare artwork for print, web, and digital platforms. The purpose of common Illustrator export formats. How audience and purpose guide publishing

Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

How do we make sure our work holds up when it leaves our screen? What separates someone who knows Illustrator from someone a client would trust?

Skills (Framed as Learning Targets) ● ● ●

I can prepare Illustrator files for print, web, and digital output requirements. I can export artwork using appropriate formats and settings. I can manage linked and embedded assets to

393

Digital Design II: Illustrator: Unit 5 ● ●

decisions. Basic copyright and licensing considerations. Why professional terminology supports collaboration and clarity.

● ● ●

prevent workflow issues. I can communicate design decisions using professional terminology. I can identify legal and ethical considerations related to artwork use. I can justify publishing choices based on audience and purpose.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Professional Delivery Scenario: Students prepare, export, and justify final artwork for a specific audience and platform, demonstrating technical accuracy, professional communication, and ethical responsibility. Designer vs. Client Trust Analysis: Students evaluate and justify professional delivery decisions using industry terminology.

Completed Content Exercises: ● Export setting checks ● File format matching activities ● Professional scenario discussions ● Vocabulary quizzes ● Exam-style multiple-choice practice

STAGE 3: LEARNING PLAN First Topic: Preparing & Exporting

Estimated # of Lessons: 1

Learning Targets: ● I can prepare Illustrator files for print, web, and digital output requirements. ● I can export artwork using appropriate formats and settings.

Essential Questions: ● How do we make sure our work holds up when it leaves our screen? ● What separates someone who knows Illustrator from someone a client would trust?

Learning Activities: ● Export format comparison ● Artboard export practice ● Publishing checklist walkthrough Second Topic: File Management & Collaboration

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can manage linked and embedded assets to ● How do we make sure our work holds up prevent workflow issues. when it leaves our screen? ● What separates someone who knows Illustrator from someone a client would trust? Learning Activities: ● Packaging and asset management demo

394

Digital Design II: Illustrator: Unit 5 ● ●

Version control discussion Peer feedback cycle

Third Topic: Legal, Ethical, & Industry Knowledge

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can communicate design decisions using ● How do we make sure our work holds up professional terminology. when it leaves our screen? ● I can identify legal and ethical considerations ● What separates someone who knows related to artwork use. Illustrator from someone a client would ● I can justify publishing choices based on trust? audience and purpose. Learning Activities: ● Copyright and licensing scenarios ● Industry terminology application ● Exam-style vocabulary practice

395

Digital Design II: Animation DIGITAL DESIGN II: ANIMATION COURSE # WAN207 STEM, HUM)

0.5 credit (FVA,

Prerequisite: WAN105 Dig. Design Foundations Students will explore the world of animation through Adobe Animate and traditional techniques like stop motion and hand-drawn frame-by-frame. Projects focus on storytelling, character movement, tweening, and audio syncing. The course prepares students for the Adobe Certified Professional Exam in Animate, offering an opportunity to earn an industry-recognized credential. Along the way, students develop critical thinking, creativity, and digital citizenship skills.

396

Digital Design II: Animation (Semester Course) In Photoshop and Illustrator, we created still images. Now we make them move. In this course, we learn to create professional animations using Adobe Animate — building organized projects, designing graphics for motion, and bringing them to life using frame-by-frame animation, tweens, and core principles like timing and spacing. Then we go further: adding interactivity, audio, and video so our animations become experiences people don't just watch but engage with. The course follows the arc of real production work — from planning to delivery — and builds the skills and professional knowledge needed to earn the Adobe Certified Professional credential in Animate. Unit 1: Industry Foundations 5 Lessons

Unit 2: Document Organization 5 Lessons

Unit 3: Creating Graphics & Text 5 Lessons

Unit 4: Animation Techniques 5-6 Lessons

Unit 5: Interactivity & Multimedia Integration 5 Lessons

Unit 6: Publishing & Output 5 Lessons

Before we animate, we need to understand why animation matters — and how to set up our workspace to do it well. We explore how animation is used across industries, examine how audience and purpose shape creative decisions, and learn the core principles that make motion clear and believable. Then we put that understanding to work by setting up Animate projects with the right settings, an organized workspace, and a first look at timelines and keyframes.

With our workspace in place, we learn how Animate organizes content over time — and why that organization matters more in animation than in any static design tool. We'll work with timelines, layers, frames, and symbols, developing the structural habits that keep projects clean and editable as they grow more complex. A messy timeline doesn't just slow us down — it breaks our animation.

Now that we can organize our projects, we start creating — but designing for animation isn't the same as designing a static graphic. Every shape, path, and text element needs to be built with motion in mind: clean enough to animate smoothly, structured so it can be broken apart and moved. We'll design vector artwork, import and prepare assets, and make typographic choices that hold up when things start moving.

With organized projects and animation-ready graphics in hand, we bring our work to life. This is where our projects start to move. We'll learn frame-by-frame animation for precise hand-drawn control and tween-based animation for smooth automated motion — then use timing and spacing to make that motion feel intentional, natural, and expressive.

Up to now, our animations play the same way every time. In this unit, that changes. We learn to add interactivity — buttons, navigation, user-driven choices — so our animations respond to the viewer. We'll also integrate audio and video to create richer, more engaging experiences. Our animations stop being something people watch and start being something people use.

We've animated, added interactivity, and integrated multimedia. Now our work has to reach its audience. In this final unit, we learn to publish and export for different platforms, test that everything works as intended, and prepare files for professional delivery. An animation that won't load, play, or respond correctly isn't finished — it's broken. This is where we learn to get the final step right.

397

Digital Design II: Animation: Unit 1 Course Name: Digital Design II: Animation

Unit 1 Title: Industry Foundations

Est. # of Lessons: 5

Unit Overview: Before we animate, we need to understand why animation matters — and how to set up our workspace to do it well. We explore how animation is used across industries, examine how audience and purpose shape creative decisions, and learn the core principles that make motion clear and believable. Then we put that understanding to work by setting up Animate projects with the right settings, an organized workspace, and a first look at timelines and keyframes. STAGE 1: DESIRED RESULTS Established Goals ●

●

● ●

VA:Cr1.2.HSII: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation. VA:Re9.1.HSII: Establish relevant criteria in order to evaluate a work of art or collection of works.

Transfer Goals ● ●

Understandings ● ● ● ● ●

Animation is a form of visual communication shaped by audience and purpose. Industry workflows guide how animation projects are planned and executed. Animation principles help make motion clear, believable, and engaging. Proper document setup supports efficient animation and accurate output. Professional terminology supports collaboration and exam success.

Essential Questions ● ● ●

Knowledge ● ● ●

How animation is used in industries such as entertainment, advertising, education, web design, and gaming. How purpose, audience, and platform influence animation style and interactivity. Common stages of an animation workflow, including planning, creation, revision, and

Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How do audience and purpose shape animation decisions and influence its effectiveness across industries? How does proper project setup and planning contribute to efficient animation workflows? How does shared professional language support collaboration in animation teams?

Skills (Framed as Learning Targets) ● ● ● ●

I can identify how animation is used in professional and industry contexts. I can explain how audience and purpose influence animation decisions. I can create Animate documents using the appropriate stage size and frame rate. I can navigate and customize the Animate

398

Digital Design II: Animation: Unit 1 ● ● ● ● ●

delivery. Core animation principles that guide effective motion and visual storytelling. How animation differs from static and interactive digital media. How Animate documents are structured, including stage size, frame rate, and publish settings. How workspace organization and preferences support animation efficiency. Why professional language is essential for collaboration and certification exams.

● ● ●

workspace. I can use timelines, layers, and keyframes at a basic level. I can apply foundational animation principles in planning and critique. I can use professional terminology to describe animation concepts and workflows.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Industry Foundations & Animate Setup Practical: Analyze an animation use-case, create a properly configured Animate document, customize their workspace, and demonstrate basic timeline and keyframe use while explaining decisions using professional terminology.

Animation Use-Case Analysis: Students analyze a real-world animation to identify purpose, audience, platform, and animation principles. Project Setup Check: Students submit screenshots of Animate document settings and customized workspace to verify correct setup. Concept Reflection (Exit Ticket): Students explain how frame rate, stage size, or animation principles affect viewer experience using key terminology.

STAGE 3: LEARNING PLAN First Topic: Animation in the Industry

Estimated # of Lessons: 2

Learning Targets: ● I can identify how animation is used in professional and industry contexts. ● I can explain how audience and purpose influence animation decisions. ● I can apply foundational animation principles in planning and critique.

Essential Question: ● How do audience and purpose shape animation decisions and influence its effectiveness across industries?

Learning Activities: ● Explore animation examples across industries (entertainment, advertising, education, web, gaming) ● Analyze real-world animations identifying purpose, audience, and platform ● Discuss ethical and legal considerations for digital assets ● Introduction to core animation principles

399

Digital Design II: Animation: Unit 1 Second Topic: Animate Project Setup

Estimated # of Lessons: 1

Learning Targets: ● I can create Animate documents using the appropriate stage size and frame rate. ● I can navigate and customize the Animate workspace.

Essential Questions: ● How does proper project setup and planning contribute to efficient animation workflows?

Learning Activities: ● Demonstrate document creation with correct settings ● Explore stage size, frame rate, and publish settings ● Practice workspace navigation and customization ● Set up documents for various output scenarios Third Topic: Introduction to Timeline & Keyframes

Estimated # of Lessons: 2

Learning Targets: ● I can use timelines, layers, and keyframes at a basic level. ● I can use professional terminology to describe animation concepts and workflows.

Essential Question: ● How does proper project setup and planning contribute to efficient animation workflows? ● How does shared professional language support collaboration in animation teams?

Learning Activities: ● Introduction to timeline structure and navigation ● Practice creating layers and frames ● Basic keyframe placement ● Vocabulary review and application

400

Digital Design II: Animation: Unit 2 Course Name: Digital Design II: Animation Unit 2 Title: Document Organization

Est. # of Lessons: 5

Unit Overview: With our workspace in place, we learn how Animate organizes content over time — and why that organization matters more in animation than in any static design tool. We'll work with timelines, layers, frames, and symbols, developing the structural habits that keep projects clean and editable as they grow more complex. A messy timeline doesn't just slow us down — it breaks our animation. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ●

VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation. VA:Re9.1.HSII: Establish relevant criteria in order to evaluate a work of art or collection of works.

Transfer Goals ●

●

Understandings ● ● ● ● ● ●

Animation is organized across time using frames and timelines. Layers control visibility, order, and structure in an animation. Symbols allow content to be reused and edited efficiently. Organized documents are easier to edit, animate, and publish. Professional animation workflows depend on clear structure and naming conventions. Timeline organization is essential for exam success and real-world animation work.

Essential Questions ● ● ●

Knowledge ● ● ● ●

How the Animate timeline represents time through frames and keyframes. The difference between frames, keyframes, and blank keyframes. How layers control order, visibility, and separation of animated content. The purpose of labels and naming conventions in timeline organization.

What makes the difference between an animation project that's easy to build on and one that falls apart? How do symbols improve efficiency and consistency? How does document organization affect animation clarity and workflow?

Skills (Framed as Learning Targets) ● ● ● ●

I can navigate and interpret the Animate timeline. I can create, insert, and modify frames and keyframes. I can organize animation using layers and layer naming conventions. I can convert artwork into symbols and reuse symbols effectively.

401

Digital Design II: Animation: Unit 2 ● ● ● ●

What symbols are and how they differ from raw artwork. The difference between graphic symbols and movie clip symbols. How organized timelines support efficient animation and revision. Why professional animation relies on reusable assets and clear structure.

● ● ●

I can differentiate between graphic and movie clip symbols. I can maintain clean, organized animation documents. I can explain timeline and symbol choices using correct terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Timeline & Symbol Organization Practical: Create a short animated scene that demonstrates organized timelines, labeled layers, and effective use of graphic and movie clip symbols while maintaining a clean, professional document structure.

Timeline Organization Check: Students demonstrate correct use of frames, keyframes, layers, and labels within their project timeline. Symbol Identification & Application: Students identify and apply graphic and movie clip symbols appropriately within an animation. Process Explanation: Students verbally or in writing explain how their timeline and symbol organization supports efficient animation workflow.

STAGE 3: LEARNING PLAN First Topic: Understanding the Timeline

Estimated # of Lessons: 2

Learning Targets: ● I can navigate and interpret the Animate timeline. ● I can create, insert, and modify frames and keyframes.

Essential Questions: ● What makes the difference between an animation project that's easy to build on and one that falls apart?

Learning Activities: ● Demonstrate frames, keyframes, and blank keyframes ● Practice timeline playback and frame rate awareness ● Reading and interpreting motion over time ● Hands-on timeline navigation exercises Second Topic: Layers & Organization

Estimated # of Lessons: 2

Learning Targets: ● I can organize animation using layers and layer naming conventions. ● I can maintain clean, organized animation documents.

Essential Questions: ● Why is timeline and layer organization critical in animation? ● What makes the difference between an animation project that's easy to build on and one that falls apart?

402

Digital Design II: Animation: Unit 2 Learning Activities: ● Demonstrate layer order and visibility controls ● Practice naming conventions and labels ● Organize content by separating motion, background, and elements ● Review professional examples of organized timelines Third Topic: Symbols & Reusability

Estimated # of Lessons: 2

Learning Targets: ● I can convert artwork into symbols and reuse symbols effectively. ● I can differentiate between graphic and movie clip symbols. ● I can explain timeline and symbol choices using correct terminology.

Essential Question: ● How do symbols improve efficiency and consistency?

Learning Activities: ● Demonstrate creating and editing symbols ● Compare graphic symbols and movie clip symbols ● Practice reusing assets for efficient animation ● Build a simple scene using symbol library

403

Digital Design II: Animation: Unit 3 Course Name: Digital Design II: Animation

Unit 3 Title: Creating Graphics & Text

Est. # of Lessons: 5

Unit Overview: Now that we can organize our projects, we start creating — but designing for animation isn't the same as designing a static graphic. Every shape, path, and text element needs to be built with motion in mind: clean enough to animate smoothly, structured so it can be broken apart and moved. We'll design vector artwork, import and prepare assets, and make typographic choices that hold up when things start moving. STAGE 1: DESIRED RESULTS Established Goals ●

●

Transfer Goals ● ● ●

Understandings ●

● ● ●

Graphics used in animation must be designed differently than static images. Clean vector artwork improves animation accuracy and performance. Text can function as both information and a visual element in animation. Preparing assets correctly supports efficient timelines and smooth motion. Design decisions impact readability, clarity, and animation effectiveness.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

How vector artwork is created and edited within Animate. How imported assets can be modified for use in animation. How fills, strokes, and transformations affect animated visuals. How text tools are used to add and edit typography in Animate. How readability and hierarchy apply to animated text.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

What changes about the way we design when our graphics have to move? Why is clean, simple artwork important in animated projects? How can text be used effectively in motionbased design? How do design choices affect animation clarity and performance?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can create vector graphics using drawing and shape tools in Animate. I can edit and refine vector paths, fills, and strokes for clarity. I can import and modify external graphic assets for animation use. I can transform graphics by scaling, rotating, and positioning them accurately. I can add and edit text using Animate’s text tools.

404

Digital Design II: Animation: Unit 3 ● ●

How properly prepared graphics support smooth animation workflows. Why asset preparation and graphic tools are important for professional animation workflows and Adobe Animate certification expectations.

● ● ●

I can apply typographic hierarchy to improve readability in animated designs. I can prepare graphics so they animate cleanly and efficiently. I can explain design decisions using appropriate animation and design terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Animated Asset Creation Practical: Design a set of original graphics and text elements intended for animation, demonstrating clean vector construction, intentional typography, and proper preparation for use in an animated timeline.

Asset Readiness Review: Students submit vector graphics and text assets prepared specifically for animation use. Design Decision Reflection: Students explain how design choices (simplicity, hierarchy, scale) support motion and readability. Peer Feedback Check: Students participate in a peer review focused on clarity and animation readiness of graphics and text.

STAGE 3: LEARNING PLAN First Topic: Creating & Editing Vector Graphics

Estimated # of Lessons: 2

Learning Targets: ● I can create vector graphics using drawing and shape tools in Animate. ● I can edit and refine vector paths, fills, and strokes for clarity.

Essential Questions: ● What changes about the way we design when our graphics have to move? ● Why is clean, simple artwork important in animated projects?

Learning Activities: ● Demonstrate drawing tools and shape construction ● Practice editing fills, strokes, and paths ● Simplify artwork for motion readiness ● Create original vector elements for animation use Second Topic: Importing & Preparing Assets

Estimated # of Lessons: 1

Learning Targets: ● I can import and modify external graphic assets for animation use. ● I can transform graphics by scaling, rotating, and positioning them accurately. ● I can prepare graphics so they animate cleanly and efficiently.

Essential Question: ● How do design choices affect animation clarity and performance?

Learning Activities:

405

Digital Design II: Animation: Unit 3 ● ● ● ●

Demonstrate importing external graphics Practice editing and converting assets for animation Manage scale and resolution for smooth playback Asset preparation checklist and review

Third Topic: Typography for Animation

Estimated # of Lessons: 2

Learning Targets: Essential Question: ● I can add and edit text using Animate's text ● How can text be used effectively in motiontools. based design? ● I can apply typographic hierarchy to improve readability in animated designs. ● I can explain design decisions using appropriate animation and design terminology. Learning Activities: ● Demonstrate adding and editing text ● Discuss readability and hierarchy in motion ● Prepare text for animation (breaking apart, converting) ● Peer review of typography choices

406

Digital Design II: Animation: Unit 4 Course Name: Digital Design II: Animation Unit 4 Title: Animation Techniques

Est. # of Lessons: 5-6

Unit Overview: With organized projects and animation-ready graphics in hand, we bring our work to life. This is where our projects start to move. We'll learn frame-by-frame animation for precise hand-drawn control and tween-based animation for smooth automated motion — then use timing and spacing to make that motion feel intentional, natural, and expressive. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.HSII: Engage in constructive critique with peers and self to plan revisions for works of art and design. VA:Pr4.1.HSII: Analyze, select, and curate artifacts and/or artworks for presentation.

Transfer Goals ● ● ●

Understandings ● ● ● ● ● ●

Animation techniques determine how motion is created and perceived. Frame-by-frame animation allows precise control over motion. Tweens automate motion between keyframes. Timing and spacing influence the feel and realism of animation. Clean timelines support smoother animation and easier revisions. Intentional motion improves communication and viewer engagement.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

How frame-by-frame animation creates motion through sequential images. The difference between motion tweens and shape tweens. How keyframes define changes in position, scale, rotation, and shape. How timing and spacing influence the speed and smoothness of motion. Basic animation principles that support believable movement.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

When should frame-by-frame animation be used instead of tweens? How do timing and spacing affect how animation feels? How do animation principles improve clarity and realism? Why is timeline organization important during animation?

Skills (Framed as Learning Targets) ● ● ● ● ●

I can create frame-by-frame animations using keyframes and drawings. I can apply motion tweens to animate position, scale, and rotation. I can use shape tweens to morph objects over time. I can adjust timing and spacing to control animation speed and feel. I can apply basic animation principles to improve motion quality.

407

Digital Design II: Animation: Unit 4 ● ●

How organized timelines improve animation workflow and efficiency. Why selecting the appropriate animation technique matters in professional practice and exam scenarios.

● ● ●

I can organize timelines to manage complexity as animation builds. I can choose the most effective animation technique for a given task. I can explain animation choices using correct animation terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Animation Techniques Project: Create a short animated sequence demonstrating frame-by-frame animation and tween-based motion while applying animation principles, controlling timing, and maintaining an organized timeline.

Critique: In progress discussion with peers Technique Comparison: Students compare frameby-frame animation and tween-based animation, identifying appropriate use cases for each. Timing & Spacing Adjustment: Students modify animation timing and spacing to achieve different motion effects.

STAGE 3: LEARNING PLAN First Topic: Frame-by-Frame Animation

Estimated # of Lessons: 1-2

Learning Targets: ● I can create frame-by-frame animations using keyframes and drawings. ● I can apply basic animation principles to improve motion quality.

Essential Questions: ● When should frame-by-frame animation be used instead of tweens? ● How do animation principles improve clarity and realism?

Learning Activities: ● Demonstrate drawing across keyframes ● Practice using onion skinning for consistency ● Create sequential motion with frame-by-frame technique ● Apply animation principles to hand-drawn motion Second Topic: Tween-Based Animation

Estimated # of Lessons: 2

Learning Targets: ● I can apply motion tweens to animate position, scale, and rotation. ● I can use shape tweens to morph objects over time. ● I can choose the most effective animation technique for a given task.

Essential Questions: ● When should frame-by-frame animation be used instead of tweens? ● How do animation principles improve clarity and realism?

Learning Activities: ● Demonstrate motion tweens for position, scale, rotation ● Demonstrate shape tweens for morphing ● Practice editing tween paths

408

Digital Design II: Animation: Unit 4 ●

Compare frame-by-frame and tween approaches

Third Topic: Timing & Animation Principles

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can adjust timing and spacing to control ● How do timing and spacing affect how animation speed and feel. animation feels? ● I can organize timelines to manage ● How do animation principles improve clarity complexity as animation builds. and realism? ● I can explain animation choices using correct ● Why is timeline organization important animation terminology. during animation? Learning Activities: ● Demonstrate timing and spacing adjustments ● Practice ease in / ease out effects ● Evaluate motion quality in peer work ● Refine animations based on feedback

409

Digital Design II: Animation: Unit 5 Course Name: Digital Design II: Animation Est. # of Lessons: 5

Unit 5 Title: Interactivity & Multimedia Integration

Unit Overview: Up to now, our animations play the same way every time. In this unit, that changes. We learn to add interactivity — buttons, navigation, user-driven choices — so our animations respond to the viewer. We'll also integrate audio and video to create richer, more engaging experiences. Our animations stop being something people watch and start being something people use. STAGE 1: DESIRED RESULTS Established Goals ●

●

● ●

Transfer Goals ● ●

●

Understandings ● ● ● ● ● ●

Interactivity allows users to influence how animations are experienced. Buttons and symbols enable user-driven navigation. Audio and video enhance storytelling and engagement when used intentionally. Multimedia assets must be prepared and managed carefully to avoid playback issues. Organized timelines and symbols are essential for interactive projects. Interactivity decisions should support purpose, audience, and usability.

Essential Questions ● ●

●

Knowledge ● ● ●

How interactivity is used in web-based and interactive animations. The role of buttons and symbols in user interaction. How timelines and symbols work together in interactive projects.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

How does interactivity change the way users experience animation, and when is it more effective than linear animation? When does adding sound, video, or interactivity enhance an animation, and when does it risk overwhelming the experience? Why is organization crucial in managing interactive animation projects to ensure clarity and usability?

Skills (Framed as Learning Targets) ● ● ●

I can create interactive elements — buttons, navigation, user-driven choices — that function correctly. I can import and synchronize audio and video with animation and user actions. I can use timelines and symbols to control

410

Digital Design II: Animation: Unit 5 ● ● ● ● ●

How audio and video assets are imported and controlled in Animate. How synchronization affects audio, video, and motion. Why asset management and organization are essential for interactive media. How interactivity supports communication goals and audience engagement. How interactive elements are evaluated on the Animate certification exam.

● ● ●

interactive behavior across a project. I can evaluate whether my interactive and multimedia choices improve the experience or clutter it. I can organize interactive projects so they remain functional and editable as complexity grows. I can manage multimedia assets to prevent playback and performance issues

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Interactive Animation Project: Create an animated project that includes user interaction (such as buttons or navigation) and at least one multimedia element (audio or video), demonstrating organized timelines, effective asset management, and intentional design choices that enhance user experience.

Interactive Element Check: Students create and demonstrate a functioning interactive element (e.g., button or navigation). Multimedia Sync Review: Students add and synchronize audio or video with animation or user interaction. User Experience Reflection: Students evaluate how interactivity and media choices affect clarity and usability.

STAGE 3: LEARNING PLAN First Topic: Understanding Interactivity

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can create interactive elements — buttons, ● How does interactivity change the way navigation, user-driven choices — that users experience animation, and when is it function correctly. more effective than linear animation? ● I can organize interactive projects so they ● When does adding sound, video, or remain functional and editable as complexity interactivity enhance an animation, and grows. when does it risk overwhelming the experience? ● Why is organization crucial in managing interactive animation projects to ensure clarity and usability? Learning Activities: ● Compare linear vs interactive animation examples ● Discuss user experience considerations ● Demonstrate button symbols and states ● Create functional button interactions

411

Digital Design II: Animation: Unit 5 Second Topic: Adding Multimedia

Estimated # of Lessons: 2

Learning Targets: ● I can import and synchronize audio and video with animation and user actions. ● I can manage multimedia assets to prevent playback and performance issues

Essential Questions: ● How does interactivity change the way users experience animation, and when is it more effective than linear animation? ● When does adding sound, video, or interactivity enhance an animation, and when does it risk overwhelming the experience? ● Why is organization crucial in managing interactive animation projects to ensure clarity and usability?

Learning Activities: ● Demonstrate importing audio and video ● Practice syncing media with animation ● Explore playback control and timing Third Topic: Organizing Interactive Projects

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can use timelines and symbols to control ● How does interactivity change the way interactive behavior across a project. users experience animation, and when is it ● I can evaluate whether my interactive and more effective than linear animation? multimedia choices improve the experience ● When does adding sound, video, or or clutter it. interactivity enhance an animation, and ● I can organize interactive projects so they when does it risk overwhelming the remain functional and editable as complexity experience? grows. ● Why is organization crucial in managing interactive animation projects to ensure clarity and usability? Learning Activities: ● Demonstrate symbol-based navigation ● Practice timeline management for interactivity ● Test and refine interactive elements ● Peer review of interactive projects

412

Digital Design II: Animation: Unit 6 Course Name: Digital Design II: Animation

Unit 6 Title: Publishing & Output

Est. # of Lessons: 5

Unit Overview: We've animated, added interactivity, and integrated multimedia. Now our work has to reach its audience. In this final unit, we learn to publish and export for different platforms, test that everything works as intended, and prepare files for professional delivery. An animation that won't load, play, or respond correctly isn't finished — it's broken. This is where we learn to get the final step right. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

Transfer Goals ●

●

Understandings ● ● ● ● ● ●

Publishing choices affect performance, compatibility, and user experience. Different platforms require different output formats and settings. Testing and refining output is essential before delivery. File organization supports efficient publishing and revision. Professional delivery completes the animation workflow. Understanding output options supports certification success.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ● ●

How Animate publishes content for different platforms and purposes. Common output formats used for animated and interactive media. How publish settings affect quality, performance, and compatibility. The difference between previewing, testing, and final publishing. How file organization supports efficient revision and delivery. Why selecting appropriate output settings is

How do publishing choices affect how animations are experienced? What factors determine the best output format for a project? Why is testing essential before delivering an animation? How does professional delivery impact audience experience?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can prepare Animate files for publishing and output. I can select appropriate publish settings based on platform and purpose. I can export animations using correct formats. I can test animations to ensure functionality and quality. I can organize project files for professional delivery. I can evaluate output quality and make

413

Digital Design II: Animation: Unit 6 critical in professional workflows and certification exams.

●

revisions as needed. I can explain publishing decisions using professional terminology.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Publishing & Output Practical: Publish an animated project for a selected platform, demonstrating correct output settings, organized files, and successful testing to ensure functionality and quality.

Export Decision Check: Students select and justify appropriate output settings based on platform and purpose. Output Testing Review: Students test published animations and identify performance or playback issues. File Organization Check: Students submit organized project folders using professional naming conventions.

STAGE 3: LEARNING PLAN First Topic: Understanding Output Platforms

Estimated # of Lessons: 2

Learning Targets: ● I can prepare Animate files for publishing and output. ● I can select appropriate publish settings based on platform and purpose.

Essential Questions: ● How do publishing choices affect how animations are experienced? ● What factors determine the best output format for a project?

Learning Activities: ● Overview of web, screen, and interactive delivery options ● Discuss platform requirements and constraints ● Match output formats to project purposes Second Topic: Publishing & Export Settings

Estimated # of Lessons: 1

Learning Targets: ● I can export animations using correct formats. ● I can test animations to ensure functionality and quality. ● I can evaluate output quality and make revisions as needed.

Essential Questions: ● What factors determine the best output format for a project? ● Why is testing essential before delivering an animation?

Learning Activities: ● Demonstrate publish settings overview ● Practice previewing and testing output ● Compare file format options ● Troubleshoot common output issues

414

Digital Design II: Animation: Unit 6 Third Topic: Final Delivery & Evaluation

Estimated # of Lessons: 2

Learning Targets: ● I can organize project files for professional delivery. ● I can explain publishing decisions using professional terminology.

Essential Question: ● How does professional delivery impact audience experience?

Learning Activities: ● Organize project files with professional naming conventions ● Revise based on testing results ● Prepare files for submission or sharing ● Final project delivery and reflection

415

Jewelry Design & Fabrication JEWELRY & METALSMITHING Course # WAN009 HUM)

0.5 credit (FVA,

In this hands-on course, students will design and create wearable art using metalsmithing techniques such as sawing, texturing, riveting, soldering, and finishing. Projects emphasize craftsmanship, creativity, and safe tool use. This class is perfect for students interested in sculpture, design, or artisan crafts.

416

Jewelry Design & Fabrication (Semester Course) What does it take to turn a raw piece of metal into something someone wants to wear? Jewelry Design & Fabrication introduces us to the creative process of designing and making wearable art. We explore a range of making techniques — from cutting and texturing metal to digital fabrication with a laser cutter to working with beads, wire, and polymer clay. Through hands-on projects, we learn how artists combine tools, materials, and design thinking to create jewelry that is both functional and visually compelling. As the course progresses, we move from guided skill-building to more independent design work, culminating in an original piece of jewelry that reflects our own creative vision. Unit 1: Studio Foundations 4 lessons

Unit 2: Metal Forming & Texture 4-6 lessons

Before we can make Now that we can cut anything, we need to and refine metal, we understand what discover what it can we're working with do when force is and how to work applied to it. Using safely. We explore hammers, stamps, jewelry as a design and forming tools, discipline, learn to we create surface identify tools, textures that add investigate metal visual interest and properties, and use a dimension. We see jeweler's saw. Our these techniques first project — a saw- come together in a pierced pendant — textured cuff puts these bracelet — our first foundational skills truly threeimmediately to work. dimensional wearable object.

Unit 3: Jewelry Construction 4 lessons

We know how to shape and texture metal — now we learn how to connect it. We investigate how jewelry pieces are joined and assembled through drilling, wire rivets, tab connections, and introductory soldering. We apply these construction methods to create a layered brooch or pendant.

Unit 4: Digital Jewelry Design 5 lessons

Unit 5: Alternative Jewelry Materials 7 lessons

We've worked with With a strong our hands — now we foundation in metal and explore what happens digital fabrication, we when design moves expand our definition to the screen first. of jewelry making Using vector-based entirely. Through software and a laser beadwork, wire cutter, we learn to wrapping, and polymer translate a digital clay, we explore how drawing into a color, pattern, and physical object made material selection from acrylic or wood shape the aesthetic of a veneer, culminating in piece — and bring these a pair of laser-cut techniques together in earrings or an a finished necklace, engraved pendant. bracelet, or pair of earrings.

Unit 6: Final Project 5 lessons

Everything we have learned — cutting, forming, constructing, designing digitally, working with alternative materials — comes together here. We design and fabricate an original piece of jewelry that combines at least two techniques from the course and reflects our own creative vision. We wrap up with a critique in which we present our work, explain our decisions, and evaluate our growth as makers.

417

Jewelry Design & Fabrication: Unit 1 Course Name: Jewelry Design

Unit 1 Title: Studio Foundations

Est. # of Lessons: 4

Unit Overview: Before we can make anything, we need to understand what we're working with and how to work safely. We explore jewelry as a design discipline, learn to identify tools, investigate metal properties, and use a jeweler's saw. Our first project — a saw-pierced pendant — puts these foundational skills immediately to work. STAGE 1: DESIRED RESULTS Established Goals ●

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Transfer Goals ● ● ●

Understandings ● ●

●

Jewelry design combines artistic creativity with technical craftsmanship. Safe studio practices are essential when working with tools and materials. Different metals have properties that affect how they can be cut, shaped, and finished. Careful tool use and preparation improve the quality of a finished piece.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Jewelry is both a decorative and functional form of art Metals such as copper and brass are commonly used in jewelry fabrication Jeweler’s saws are used to cut precise shapes from metal sheet Filing and sanding refine edges and improve craftsmanship Surface finishing improves both appearance and wearability of jewelry

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How do safety practices influence an artist’s ability to work creatively and responsibly? How do artists combine design ideas with technical fabrication skills? How does craftsmanship influence the success of a finished piece?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can safely use jewelry studio tools and equipment following established procedures. I can identify common metalsmithing tools and describe their functions. I can explain the properties of metals such as copper, brass, and nickel silver. I can properly set up and use a jeweler’s saw and bench pin. I can cut metal shapes using controlled sawing techniques. I can refine edges using files and sandpaper

418

Jewelry Design & Fabrication: Unit 1 to improve craftsmanship. STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Saw-Pierced Pendant: Students demonstrate safe tool use, accurate sawing technique, filing and edge refinement, basic texturing, and proper studio cleanup procedures.

Completed Content Exercises: ● Tool identification practice ● Saw blade installation check ● Studio safety quiz ● Sawing practice exercises (lines, curves, interior cuts) ● Instructor observation during tool practice

STAGE 3: LEARNING PLAN First Topic: Introduction to Jewelry Design & Studio Safety

Estimated # of Lessons: 1

Learning Targets: ● I can safely use jewelry studio tools and equipment following established procedures. ● I can explain the properties of metals used in jewelry.

Essential Questions: ● How do safety practices influence an artist’s ability to work creatively and responsibly?

Learning Activities: ● Course overview and introduction to jewelry as a form of wearable art ● Examine examples of contemporary jewelry and discuss how artists combine design ideas with fabrication techniques ● Jewelry studio tour and introduction to common tools and work areas ● Discussion of studio safety expectations and responsible tool use ● Review and sign studio safety agreement Second Topic: Tools & Materials in Jewelry Making Estimated # of Lessons: 1 Learning Targets: ● I can identify common metalsmithing tools and describe their functions.

Essential Questions: ● How do artists combine design ideas with technical fabrication skills?

Learning Activities: ● Demonstration of common metalsmithing tools and their uses ● Tool identification stations where students handle and examine jewelry tools ● Introduction to common metals used in jewelry such as copper, brass, and nickel silver ● Discussion of metal gauges and how thickness affects fabrication ● Hands-on exploration of metal samples and basic properties

419

Jewelry Design & Fabrication: Unit 1 Third Topic: Jeweler’s Saw Fundamentals

Estimated # of Lessons: 1

Learning Targets: ● I can properly set up and use a jeweler’s saw and bench pin. ● I can cut metal shapes using controlled sawing techniques.

Essential Questions: ● How does craftsmanship influence the success of a finished piece?

Learning Activities: ● Demonstration of saw blade installation ● Bench pin setup and posture demonstration ● Practice cutting straight lines and curves ● Practice interior cuts and shape control ● Troubleshooting common sawing problems Fourth Topic: Filing & Surface Finishing

Estimated # of Lessons: 1

Learning Targets: ●

Essential Questions: ● How does craftsmanship influence the I can refine edges using files and sandpaper success of a finished piece? to improve craftsmanship.

Learning Activities: ● ● ● ● ●

Demonstration of filing techniques Sanding progression demonstration Edge refinement practice Preparing metal for final finishing Pendant Fabrication

420

Jewelry Design & Fabrication: Unit 2 Course Name: Jewelry Design

Unit 2 Title: Metal Forming & Texture

Est. # of Lessons: 4-6

Unit Overview: Now that we can cut and refine metal, we discover what it can do when force is applied to it. Using hammers, stamps, and forming tools, we create surface textures that add visual interest and dimension. We see these techniques come together in a textured cuff bracelet — our first truly threedimensional wearable object. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.HSI: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Metal can be shaped and manipulated using controlled force and forming tools. Surface texture can add visual interest, contrast, and emphasis within a jewelry design. Repeated patterns and textures can influence the overall aesthetic and visual rhythm of a piece. Craftsmanship and careful tool control affect both the appearance and durability of jewelry.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Metal changes shape when force is applied through hammering and forming. Surface textures can be created using tools such as hammers, stamps, and rollers. Work hardening occurs when metal is repeatedly struck and becomes more rigid.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How can artists transform flat metal into dimensional jewelry? How does surface texture influence the design of jewelry? What role does craftsmanship play in the success of a finished piece? How do artists use tools and materials to communicate visual ideas?

Skills (Framed as Learning Targets) ● ● ●

I can create surface textures using hammers, stamps, and other texturing tools. I can manipulate sheet metal using forming techniques such as bending, doming, and shaping. I can apply controlled hammer strikes to

421

Jewelry Design & Fabrication: Unit 2 ● ●

Annealing can soften metal and make it easier to shape. Surface design techniques can enhance both the visual and tactile qualities of jewelry.

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create consistent patterns and textures. I can transform flat metal into a dimensional form. I can refine and finish metal surfaces to improve craftsmanship.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Textured Cuff Bracelet: Students design and Completed Content Exercises: fabricate a textured cuff bracelet using hammer ● Texture exploration exercise texturing and forming techniques. The project ● Hammer control practice demonstrates surface design, controlled ● Forming technique demonstration check hammering, metal forming, and finishing ● Instructor observation during texture techniques. Students transform a flat strip of metal experimentation into a curved wearable object while applying ● Sketch planning for bracelet design intentional textures that enhance the design. STAGE 3: LEARNING PLAN First Topic: Surface Texture in Jewelry Design

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

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I can create surface textures using hammers and texturing tools.

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How does surface texture influence the design of jewelry?

Learning Activities: ● ● ● ●

Examine examples of textured jewelry and discuss how artists use texture to create visual interest Demonstration of hammer texturing and stamping techniques Exploration of different texture tools on metal samples Experimentation with repeated marks to create pattern and rhythm

Second Topic: Hammer Texturing Techniques

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

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I can apply controlled hammer strikes to create consistent patterns and textures.

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How does surface texture influence the design of jewelry?

Learning Activities: ●

Demonstration of ball-peen hammer textures and stamping techniques

422

Jewelry Design & Fabrication: Unit 2 ● ● ●

Guided practice applying controlled hammer strikes Experimentation with spacing, rhythm, and tool pressure Create texture sample sheet showing multiple surface treatments

Third Topic: Forming Metal

Estimated # of Lessons: 1-2

Learning Targets:

Essential Questions:

●

I can manipulate sheet metal using forming techniques such as bending, doming, and shaping.

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How can artists transform flat metal into dimensional forms?

Learning Activities: ● ● ● ● ●

Demonstration of forming techniques including bending and shaping metal strips Brief demonstration of annealing — how heat softens work-hardened metal and why this matters during forming. Introduction to forming tools such as mandrels and doming blocks Guided practice shaping metal into curved forms Exploration of how forming changes flat metal into dimensional structures

Fourth Topic: Bracelet Design & Fabrication

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

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I can transform flat metal into a dimensional form.

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How do artists combine texture and form to create wearable objects?

Learning Activities: ● ● ● ● ●

Sketch textured cuff bracelet design ideas Plan placement of surface textures on metal strip Apply hammer texturing to bracelet material Form bracelet into curved wearable shape using mandrel Refine edges and smooth surfaces for comfort and craftsmanship

423

Jewelry Design & Fabrication: Unit 3 Course Name: Jewelry Design

Unit 3 Title: Jewelry Construction

Est. # of Lessons: 4

Unit Overview: We know how to shape and texture metal — now we learn how to connect it. We investigate how jewelry pieces are joined and assembled through drilling, wire rivets, tab connections, and introductory soldering. We apply these construction methods to create a layered brooch or pendant. STAGE 1: DESIRED RESULTS Established Goals ● ●

Transfer Goals ● ● ●

Understandings ● ● ● ●

Artists choose construction methods based on both structural needs and design intentions. Structural connections influence the strength, durability, and design of jewelry. Different joining techniques provide artists with multiple ways to construct and layer materials. Careful planning and alignment are necessary for successful jewelry construction.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Mechanical connections such as rivets and tabs allow metal pieces to be joined without heat. Drilling creates holes that allow materials to be joined using wire or rivets. Soldering joins metal components using

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How do artists connect different materials when constructing jewelry? How does structure influence the design of jewelry? How do construction choices affect both the function and design of jewelry? How can multiple components be combined to create a cohesive design?

Skills (Framed as Learning Targets) ● ● ● ●

I can drill holes safely and accurately in metal. I can identify safe procedures for torch setup and use in a jewelry studio. I can create mechanical connections using wire rivets and tab connections. I can apply basic soldering techniques to join

424

Jewelry Design & Fabrication: Unit 3

●

heat and solder to create a permanent bond. Successful construction depends on precision, alignment, and careful preparation.

●

metal pieces. I can combine multiple components into a structurally sound jewelry design.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Layered Brooch or Pendant: Students design and Completed Content Exercises: fabricate a layered jewelry piece using multiple ● Drilling technique practice construction techniques. The project ● Rivet construction exercise demonstrates drilling, mechanical connections, and ● Component layout plan reviewed by basic soldering. Students combine multiple instructor before fabrication begins. components into a cohesive design while ensuring ● Soldering demonstration check structural stability and craftsmanship. ● Instructor observation during construction exercises ● Sketch planning for layered jewelry design STAGE 3: LEARNING PLAN First Topic: Introduction to Jewelry Construction

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can analyze how construction choices affect both the function and design of jewelry.

●

How do construction choices affect both the function and design of jewelry?

Learning Activities: ● ● ● ●

Examine examples of layered and constructed jewelry pieces Discuss how artists combine multiple components to build structure Demonstration of mechanical and heat-based joining techniques Analyze how construction choices affect both design and durability

Second Topic: Drilling and Mechanical Connections

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ●

I can drill holes safely and accurately in metal. I can create mechanical connections using wire rivets and tab connections.

●

How do artists connect different materials when constructing jewelry?

425

Jewelry Design & Fabrication: Unit 3 Learning Activities: ● ● ● ●

Demonstration of drilling techniques and safety procedures Guided practice drilling holes in metal samples Demonstration of wire rivets and tab connections Practice joining metal pieces using mechanical connections

Third Topic: Introduction to Soldering

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

● ●

I can identify safe procedures for torch setup and use in a jewelry studio. I can apply basic soldering techniques to join metal pieces.

●

How do construction choices affect both the function and design of jewelry?

Learning Activities: ● ● ● ●

Demonstration of soldering tools, torch setup, and safety procedures Explanation of how heat and solder create permanent metal bonds Instructor demonstration of basic solder seams Guided observation of heat behavior during soldering process

Fourth Topic: Layered Jewelry Fabrication

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can combine multiple components into a structurally sound jewelry design.

●

How can multiple components be combined to create a cohesive design?

Learning Activities: ● ● ● ● ● ●

Sketch design ideas for layered brooch or pendant Plan placement of components and connection methods Plan placement and alignment of components before drilling or soldering to ensure structural stability. Fabricate jewelry piece using drilling, rivets, or soldering Refine alignment and connections to ensure structural stability Prepare finished piece for wearability

426

Jewelry Design & Fabrication: Unit 4 Course Name: Jewelry Design

Unit 4 Title: Digital Jewelry Design

Est. # of Lessons: 5

Unit Overview: We've worked with our hands — now we explore what happens when design moves to the screen first. Using vector-based software and a laser cutter, we learn to translate a digital drawing into a physical object made from acrylic or wood veneer, culminating in a pair of laser-cut earrings or an engraved pendant. STAGE 1: DESIRED RESULTS Established Goals ●

●

VA:Cr3.1.HSI: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Pr5.1.HSI: Develop and refine artistic techniques and work for presentation.

Transfer Goals ● ●

Understandings ● ● ● ●

Digital design tools allow artists to plan and refine jewelry before fabrication. Digital fabrication technologies expand the possibilities of jewelry design. Design decisions such as scale, spacing, and balance influence how jewelry functions as a wearable object. Successful digital fabrication requires designers to account for material properties, structural constraints, and production variables during the design process.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Vector graphics are composed of paths and shapes that can be scaled without losing quality. Laser cutters follow vector paths to cut or engrave materials. Materials such as acrylic and wood veneer respond differently to laser cutting and engraving.

How do digital tools influence contemporary jewelry design? How can artists translate a digital drawing into a physical object? What factors must be considered when designing jewelry for laser fabrication? How do artists use shape and negative space to create visually engaging jewelry?

Skills (Framed as Learning Targets) ● ● ● ●

I can create vector shapes and designs using digital design software. I can prepare digital files for laser cutting or engraving. I can evaluate and adjust my jewelry design to improve scale, balance, and wearability. I can assemble and finish laser-cut components into a wearable piece of jewelry.

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Jewelry Design & Fabrication: Unit 4 ● ●

Design considerations such as thickness, size, and attachment points affect the functionality of wearable jewelry. Digital fabrication requires careful preparation of files to ensure successful production.

●

I can refine and adjust digital designs to improve the final outcome.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Laser-Cut Jewelry Design: Students design and fabricate a piece of jewelry using vector design software and laser cutting technology. The project may include acrylic earrings, engraved pendants, or layered laser-cut jewelry. Students demonstrate their ability to create vector designs, prepare files for digital fabrication, and produce a wearable object with attention to craftsmanship and aesthetic design.

Completed Content Exercises: ● ●

Vector shape construction exercises Digital design practice files Laser cutter file preparation check Instructor feedback on design drafts Sketch planning for jewelry design

STAGE 3: LEARNING PLAN First Topic: Digital Fabrication in Jewelry Design

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can evaluate and adjust my jewelry design to improve scale, balance, and wearability.

●

How do digital tools influence contemporary jewelry design?

Learning Activities: ● ● ● ●

Examine examples of laser-cut and digitally fabricated jewelry Discuss how digital tools influence contemporary jewelry design Introduction to vector-based design used for digital fabrication Demonstration of how digital designs become physical objects through laser cutting

Second Topic: Vector Design Fundamentals

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can create vector shapes and designs using digital design software.

●

How do artists use shape and negative space to create visually engaging jewelry?

428

Jewelry Design & Fabrication: Unit 4 Learning Activities: ● ● ● ●

Demonstration of creating vector shapes using digital design software Guided practice building simple shapes and paths Exploration of pattern, spacing, and negative space in jewelry designs Develop digital sketches for potential jewelry pieces

Third Topic: Preparing Files for Laser Cutting

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can prepare digital files for laser cutting or engraving.

●

What factors must be considered when designing jewelry for laser fabrication?

Learning Activities: ● ● ● ●

Demonstration of how vector paths guide laser cutting and engraving Organize design files for digital fabrication Adjust line weights and paths for cutting vs engraving Review safety procedures for operating the laser cutter

Fourth Topic: Jewelry Design & Fabrication

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

●

I can assemble and finish laser-cut components into a wearable piece of jewelry.

●

How can artists translate a digital drawing into a physical object?

Learning Activities: ● ● ● ● ●

Sketch and refine digital jewelry design concepts Finalize vector designs for laser cutting Prepare files and submit designs for fabrication Assemble laser-cut components into wearable jewelry pieces Refine final pieces for presentation

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Jewelry Design & Fabrication: Unit 5 Course Name: Jewelry Design

Unit 5 Title: Alternative Materials

Est. # of Lessons: 7

Unit Overview: With a strong foundation in metal & digital fabrication, we expand our definition of jewelry making entirely. Through beadwork, wire wrapping, & polymer clay, we explore how color, pattern, & material selection shape the aesthetic of a piece & bring these techniques together in a finished necklace, bracelet, or pair of earrings. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.HSI: Apply relevant criteria from traditional/contemporary cultural contexts to examine, reflect on, & plan revisions for works of art and design in progress. VA:Pr5.1.HSI: Develop and refine artistic techniques and work for presentation.

Transfer Goals ● ● ●

Understandings ● ● ●

●

Jewelry can be created using a wide variety of materials beyond traditional metal fabrication. Material choices influence both the visual qualities & structural durability of jewelry. Artists select & combine techniques based on the material properties, the structural demands of the piece, & the aesthetic effect they want to achieve. Color, pattern, & arrangement play important roles in the visual composition of jewelry.

Essential Questions ● ● ● ●

Knowledge ● ●

Jewelry findings such as clasps, jump rings, & ear wires are used to assemble wearable jewelry. Bead stringing techniques allow components to be arranged in patterns &

Explore, develop, & refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, & confidence. (VOG: Information Analysts) Initiate & follow through on artistic projects, approaching challenges with adaptability & resourcefulness. (VOG: Self-Directed Learners)

How do different materials influence the possibilities of jewelry design? How do color and pattern influence jewelry design? How do artists balance aesthetics, durability, and wearability in jewelry design? How can artists combine materials and techniques to communicate creative ideas?

Skills (Framed as Learning Targets) ● ●

I can assemble jewelry components using findings such as jump rings and clasps. I can design bead patterns and arrangements that reflect intentional choices about color, rhythm, and visual balance.

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Jewelry Design & Fabrication: Unit 5 ● ● ●

sequences. Wire wrapping can connect materials while also functioning as a decorative design element. Polymer clay can be shaped, baked, and finished to create colorful and durable jewelry components. Material selection influences both the appearance and function of jewelry.

● ● ●

I can use wire wrapping techniques to secure beads and decorative elements. I can shape and refine polymer clay forms for jewelry components. I can combine materials to create a finished piece of wearable jewelry.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Alternative Materials Jewelry Piece: Students design and create a piece of jewelry using alternative materials and techniques, such as beading or polymer clay, to produce a wearable design with balanced composition, thoughtful assembly, and strong craftsmanship.

Completed Content Exercises: ● ● ● ● ●

Jewelry findings practice check Bead pattern exploration exercise Wire wrapping technique practice Polymer clay shaping practice Design sketch planning

STAGE 3: LEARNING PLAN First Topic:Alternative Materials in Jewelry Design

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can combine materials to create a finished piece of wearable jewelry.

●

How do different materials influence the possibilities of jewelry design?

Learning Activities: ● ● ●

Examine examples of jewelry made from beads, clay, and mixed materials Discuss how artists use color, pattern, and texture in alternative materials Identify advantages and limitations of non-metal jewelry materials

Second Topic: Jewelry Findings and Assembly

Estimated # of Lessons: 1

Learning Targets:

Essential Questions:

●

I can assemble jewelry components using findings such as jump rings and clasps.

●

How do artists balance aesthetics, durability, and wearability in jewelry design?

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Jewelry Design & Fabrication: Unit 5 Learning Activities: ● Demonstration of jewelry findings such as jump rings, clasps, and ear wires ● Practice opening and closing jump rings with pliers ● Assemble simple jewelry components using findings ● Explore how assembly choices affect durability and wearability Third Topic: Beadwork and Wire Wrapping

Estimated # of Lessons: 2

Relevant Learning Targets (from Stage 1) :

Relevant Essential Questions (from Stage 1):

●

I can design bead patterns & arrangements that reflect intentional choices about color, rhythm, and visual balance.

●

How do color and pattern influence jewelry design?

Learning Activities: ● ● ● ●

Demonstration of bead stringing techniques Explore bead patterns that create rhythm and visual balance Practice wire wrapping beads to create decorative connectors Experiment with combining beads and wire in jewelry components

Fourth Topic: Polymer Clay Jewelry Components

Estimated # of Lessons: 2

Learning Targets: I can shape and refine polymer clay forms for jewelry components.

Essential Questions: How do different materials influence the possibilities of jewelry design?

Learning Activities: ● ● ● ●

Demonstration of shaping and texturing polymer clay Experiment with cutting, shaping, and patterning clay pieces Prepare clay components for baking Refine baked clay pieces for use in jewelry assembly

Fifth Topic: Jewelry Design and Assembly

Estimated # of Lessons: 1

Learning Targets: I can combine materials to create Essential Questions: How do different materials a finished piece of wearable jewelry. influence the possibilities of jewelry design? Learning Activities: ● ● ● ●

Sketch design ideas for alternative materials jewelry Plan color combinations and material arrangements Assemble jewelry using beads, clay components, and findings Refine structure and balance to ensure wearability

432

Jewelry Design & Fabrication: Unit 6 Course Name: Jewelry Design

Unit 6 Title: Final Project

Est. # of Lessons: 5

Unit Overview: Everything we have learned — cutting, forming, constructing, designing digitally, working with alternative materials — comes together here. We design and fabricate an original piece of jewelry that combines at least two techniques from the course and reflects our own creative vision. We wrap up with a critique in which we present our work, explain our decisions, and evaluate our growth as makers. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

●

VA:Cr1.2.HSI: Shape an artistic investigation of an aspect of present-day life using a contemporary practice of art or design. VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.HSI: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Pr6.1.HSI: Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings. VA:Re9.1.HSI: Establish relevant criteria in order to evaluate a work of art or collection of works.

Transfer Goals ● ●

●

Understandings ● ● ● ●

Artists combine multiple techniques & materials to develop original jewelry designs. The design process often involves experimentation, revision, & problem solving. Craftsmanship & attention to detail influence the success & durability of jewelry. Artists evaluate and refine their work through reflection and critique.

Essential Questions ● ● ● ●

How do artists combine techniques and materials to create original jewelry? How does the design process influence the success of a final piece? What role does craftsmanship play in the quality of a finished artwork? How can artists evaluate and improve their creative work?

433

Jewelry Design & Fabrication: Unit 6 Knowledge ● ● ● ●

Skills (Framed as Learning Targets)

Jewelry design involves both creative planning and technical fabrication Artists often combine multiple techniques and materials in one piece Sketching and planning help organize the steps needed to create a design Critique and reflection help artists improve their work

● ● ● ● ●

I can develop an original jewelry design based on my own ideas and inspirations. I can select appropriate materials and techniques to construct my design. I can apply fabrication techniques learned throughout the course to create a finished jewelry piece. I can refine and finish my work to improve craftsmanship and presentation. I can explain my design choices and evaluate how successful my final piece is.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Jewelry Design Project: Students design and fabricate an original piece of jewelry using at least two course techniques, demonstrating design planning, craftsmanship, and aesthetic decisionmaking in a refined wearable object. They also present the finished piece and reflect on their design choices and fabrication process in a critique.

Completed Content Exercises: ● Design planning worksheet ● Concept sketches and teacher feedback ● Mid-project progress check ● Instructor observation during fabrication ● Peer critique discussion

STAGE 3: LEARNING PLAN First Topic: Inspiration and Concept Development

Estimated # of Lessons: 1

Learning Targets: I can develop an original jewelry design based on my own ideas and inspirations.

Essential Questions: How do artists combine techniques and materials to create original jewelry?

Learning Activities: • Examine examples of contemporary jewelry designs • Discuss how artists combine materials and techniques • Brainstorm design ideas based on personal interests or inspiration • Create concept sketches for final jewelry piece Second Topic: Design Planning and Proposal

Estimated # of Lessons: 1

Learning Targets: I can select appropriate materials Essential Questions: How does the design process and techniques to construct my design. influence the success of a final piece? Learning Activities:

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Jewelry Design & Fabrication: Unit 6 ● ● ● ●

Refine design sketches and select final concept Identify materials and techniques required for fabrication Complete project planning sheet outlining construction steps Receive instructor feedback and revise design plan

Third Topic: Fabrication and Construction

Estimated # of Lessons: 1

Relevant Learning Targets (from Stage 1) :

Relevant Essential Questions (from Stage 1):

●

I can apply fabrication techniques learned throughout the course to create a finished jewelry piece.

● ●

How do artists combine techniques and materials to create original jewelry? What role does craftsmanship play in the quality of a finished artwork?

Learning Activities: ● ● ● ●

Fabricate jewelry piece using selected techniques from previous units Apply metal forming, construction, digital fabrication, or alternative material techniques Troubleshoot structural and design challenges during fabrication Continue refining craftsmanship throughout construction process

Fourth Topic: Finishing and Presentation

Estimated # of Lessons: 1

Learning Targets: I can refine and finish my work to improve craftsmanship and presentation.

Essential Questions: What role does craftsmanship play in the quality of a finished artwork?

Learning Activities: ● ● ● ●

Refine edges and surfaces to improve craftsmanship Ensure final jewelry piece is wearable and structurally secure Clean and polish finished work Prepare piece for critique and presentation

Fifth Topic: Reflection and Critique

Estimated # of Lessons: 1

Learning Targets: I can explain my design choices and evaluate how successful my final piece is.

Essential Questions: How can artists evaluate and improve their creative work?

Learning Activities: ● ● ● ●

Present finished jewelry pieces to the class Participate in structured critique discussion Explain design choices and fabrication techniques used Reflect on creative process and evaluate success of final piece

435

Art Foundations: Drawing & Ceramics ART FOUNDATIONS: DRAWING AND CERAMICS Course # WAN101

0.5 credit (FVA, HUM)

In this class, students will apply the Elements of Art and Principles of Design (tools an artist uses to create art) to create compositions utilizing a variety of media such as tempera, watercolor and acrylic. Color theory as well as the movements and styles of realism, abstract, still life, and landscape will be taught. A variety of sculptural materials will be utilized (some found in an art store, some from your recycle bin) to construct a variety of different types of sculptures from relief to sculpture in the round. Creativity and imagination are paramount!

436

Art Foundations: Drawings and Ceramics (Semester Course) This course is about learning to see the world differently — and then finding ways to respond to it. We start with a pencil and build from there: mastering value, texture, and observation through drawing projects that grow more personal and more ambitious as the year unfolds. Then we pick up clay — building objects that are playful, then meaningful, then deeply our own. Seven projects. Two materials. One big idea: that every artist has something to say, and that craft is how we learn to say it Unit 1: Graphite Pencil - Animal Eye Drawing 4 Lessons

Unit 2: Charcoal Drawing 4 Lessons

Unit 3: Colored Pencil Landscape 4 Lessons

Every artist begins the same way — by learning to really look. In this first unit, we slow down and train our eyes to see what's actually there, not what we think is there. Working with graphite pencils, we'll build the foundational skills that will carry us through the entire course: controlling value, building texture, and creating the illusion of form and depth. Our first major challenge brings all of that together — a large, close-up drawing of an animal eye. Using a grid to guide our proportions, we'll discover how patience, careful observation, and layered mark-making can make a simple pencil drawing feel startlingly alive. This is where we begin.

Now that we know how to look, we start to feel. Charcoal is bold, expressive, and unforgiving in the best possible way — it pushes us to commit to our marks and trust the process. In this unit, we'll deepen our understanding of light and shadow, learning to pull highlights out of darkness and build form through value alone. But what makes this unit different is the subject: a stuffed animal that means something to us. For the first time in this course, we're not just practicing technique — we're using art to say something personal. Observation and emotion work together here, and that combination is at the heart of everything we'll make from this point forward.

We've learned to see. We've learned to feel. Now we learn to see place — and to translate it into color. In this unit, we'll discover that colored pencils are far more powerful than they look. Through layering, blending, and burnishing, we'll build rich, luminous color and convincing depth. Choosing a landscape from the National Parks gallery, we'll each find a view that speaks to us personally and transform it into a finished drawing full of atmosphere and light. This unit is our last extended project in drawing — and it asks us to bring everything together: value, observation, patience, and our own sense of what makes a place beautiful or meaningful.

437

Art Foundations: Drawings and Ceramics (Semester Course) Unit 4: Whimsical Teacups and Saucers 5 Lessons

Unit 5: Building Community Narrative Ceramic Houses 5 Lessons

We put down our pencils and pick up clay — and with it, an entirely new set of possibilities. Our hands are now the tool, and threedimensional form is our new language. We ease into ceramics playfully: designing and building a set of three whimsical teacups and matching saucers that are functional objects transformed into works of art. Using pinch, coil, and slab techniques, we'll push clay into imaginative forms — cups that lean, twist, or surprise — while learning what it means to build something cohesive across multiple pieces. The real lesson here isn't just how to build with clay. It's that craftsmanship and creativity aren't opposites. They belong together.

With our technical footing in clay now established, we go deeper. In this unit, we ask ourselves: what do we actually want to say? A house is more than four walls — it can be a symbol of where we come from, what we love, or who we're becoming. We'll each design and build a narrative clay house that tells our own story, using symbols, textures, and architectural details to communicate something true about our identity. This is the unit where craft becomes voice. The skills we built making teacups now carry meaning — and the viewer becomes someone we're speaking to.

Unit 6: Faces that Inspire 5 Lessons

Unit 7: Final Art Piece — Forms of Nature 3 Lessons

If the last unit asked us to look We began this course by learning inward, this one asks us to look to observe the world around us. outward — at the people who We end it by transforming what have shaped us. We'll each choose we've seen into something entirely someone who inspires us and our own. In this final unit, we look honor them by building their to nature — to shells, coral, bones, portrait in clay. Starting with a stones, and sea forms — and use newspaper armature, we'll those shapes as a starting point construct a full bust — head, neck, for abstract sculpture. Drawing and shoulders — building up facial inspiration from the work of features layer by layer until we've Barbara Hepworth, we'll design captured a real likeness. This is the and build biomorphic sculptures: most technically demanding forms that feel organic, curved, project of the course, and also one and alive. This is our capstone — a of the most human. By the time chance to bring every skill we've our sculptures come out of the developed in drawing and kiln, we'll have made something ceramics into one piece that is that lasts — a tribute in clay to both technically strong and someone who matters. creatively free. Nature has been making beautiful forms for millions of years. Now, so have we.

438

Art Foundations: Drawing & Ceramics Unit 1 Course Name: Art Foundations: Drawing and Ceramics Unit 1 Title: Graphite Pencil - Animal Eye Drawing Est. # of Lessons: 4 Unit Overview: Every artist begins the same way — by learning to really look. In this first unit, we slow down and train our eyes to see what's actually there, not what we think is there. Working with graphite pencils, we'll build the foundational skills that will carry us through the entire course: controlling value, building texture, and creating the illusion of form and depth. Our first major challenge brings all of that together — a large, close-up drawing of an animal eye. Using a grid to guide our proportions, we'll discover how patience, careful observation, and layered mark-making can make a simple pencil drawing feel startlingly alive. This is where we begin. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr2.1.HSI: Engage in making a work of art through deliberate observation and planning VA:Cr2.2.HSI: Demonstrate quality craftsmanship through care for and use of materials, tools, and equipment VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Re8.1.HSI: Analyze how working methods of artists influence their work

Transfer Goals ● ●

Understandings ● ● ● ● ●

What we notice depends on how we train ourselves to look — observation is a skill, not a given. Light reveals form; without understanding light, even technically correct marks fall flat. Refinement, not initial effort, is what separates a competent drawing from a powerful one. Value is essential for creating realism, depth, and three-dimensional form. The eye can communicate emotion, mood, and narrative in visual art.

Essential Questions ● ● ● ● ● ●

Knowledge ● ●

Graphite pencils can create a wide range of values and textures depending on pressure, layering, and pencil grade. The difference between hard and soft graphite pencils (H–B scale).

How does value create the illusion of threedimensional form? Why is observation more effective than drawing from memory? How does light affect what we see and draw? How can small details enhance realism without overpowering a drawing? What makes an animal eye appear expressive or lifelike? What happens when we draw what we actually see rather than what we think we see?" Skills (Framed as Learning Targets)

● ●

I can carefully observe a still life or reference image and identify shapes, proportions, and details. I can draw what I see rather than what I think an object looks like.

439

Art Foundations: Drawing & Ceramics Unit 1 ● ● ● ● ● ● ● ● ● ●

How pencil pressure affects value. Common graphite techniques (hatching, cross-hatching, stippling, blending, layering). The value scale from light to dark. The structure of an eye (pupil, iris, sclera, highlight, reflection). How fur, skin, and reflections differ in texture. How to crop a reference image. How to transfer a grid from the size of the reference photo to a larger scale paper. How to identify a light source in a reference image. The importance of contrast for visual impact. Proper drawing tool care and studio habits.

● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

I can plan my composition before adding details. I can use different graphite pencils to create light, medium, and dark values. I can control pencil pressure to create smooth value transitions. I can layer graphite to build depth instead of pressing hard immediately. I can use multiple shading techniques effectively. I can create a full value range from light to dark. I can identify highlights, midtones, and shadows in my subject. I can use value to make forms appear threedimensional. I can create contrast to strengthen realism. I can create realistic textures such as fur, skin, and reflections using graphite. I can use directional marks to enhance realism. I can add detail after establishing strong base values. I can accurately use a grid as a drawing tool. I can accurately draw a close-up animal eye using proportion and observation. I can show depth and realism through careful shading and contrast. I can refine my work through revision and layering. I can participate in group critiques using art vocabulary. I can reflect on my progress and identify areas of growth. I can explain how my techniques contributed to the outcome.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Final Drawing: The final drawing demonstrates a full range of values, accurate proportions, convincing texture, and realistic detail, using the grid method and graphite techniques to create strong contrast, depth, and believable structure in the eye.

Formative Assessment Graphite Techniques: Students practice layering, blending, and mark-making on graphite practice sheets to represent fur, eyelashes, skin, and reflections. Teacher Feedback: The teacher provides feedback on students’ graphite techniques throughout the

440

Art Foundations: Drawing & Ceramics Unit 1 process. Value Range and Shading: The teacher checks students’ ability to create a full value range of light, middle, and dark tones through shading practice, with feedback on building contrast gradually and avoiding flat shading. Grid Accuracy and Proportion: The teacher checks grid accuracy, placement, and the proportional transfer of shapes from the reference image to the drawing surface. Adjustments and Alignment: Students revise placement and correct alignment as they work. STAGE 3: LEARNING PLAN First Topic: Graphite Techniques and Application

Estimated # of Lessons: 1

Learning Targets: ● I can carefully observe a still life or reference image and identify shapes, proportions, and details. ● I can draw what I see rather than what I think an object looks like. ● I can plan my composition before adding details. ● I can use different graphite pencils to create light, medium, and dark values. ● I can control pencil pressure to create smooth value transitions. ● I can layer graphite to build depth instead of pressing hard immediately. ● I can use multiple shading techniques effectively. ● I can create a full value range from light to dark. ● I can identify highlights, midtones, and shadows in my subject. ● I can use value to make forms appear three-dimensional. ● I can create contrast to strengthen realism.

Essential Questions: ● How does value create the illusion of threedimensional form? ● What techniques allow graphite pencils to produce a wide range of tones and textures? ● Why is observation more effective than drawing from memory? How does light affect what we see and draw?

Second Topic: Graphite Animal Eye Drawing

Estimated # of Lessons: 3

Learning Targets: ● I can plan my composition before adding details. I can use different graphite pencils to create light, medium, and dark values.

Essential Questions: ● How can small details enhance realism without overpowering a drawing? ● What makes an animal eye appear expressive

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Art Foundations: Drawing & Ceramics Unit 1 ● ● ● ● ● ● ● ●

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I can control pencil pressure to create smooth value transitions. I can layer graphite to build depth instead of pressing hard immediately. I can use multiple shading techniques effectively. I can create a full value range from light to dark. I can identify highlights, midtones, and shadows in my subject. I can use value to make forms appear three-dimensional. I can create contrast to strengthen realism. I can create realistic textures such as fur, skin, and reflections using graphite. I can use directional marks to enhance realism. I can add detail after establishing strong base values. I can accurately use a grid as a drawing tool. I can accurately draw a close-up animal eye using proportion and observation. I can show depth and realism through careful shading and contrast. I can refine my work through revision and layering. I can participate in group critiques using art vocabulary. I can reflect on my progress and identify areas of growth. I can explain how my techniques contributed to the outcome.

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or lifelike? How can patience and persistence improve drawing outcomes?

Learning Activities: ● Whole class grid drawing. ● Class discussion of the use of a grid as an art tool. ● Students create a document with at least three black-and- white cropped photos of an animal eye. ● Students create a thumbnail sketch of each photo, including compositional ideas, considering space, horizontal or vertical layout, and balance of positive and negative space, and emphasis/focal point. ● Students choose one of the three photos for their final eye drawing.

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Art Foundations: Drawing & Ceramics Unit 2 Course Name: Art Foundations: Drawing and Ceramics Est. # of Lessons: 4

Unit 2 Title: Charcoal Drawing

Unit Overview: Now that we know how to look, we start to feel. Charcoal is bold, expressive, and unforgiving in the best possible way — it pushes us to commit to our marks and trust the process. In this unit, we'll deepen our understanding of light and shadow, learning to pull highlights out of darkness and build form through value alone. But what makes this unit different is the subject: a stuffed animal that means something to us. For the first time in this course, we're not just practicing technique — we're using art to say something personal. Observation and emotion work together here, and that combination is at the heart of everything we'll make from this point forward. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.2.HSI: Choose from a range of materials and methods to plan works of art VA:Cr2.1.HSI: Engage in making a work of art without a fully preconceived plan VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ● ● ●

Understandings ●

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Observation and emotion are not opposites — the more carefully we look at something we care about, the more we have to say about it. Light and shadow define form more than outlines do. Artists make intentional choices to communicate mood, memory, and meaning. Mistakes and revisions are part of the artistic process. Personal objects can be powerful sources of artistic inspiration.

Essential Questions ● ● ● ● ● ●

Knowledge ● ● ●

Types of charcoal (vine, compressed, charcoal pencil) How pressure affects light and dark values The value scale ranges from highlight to deep shadow

Explore, develop, and refine artistic skills across diverse media and techniques. Create original artworks to develop creativity, competence, and confidence. Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences.

How does value create the illusion of form and depth? How can light and shadow change the mood of an artwork? How can texture be suggested rather than copied exactly? Why do artists choose certain subjects to communicate meaning? How can art express memory, emotion, or personal identity? What can mistakes teach us during the creative process?

Skills (Framed as Learning Targets) ●

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I can identify the difference between vine charcoal, compressed charcoal, and charcoal pencils and select the right tool for the effect I want. I can handle and store charcoal properly to

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Art Foundations: Drawing & Ceramics Unit 2 ● ● ● ● ● ● ● ● ● ● ● ● ●

Parts of light and shadow: Highlight Midtone Core shadow Reflected light Cast shadow Blending tools and techniques How kneaded erasers can be used as drawing tools The difference between contour lines and value shapes How texture can be implied using directional marks Basic drawing vocabulary: value, contrast, texture, Form, proportion, composition, light source Value is essential for creating realism and depth in drawing Charcoal is a versatile medium capable of both bold contrast and subtle detail

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avoid smudging or breakage. I can create a value scale from light to dark by adjusting pressure. I can layer charcoal to deepen shadows without overworking the surface. I can blend charcoal using tortillons, tissues, and fingers to create smooth gradients. I can vary stroke direction and pressure to create different textures. I can combine line work and smudging to achieve different effects. I can use a kneaded eraser to lift highlights and create textures through subtractive drawing. I can maintain balance between light and dark through deliberate erasing and mark-making. I can arrange objects compositionally for balance and emphasis. I can create an expressive quality through line and value that communicates an emotional impact. I can use detail and softness to lead the viewer's eye. I can identify core shadow, cast shadow, highlight, and reflected light in my subject. I can make marks that are intentional — varied between delicate and bold depending on what the surface needs.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Charcoal: The project should demonstrate effective use of charcoal tools, blending and layering, controlled mark-making, strong highlights and deep darks, clean craftsmanship, accurate proportions, and thoughtful choices in pose, lighting, and composition that reflect a personal connection to the stuffed animal.

Completed Content Exercises: ● Charcoal technique practice sheet ● Observational mini-drawing ● Thumbnail sketches for final drawing with teacher conference

STAGE 3: LEARNING PLAN First Topic: Charcoal Techniques, Mini-drawing, and Thumbnail Sketches

Estimated # of Lessons: 1

Learning Targets: ● I can identify the difference between vine charcoal, compressed charcoal, and

Essential Questions: ● What can mistakes teach us during the creative process?

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Art Foundations: Drawing & Ceramics Unit 2

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charcoal pencils and select the right tool for the effect I want. I can handle and store charcoal properly to avoid smudging or breakage. I can create a value scale from light to dark by adjusting pressure. I can layer charcoal to deepen shadows without overworking the surface. I can blend charcoal using tortillons, tissues, and fingers to create smooth gradients. I can vary stroke direction and pressure to create different textures. I can use a kneaded eraser to lift highlights and create textures through subtractive drawing.

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How can texture be suggested rather than copied exactly? Why do artists choose certain subjects to communicate meaning?

Learning Activities: ● Charcoal technique practice sheet ● Observational mini-drawing, and thumbnail sketches for final drawing. Second Topic: Charcoal Drawing of a Sentimental Stuffed Animal

Estimated # of Lessons: 3

Learning Targets: ● I can create a value scale from light to dark by adjusting pressure. ● I can layer charcoal to deepen shadows without overworking the surface. ● I can blend charcoal using tortillons, tissues, and fingers to create smooth gradients. ● I can vary stroke direction and pressure to create different textures. I can combine line work and smudging to achieve different effects. ● I can use a kneaded eraser to lift highlights and create textures through subtractive drawing. ● I can maintain balance between light and dark through deliberate erasing and markmaking. I can arrange objects compositionally for balance and emphasis. ● I can create an expressive quality through line and value that communicates an emotional impact. ● I can use detail and softness to lead the viewer's eye. ● I can identify core shadow, cast shadow,

Essential Questions: ● How does value create the illusion of form and depth? ● What makes a drawing appear realistic? ● How can light and shadow change the mood of an artwork? ● How can texture be suggested rather than copied exactly? ● Why do artists choose certain subjects to communicate meaning? How can art express memory, emotion, or personal identity?

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Art Foundations: Drawing & Ceramics Unit 2 ●

highlight, and reflected light in my subject. I can make marks that are intentional — varied between delicate and bold depending on what the surface needs.

Learning Activities: ● Students will combine observational drawing skills and charcoal techniques to create a realistic and expressive drawing of a sentimental stuffed animal that reflects both technical growth and personal meaning.

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Art Foundations: Drawing & Ceramics Unit 3 Course Name: Art Foundations: Drawing and Ceramics Est. # of Lessons: 4

Unit 3 Title: Colored Pencil Landscape

Unit Overview: We've learned to see. We've learned to feel. Now we learn to see place — and to translate it into color. In this unit, we'll discover that colored pencils are far more powerful than they look. Through layering, blending, and burnishing, we'll build rich, luminous color and convincing depth. Choosing a landscape from the National Parks gallery, we'll each find a view that speaks to us personally and transform it into a finished drawing full of atmosphere and light. This unit is our last extended project in drawing — and it asks us to bring everything together: value, observation, patience, and our own sense of what makes a place beautiful or meaningful. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.2.HSI: Choose from a range of materials and methods to plan works of art VA:Cr2.1.HSI: Engage in making a work of art through deliberate observation VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Re8.1.HSI: Analyze how working methods of artists influence their work VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

Color without value control creates flatness; value structure is what makes color feel real. Place is not just what we see — it is what we feel about what we see, and artists make choices accordingly. Warm and cool colors influence mood and spatial illusion. Artists make intentional choices to represent place and emotion. Careful craftsmanship and patience lead to stronger results.

Essential Questions ● ● ●

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Knowledge ● ●

Colored pencil techniques: layering, blending, burnishing, scumbling, pressure control Color theory concepts: hue, value, intensity (saturation), warm vs. cool colors, analogous

Explore, develop, and refine artistic skills across diverse media and techniques. Create original artworks to develop creativity, competence, and confidence. Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness.

How do artists create the illusion of depth on a flat surface? Why is value important even when using color? How do warm and cool colors affect space and mood? What makes a landscape feel realistic or believable? How can color communicate atmosphere, weather, or emotion? How do artists represent places differently based on personal interpretation? Skills (Framed as Learning Targets)

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I can layer colored pencils to create rich color and smooth transitions. I can control pencil pressure to create light and dark values. I can blend colors to create new hues.

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Art Foundations: Drawing & Ceramics Unit 3 ●

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and complementary colors Landscape concepts: foreground, middle ground, background, horizon line, overlapping, scale and proportion, atmospheric perspective How color changes with distance How to create smooth transitions with colored pencil Proper care and craftsmanship for colored pencil work Color can be layered to create new hues, values, and intensities Atmospheric perspective affects color, detail, and contrast

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I can burnish colors to achieve a smooth finish and use warm and cool colors intentionally. I can adjust color intensity to show distance and depth. I can use complementary colors to create contrast and create value using color instead of outlines. I can identify foreground, middle ground, and background and use overlapping and scale to show depth. I can apply atmospheric perspective to landscapes and draw landscapes using reference images. I can plan a landscape composition before beginning my final drawing and choose effective cropping and focal points. I can organize visual space to guide the viewer’s eye and demonstrate patience and craftsmanship with colored pencils. I can revise my artwork based on feedback. I can explain my artistic choices using art vocabulary and reflect on my strengths and areas for improvement.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Piece: The project should demonstrate control of colored pencil techniques such as layering, blending, burnishing, and smooth application, while using value and color to create contrast, realism, and visual interest. It should also show clear spatial depth and perspective through scale, overlapping forms, and value shifts, with a balanced landscape composition that includes foreground, middle ground, horizon line, and background, all completed with strong craftsmanship and attention to detail.

Completed Content Exercises: ● Colored pencil technique sheets ● Color mixing and value studies ● Landscape depth mini-study and teacher conference Gallery Walk: Peer viewing of artworks

STAGE 3: LEARNING PLAN First Topic: Color Pencil Technique Sheet, Color Mixing/Value Studies, Landscape Depth Mini-Study

Estimated # of Lessons: 1

Learning Targets: ● I can layer colored pencils to create rich color and smooth transitions. ● I can control pencil pressure to create light

Essential Questions: ● How do artists create the illusion of depth on a flat surface? ● Why is value important even when using

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Art Foundations: Drawing & Ceramics Unit 3 ● ● ● ● ●

and dark values. I can blend colors to create new hues. I can burnish colors to achieve a smooth finish. I can use complementary colors to create contrast. I can create value using color instead of outlines. I can demonstrate patience and craftsmanship with colored pencils.

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color? How do warm and cool colors affect space and mood? What makes a landscape feel realistic or believable? How can color communicate atmosphere, weather, or emotion? How do artists represent places differently based on personal interpretation?

Learning Activities: ● Colored pencil technique sheet ● Color mixing and value studies ● Landscape depth mini-study Second Topic: Colored Pencil Landscape

Estimated # of Lessons: 3

Learning Targets: ● I can use warm and cool colors intentionally. I can adjust color intensity to show distance and depth. ● I can use complementary colors to create contrast. I can identify foreground, middle ground, and background. ● I can use overlapping and scale to show depth. I can apply atmospheric perspective to landscapes. ● I can draw landscapes using reference images. ● I can plan a landscape composition before beginning my final drawing. ● I can choose effective cropping and focal points. ● I can organize visual space to guide the viewer's eye. ● I can revise my artwork based on feedback. ● I can explain my artistic choices using art vocabulary. ● I can reflect on my strengths and areas for improvement.

Essential Questions: ● How do artists create depth? ● How can color communicate atmosphere, weather, or emotion? ● How do artists represent places differently based on personal interpretation? ● How do artists create the illusion of depth on a flat surface?

449

Art Foundations: Drawing & Ceramics Unit 4 Course Name: Art Foundations: Drawing and Ceramics Est. # of Lessons: 5

Unit 4 Title: Whimsical Teacups and Saucers

Unit Overview: We put down our pencils and pick up clay — and with it, an entirely new set of possibilities. Our hands are now the tool, and three-dimensional form is our new language. We ease into ceramics playfully: designing and building a set of three whimsical teacups and matching saucers that are functional objects transformed into works of art. Using pinch, coil, and slab techniques, we'll push clay into imaginative forms — cups that lean, twist, or surprise — while learning what it means to build something cohesive across multiple pieces. The real lesson here isn't just how to build with clay. It's that craftsmanship and creativity aren't opposites. They belong together. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.1.HSI: Use multiple approaches to begin and refine works of art VA:Cr2.1.HSI: Engage in making a work of art through experimentation VA:Cr2.2.HSI: Demonstrate quality craftsmanship through care for and use of materials VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions

Transfer Goals ● ● ●

Understandings ● ● ● ●

Artists use handbuilding techniques to transform clay into functional and sculptural forms. Artists add texture, form, and decorative elements to communicate personality and creative ideas. Artists combine craftsmanship and imagination when designing functional ceramic objects. Artists refine and revise their work during the building process to improve structure and aesthetics.

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ● ● ● ●

Handbuilding Techniques Pinch Construction Coil Construction Slab Construction Clay Attachment Methods Scoring And Slipping Vessel Form And Structure

How can artists transform everyday objects into imaginative works of art? How do different handbuilding techniques influence the shape and structure of ceramic forms? What makes a ceramic object both functional and expressive? How do artists use craftsmanship and creativity when working with clay? How can a group of artworks work together as a cohesive set? Skills (Framed as Learning Targets)

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I can use pinch, coil, and slab techniques to build ceramic forms. I can construct a teacup that is structurally stable and able to stand on its own. I can design and build a saucer that fits with my teacup. I can add creative details and textures that

450

Art Foundations: Drawing & Ceramics Unit 4 ● ● ● ● ● ● ● ● ● ●

Proportion And Balance In Ceramics Surface Texture Techniques Decorative Additions Ceramic Glazing Methods Bisque Firing Process Glaze Firing Process Craftsmanship In Ceramics Design Unity Across Multiple Objects Artists plan the structure of a clay piece so it can stand, balance, and function as intended. Artists use pinch, coil, and slab techniques to create different shapes and construction styles.

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make my teacups whimsical and unique. I can demonstrate craftsmanship by smoothing, joining, and refining clay surfaces. I can create a cohesive set of ceramic pieces that relate visually to each other. I can explain how my design choices show creativity and artistic intention.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Ceramic Teacups: Students create a set of three ceramic teacups and saucers that demonstrate strong handbuilding techniques, craftsmanship, structural integrity, creative whimsical design, cohesive unity across the set, and thoughtful glazing and finish. Reflection Questions: Students answer reflection questions about the artistic techniques and skills they used, the most successful part of their artwork and why it works well, and the challenges they experienced and how they worked through them.

Completed Content Exercises: ● Teacher observation during the building process ● Sketch planning review ● Handbuilding technique check ● Clay attachment and craftsmanship check ● Work in progress critique ● Student reflection discussions ● Glazing preparation check

STAGE 3: LEARNING PLAN First Topic: Intro to Ceramic Vessels, Design & Planning, Teacher Construction Demonstration

Estimated # of Lessons: 1

Learning Targets: ● I can create a cohesive set of ceramic pieces that relate visually to each other. ● I can explain how my design choices show creativity and artistic intention.

Essential Questions: ● How can artists transform everyday objects into imaginative works of art? ● How do artists use craftsmanship and creativity when working with clay? ● How can a group of artworks work together as a cohesive set?

Learning Activities: ● Discussion about functional ceramics

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Art Foundations: Drawing & Ceramics Unit 4 ● ● ●

Examine historical and contemporary teacups Identify creative vessel forms and surface details Classroom discussion about whimsical design

● Students sketch three teacup ideas. Plan how each cup will relate to the others ● Explore playful shapes, handles, and textures ● Teacher demonstration of construction techniques: pinch cup construction, coil building for walls or decoration, slab building for saucers and structural forms, scoring and slipping for attachments Second Topic: Construction and Finishing

Estimated # of Lessons: 4

Learning Targets: ● I can use pinch, coil, and slab techniques to build ceramic forms. ● I can construct a teacup that is structurally stable and able to stand on its own. ● I can design and build a saucer that fits with my teacup. ● I can add creative details and textures that make my teacups whimsical and unique. ● I can demonstrate craftsmanship by smoothing, joining, and refining clay surfaces.

Essential Questions: ● How can artists transform everyday objects into imaginative works of art? ● How do different handbuilding techniques influence the shape and structure of ceramic forms? ● What makes a ceramic object both functional and expressive? ● How do artists use craftsmanship and creativity when working with clay?

Learning Activities: ● ● ● ●

Building the Teacups: Students will create three different teacups, experiment with playful forms, build handles and decorative elements, create matching saucers, and refine edges and surfaces Surface Texture and Decorative Details: Students may explore: carving textures, stamping patterns sculptural additions, creative handles, surface embellishments Drying and Bisque Firing Preparation: Students will: clean surfaces, check attachments, hollow thick areas if needed, and prepare work for kiln firing Glazing: Teacher demonstration of glazing techniques. Students will: select glaze colors apply glaze evenly, consider color harmony within the set, and clean glaze from foot rings

452

Art Foundations: Drawing & Ceramics Unit 5 Course Name: Art Foundations: Drawing and Ceramics Unit 5 Title: Building Community - Narrative Ceramic Houses

Est. # of Lessons: 5

Unit Overview: With our technical footing in clay now established, we go deeper. In this unit, we ask ourselves: what do we actually want to say? A house is more than four walls — it can be a symbol of where we come from, what we love, or who we're becoming. We'll each design and build a narrative clay house that tells our own story, using symbols, textures, and architectural details to communicate something true about our identity. This is the unit where craft becomes voice. The skills we built making teacups now carry meaning — and the viewer becomes someone we're speaking to. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.1.HSI: Use multiple approaches to begin and refine works of art VA:Cr2.1.HSI: Engage in making a work of art without a fully preconceived plan VA:Cr2.3.HSI: Demonstrate awareness of how to transform materials to create meaning VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas VA:Cn11.1.HSI: Describe how knowledge of culture, traditions, and history may influence personal responses to art

Transfer Goals ● ● ●

Understandings ● ● ● ●

Artists use sculpture to communicate personal stories and identity. Artists use symbols and visual details to reveal meaning in their work. Artists design forms that communicate ideas about culture, personality, and experiences. Artists use architectural forms like houses as metaphors for identity and belonging.

Essential Questions ● ● ● ● ●

Knowledge ● ● ●

Narrative Art Symbolism In Art Personal Storytelling Through Sculpture

Create original artworks to develop creativity, competence, and confidence. Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can artists tell stories through threedimensional artwork? How can symbols and details communicate personal identity? Why might artists use a house as a metaphor for self or home? How do form and structure affect the meaning of a sculpture? How does craftsmanship impact the success of a ceramic sculpture? Skills (Framed as Learning Targets)

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I can design a clay sculpture that communicates something about my identity. I can use handbuilding techniques to

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Art Foundations: Drawing & Ceramics Unit 5 ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Architectural Forms In Sculpture Handbuilding Techniques Slab Construction Coil Construction Scoring And Slipping Structural Support In Clay Sculptural Detail Techniques Texture And Surface Decoration Ceramic Glazing Methods Bisque Firing Process Glaze Firing Process Craftsmanship In Ceramics Artists use handbuilding techniques to create expressive sculptural forms. Artists use craftsmanship and structural planning to build strong ceramic forms. Artists use surface decoration and glaze to enhance meaning and visual impact.

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construct a ceramic house form. I can add sculptural details that tell a story about who I am. I can use symbols and visual elements to communicate ideas. I can apply craftsmanship to improve the strength and quality of my sculpture. I can use glaze to enhance the visual impact of my ceramic artwork. I can reflect on how my artwork communicates meaning to viewers.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Ceramic Sculpture: Students create a ceramic house sculpture that communicates aspects of their identity through personal symbolism, thoughtful storytelling, strong craftsmanship, creative sculptural detail, successful glaze application, and overall visual impact.

Completed Content Exercises: ● Teacher observation during construction ● Sketch and planning review ● Technique demonstration check ● Work in progress critique ● Craftsmanship and structural checks ● Student reflection discussions ● Peer Sticky Note Gallery Walk answering the questions: What story does this house tell? What do you notice?

STAGE 3: LEARNING PLAN First Topic: Narrative Sculpture Idea Development and Sketching

Estimated # of Lessons: 1

Learning Targets : ● I can design a clay sculpture that communicates something about my identity. ● I can use symbols and visual elements to communicate ideas. ● I can reflect on how my artwork

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Art Foundations: Drawing & Ceramics Unit 5 communicates meaning to viewers.

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How do form and structure affect the meaning of a sculpture? How does craftsmanship impact the success of a ceramic sculpture?

Learning Activities: ● Discussion about storytelling in art ● Look at examples of artists who use houses and architecture in sculpture ● Class conversation about symbolism and personal meaning ● Students brainstorm ideas about identity and home ● Students generate ideas about heritage, interests, personality traits, imaginary homes, & favorite places ● Students sketch several narrative house ideas and plan symbolic details that reveal meaning Second Topic: Construction Demonstration and Student Building of Clay House

Estimated # of Lessons: 4

Learning Targets: ● I can apply craftsmanship to improve the strength and quality of my sculpture. ● I can use handbuilding techniques to construct a ceramic house form. ● I can add sculptural details that tell a story about who I am. ● I can use glaze to enhance the visual impact of my ceramic artwork.

Essential Questions: ● How can artists tell stories through threedimensional artwork? ● How can symbols and details communicate personal identity? ● Why might artists use a house as a metaphor for self or home? ● How do form and structure affect the meaning of a sculpture? ● How does craftsmanship impact the success of a ceramic sculpture?

Learning Activities: ● Construction Demonstration: Teacher demonstration of slab construction for walls and roofs, scoring and slipping for strong attachments, building hollow forms creating windows, doors, and architectural details ● Discussion about structural strength and craftsmanship ● Building the Clay House: Students construct their houses using handbuilding techniques. Students add symbolic sculptural details such as objects, textures, patterns, symbols, and imagery that reveal identity ● The teacher circulates to support craftsmanship and structural planning ● Surface Detail and Texture: Students refine surfaces and add details, carved textures, pattern stamping, sculptural additions, and symbolic imagery ● Discussion about how details communicate meaning ● Drying and Bisque Preparation: Students clean surfaces and refine edges. Students check attachments and structural stability ● Artwork prepared for kiln firing ● Glazing: Teacher demonstration of glazing techniques. ● Students select glaze colors that enhance their narrative ● Students apply the glaze carefully

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Art Foundations: Drawing & Ceramics Unit 6 Course Name: Art Foundations: Drawing and Ceramics Est. # of Lessons: 5

Unit 6 Title: Faces that Inspire

Unit Overview: If the last unit asked us to look inward, this one asks us to look outward — at the people who have shaped us. We'll each choose someone who inspires us and honor them by building their portrait in clay. Starting with a newspaper armature, we'll construct a full bust — head, neck, and shoulders — building up facial features layer by layer until we've captured a real likeness. This is the most technically demanding project of the course, and also one of the most human. By the time our sculptures come out of the kiln, we'll have made something that lasts — a tribute in clay to someone who matters. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr2.1.HSI: Engage in making a work of art through deliberate observation VA:Cr2.2.HSI: Demonstrate quality craftsmanship through care for and use of materials VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Re7.1.HSI: Hypothesize ways in which art influences perception and understanding of human experiences VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ● ● ●

Understandings ● ● ●

A portrait is an argument — the artist decides what is essential and what to leave out. Likeness is not copying; it is selection guided by observation and intention. A portrait in clay is a tribute — making something that lasts is itself a statement about what matters.

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ● ●

Portrait Sculpture Facial Proportions Facial Structure Observational Techniques Clay Armatures

Create original artworks to develop creativity, competence, and confidence. Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness.

How do artists represent people through sculpture? How can observation help artists create likeness in portraiture? What techniques help artists build strong sculptural forms in clay? How can facial features communicate personality and identity? How does craftsmanship influence the success of a sculpture? Skills (Framed as Learning Targets)

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I can observe facial features and proportions when creating a portrait sculpture. I can construct a clay bust using slab building techniques. I can build on an armature to support a

456

Art Foundations: Drawing & Ceramics Unit 6 ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Newspaper Armature Construction Slab Building Techniques Scoring And Slipping Structural Support In Clay Sculptural Modeling Shaping Facial Features Craftsmanship In Ceramics Bisque Firing Process Glazing Techniques Glaze Firing Process Artists observe facial proportions & features to capture likeness in portrait sculpture. Artists build armatures to support sculptural forms during construction. Artists use slab construction and clay attachment methods to build strong ceramic sculptures. Artists use craftsmanship and structural planning to create successful sculptures. Artists use glaze to enhance the surface and visual impact of ceramic work.

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sculptural form. I can use scoring and slipping to attach clay pieces securely. I can shape and refine facial features to create likeness. I can use craftsmanship to strengthen and improve my sculpture. I can apply glaze to enhance the finished sculpture. I can reflect on how my sculpture represents the person I chose.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Ceramic Piece: Students create a ceramic bust that represents a chosen teacher or artist through sculptural portraiture, demonstrating facial likeness, observational accuracy, strong craftsmanship, effective slab-building techniques, expressive features, successful glaze application, and overall sculptural impact.

Completed Content Exercises: ● Teacher observation during construction ● Sketch and reference image review ● Technique demonstration check ● Work in progress critique ● Facial proportion and likeness feedback ● Craftsmanship checks during building ● Student reflection discussions

STAGE 3: LEARNING PLAN First Topic: Introduction to Portrait Sculpture Observation and Planning

Estimated # of Lessons: 2

Learning Targets: ● I can observe facial features and proportions when creating a portrait sculpture. ● I can reflect on how my sculpture represents the person I chose.

Essential Questions: ● How do artists represent people through sculpture? ● How can observation help artists create likeness in portraiture? ● How can facial features communicate personality and identity?

457

Art Foundations: Drawing & Ceramics Unit 6

Learning Activities: ● Discussion about portraiture in art ● Look at examples of sculptural busts from history ● Class discussion about why artists create portraits ● Students select a person to represent ● Students gather reference images of their chosen person ● Students study facial proportions ● Students sketch portrait ideas and plan sculptural features ● Discussion about likeness and expression ● Students draw final images of the person they will represent with the clay bust - drawn frontal and sideview Second Topic: Armature Construction

Estimated # of Lessons: 3

Learning Targets: ● I can observe facial features and proportions when creating a portrait sculpture. ● I can construct a clay bust using slab building techniques. ● I can build on an armature to support a sculptural form. ● I can use scoring and slipping to attach clay pieces securely. ● I can shape and refine facial features to create likeness. ● I can use craftsmanship to strengthen and improve my sculpture. ● I can apply glaze to enhance the finished sculpture. ● I can reflect on how my sculpture represents the person I chose.

Essential Questions: ● What techniques help artists build strong sculptural forms in clay? ● How does craftsmanship influence the success of a sculpture?

Learning Activities: ● Teacher demonstration of newspaper armature construction ● Students build armatures that support the head and shoulders ● Discussion about structure and stability ● Clay Construction Demonstration ● Teacher demonstration of rolling 3/8 inch clay slabs, cutting slab strips, building on top of an armature, scoring and slipping clay pieces, and modeling facial forms ● Building the Clay Bust ● Students build their sculptures by layering slab strips over the armature, shaping the head and neck structure, sculpting facial features, adding hair, and other details ● The teacher supports craftsmanship and structural strength ● Refining Details

458

Art Foundations: Drawing & Ceramics Unit 6 ● ● ● ● ● ● ● ● ●

Students refine facial features: eyes, nose, mouth, ears, hair Following gallery walk and teacher feedback - Students smooth surfaces and improve proportions Students remove the newspaper armature once the sculpture reaches the leather-hard stage Students clean interior areas and refine the sculpture Artwork prepared for kiln firing Teacher demonstration of glazing techniques Students select glaze colors Students apply the glaze carefully to enhance features Artwork prepared for glaze firing

459

Art Foundations: Drawing & Ceramics Unit 7 Course Name: Art Foundations: Drawing and Ceramics Est. # of Lessons: 3

Unit 7 Title: Final Art Piece - Forms of Nature

Unit Overview: We began this course by learning to observe the world around us. We end it by transforming what we've seen into something entirely our own. In this final unit, we look to nature — to shells, coral, bones, stones, and sea forms — and use those shapes as a starting point for abstract sculpture. Drawing inspiration from the work of Barbara Hepworth, we'll design and build biomorphic sculptures: forms that feel organic, curved, and alive. This is our capstone — a chance to bring every skill we've developed in drawing and ceramics into one piece that is both technically strong and creatively free. Nature has been making beautiful forms for millions of years. Now, so have we. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.2.HSI: Shape an artistic investigation using contemporary practice VA:Cr2.1.HSI: Engage in making a work of art without a fully preconceived plan VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Re8.1.HSI: Analyze how working methods of artists influence their work VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ● ● ●

Understandings ● ● ● ●

Abstraction does not mean ignoring reality — it means distilling what is most essential about a form. When artists work biomorphically, they are joining a conversation that nature has been having for millions of years. Artists study the work of other artists to inspire their own creative ideas. A capstone piece isn't just a demonstration of skill — it is a record of how far we've come and what we've learned to see.

Essential Questions ● ● ● ● ●

Knowledge ● ● ●

Biomorphic Sculpture Organic Form Abstraction In Sculpture

How can artists transform natural forms into abstract sculpture? What makes a form feel organic or biomorphic? How do artists simplify shapes from nature? How do curves, openings, and texture affect the feeling of a sculpture? How does studying artists influence our own creative work?

Skills (Framed as Learning Targets) ● ●

I can identify characteristics of biomorphic sculpture. I can observe natural forms and translate

460

Art Foundations: Drawing & Ceramics Unit 7 ● ● ● ● ● ● ● ● ● ● ● ●

Natural Form Inspiration Barbara Hepworth Contemporary Biomorphic Artists Simplified Shapes From Nature Curved And Flowing Sculptural Forms Positive And Negative Space Sculptural Openings Handbuilding Techniques Slab And Coil Construction Sculptural Texture Techniques Craftsmanship In Ceramics Artists simplify shapes from nature to create biomorphic forms.

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them into sculptural ideas. I can design an abstract sculpture inspired by nature. I can build a ceramic sculpture using handbuilding techniques. I can refine surfaces and forms to improve craftsmanship. I can add textures and openings that enhance my sculpture. I can reflect on how my sculpture relates to nature and biomorphic design.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Small Ceramic Sculpture: Students create a Completed Content Exercises: ceramic sculpture inspired by natural forms and ● Sketch planning review biomorphic design, demonstrating organic form, ● Teacher observation during sculpture creative interpretation of nature, strong construction craftsmanship, successful handbuilding techniques, ● Technique demonstration check engaging surface texture, and overall sculptural ● Work in progress critique impact. ● Craftsmanship and structural feedback ● Student reflection discussion

STAGE 3: LEARNING PLAN First Topic: Introduction and Design Exploration

Estimated # of Lessons: 1

Learning Targets: ● I can identify characteristics of biomorphic sculpture. ● I can observe natural forms and translate them into sculptural ideas. ● I can design an abstract sculpture inspired by nature. ● I can build a ceramic sculpture using handbuilding techniques. ● I can refine surfaces and forms to improve craftsmanship. ● I can add textures and openings that

Essential Questions: ● ● ● ● ●

461

Art Foundations: Drawing & Ceramics Unit 7 ●

enhance my sculpture. I can reflect on how my sculpture relates to nature and biomorphic design.

Learning Activities: ● Introduction and Design Exploration ● Teacher presentation about biomorphic sculpture ● Discussion of the work of Barbara Hepworth ● Students examine examples of natural forms: shells, coral, stones, plants, sea life ● Students sketch three biomorphic sculpture ideas Second Topic: Sculpture Construction, Refinement, and Reflection

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

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I can identify characteristics of biomorphic sculpture. I can observe natural forms and translate them into sculptural ideas. I can design an abstract sculpture inspired by nature. I can build a ceramic sculpture using handbuilding techniques. I can refine surfaces and forms to improve craftsmanship. I can add textures and openings that enhance my sculpture. I can reflect on how my sculpture relates to nature and biomorphic design.

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Learning Activities: ● Students choose one design and plan the construction ● Teacher demonstration of sculptural clay techniques, building curved forms, creating openings in sculpture, joining clay forms, and adding texture ● Students begin constructing their clay sculptures ● Sculpture Construction ● Students continue building sculptures that focus on: organic curves, balanced form, and structural strength ● Students add sculptural openings and textures ● The teacher circulates and provides feedback on craftsmanship ● Students refine forms and smooth surfaces ● Artwork prepared for drying and firing

462

Art Foundations: Painting & Sculpture ART FOUNDATIONS: PAINTING AND SCULPTURE Course # WAN102

0.5 credit (FVA, HUM)

463

Art Foundations: Painting and Sculpture (Semester Course) In this course, we discover what happens when we put down our phones and pick up a brush, a box, or a bar of soap. Moving through color theory, watercolor, assemblage, and sculpture, we build both skill and confidence with every unit. We learn to look more closely, think more carefully, and make intentional choices about how we express ideas through materials — closing the year by presenting our work in a gallery of our own making. Unit 1: Color Theory 10 Lessons

Unit 2: Facets of Color: Tints, Tones, and Shades 5 Lessons

Unit 3: Painting with Water 5 Lessons

Unit 4: Assemblage: Inside the Box 5 Lessons

Unit 5: Papier Mache 5 Lessons

Unit 6: Biomorphic Sculpture and Final Art Piece 4 Lessons

We begin with the most fundamental tool available to any painter: color. In this unit, we explore how color works as a system — learning to mix, organize, and apply color relationships with intention. The skills we build here — understanding hue, value, intensity, and contrast — form the foundation everything else in this course will depend on.

Now that we understand color relationships, we put them to a precise test. We study a single gemstone closely, identifying the multiple colors hidden within its surface, then build value charts to guide our color mixing before we paint. This unit sharpens our observational skills and shows us how small shifts in value can create the illusion of light, depth, and dimension.

With color mixing skills in hand, we explore a medium that behaves unlike anything else — watercolor. We experiment with water, pigment, and layering to create transparency, atmosphere, and mood. The unit builds toward a final landscape where we apply our growing understanding of color families to communicate a specific time of day, weather, or emotional quality.

We shift from painting to sculpture — and from technical precision to personal expression. Inspired by the work of Joseph Cornell, we construct a threedimensional box and fill it with found and personal objects arranged to communicate meaning, memory, or narrative. This unit asks us to think about how everyday materials can become expressive when placed with intention.

We continue building our sculptural thinking, this time working at a larger scale. Using recycled materials as an armature, we construct a human, animal, or hybrid figure and bring it to life through layered papier-mâché, paint, and embellishment. This unit challenges us to think about form, gesture, and structure — and to solve problems as they emerge across a multi-session build.

In our final unit, we bring together everything we have learned about form, observation, and artistic influence. We study artists who drew inspiration from the natural world — Arp, Moore, Hepworth, O'Keeffe — and use their work as a lens for carving our own biomorphic sculptures from soap. We close the course by creating a final painting and sculpture inspired by an artistic movement of our choosing, presenting both in a self-constructed mini gallery that reflects our growth across the year. 464

Art Foundations: Painting & Sculpture: Unit 1 Course Name: Art Foundations: Painting and Sculpture Foundations of Color Theory Est. # of Lessons: 10

Unit 1 Title: The Language of Color:

Unit Overview: We begin with the most fundamental tool available to any painter: color. In this unit, we explore how color works as a system — learning to mix, organize, and apply color relationships with intention. The skills we build here — understanding hue, value, intensity, and contrast — form the foundation everything else in this course will depend on. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr2.1.HSI: Engage in making a work of art through exploration and experimentation VA:Cr1.2.HSI: Choose from a range of materials and methods of traditional and contemporary artistic practices VA:Re7.2.HSI: Analyze how one's understanding of the world is affected by experiencing visual imagery VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ● ●

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Understandings ● ●

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Color is a system with rules that artists can intentionally follow or break. When artists understand how colors relate to each other, they can use that knowledge to create harmony, tension, or emphasis — not just decoration. Value is often more important than color for creating depth and form. Intentional color choices strengthen communication and expression in art.

Essential Questions ● ● ● ● ●

Knowledge ● ● ●

The color wheel and color vocabulary (primary, secondary, tertiary) Color relationships: complementary, analogous, monochromatic, warm, cool The difference between hue, value, and intensity (saturation)

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Critical Thinkers) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do artists use color relationships to create harmony and contrast? How do hue, value, and intensity affect the way we see and feel about an artwork? Why is color mixing an essential skill for painters? How can color choices communicate mood, emphasis, or meaning? How does understanding color theory improve artistic decision-making?

Skills (Framed as Learning Targets) ● ● ●

I can identify and organize colors on a color wheel. I can mix primary colors to create secondary and tertiary colors. I can create tints, shades, and tones to change value and intensity.

465

Art Foundations: Painting & Sculpture: Unit 1 ● ● ● ●

How to mix colors accurately using paint The difference between tints, shades, and tones Basic paint handling and brush care procedures Mixing colors builds control and reduces reliance on pre-made colors

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I can use color relationships intentionally in a painting or a painting study. I can explain how my color choices affect mood or emphasis.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Colored Theory Painting or Color Study: Students demonstrate intentional use of a chosen color scheme in a painting supported by a short written reflection. The work should show a clearly identifiable color relationship, effective value development through accurate color mixing, purposeful color choices that contribute to mood, emphasis, or unity, and careful craftsmanship in paint application and material handling. Reflection Prompts: Students respond to reflection questions about the color scheme they chose and why, how their color choices influence the mood or emphasis of the work, and one colormixing skill they improved during the unit.

Completed Content Exercises: ● Teachers check in on student progress and understanding of color mixing. ● Class discussion on the most challenging color to mix.

STAGE 3: LEARNING PLAN First Topic: Introduction to Color Theory

Estimated # of Lessons: 6

Learning Targets : Essential Questions: ● I can identify and organize colors on a color ● How do artists use color relationships to wheel. create harmony and contrast? ● I can mix primary colors to create ● How do hue, value, and intensity affect the secondary and tertiary colors. way we see and feel about an artwork? ● I can create tints, shades, and tones to ● Why is color mixing an essential skill for change value and intensity. painters? ● I can use color relationships intentionally in ● How can color choices communicate mood, a painting or painting study. emphasis, or meaning? Learning Activities: ● Introduce color theory vocabulary ● Demonstrate basic paint mixing ● Show examples of artists using color intentionally ● Create a color wheel ● Practice mixing clean secondary colors ● Show examples of contrast and harmony

466

Art Foundations: Painting & Sculpture: Unit 1 ● ● ●

Begin an applied color study or small painting Choose a color scheme intentionally Refinement & Reflection

Second Topic: Value, Tints, Shade, and Tones

Estimated # of Lessons: 4

Learning Targets: Essential Questions: ● I can identify and organize colors on a color ● How do hue, value, and intensity affect the wheel. way we see and feel about an artwork? ● I can mix primary colors to create ● Why is color mixing an essential skill for secondary and tertiary colors. painters? ● I can create tints, shades, and tones to ● How does understanding color theory change value and intensity. improve artistic decision-making? ● or a painting study. ● I can explain how my color choices affect mood or emphasis. Learning Activities: ● Value, Tints, Shades & Tones - Demonstrate adding white, black, and gray ● Discuss why value matters more than color alone ● Create value scales using one color ● Practice tints, shades, and tones ● Color Relationships - Explain warm vs. cool, complementary, and analogous colors

467

Art Foundations: Painting & Sculpture: Unit 2 Course Name: Art Foundations: Painting and Sculpture Unit 2 Title: Facets of Color: Tints, Tones, and Shades

Est. # of Lessons: 5

Unit Overview: Now that we understand color relationships, we put them to a precise test. We study a single gemstone closely, identifying the multiple colors hidden within its surface, then build value charts to guide our color mixing before we paint. This unit sharpens our observational skills and shows us how small shifts in value can create the illusion of light, depth, and dimension. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.HSI: Engage in making a work of art through deliberate observation and planning VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions for a work of art VA:Re7.2.HSI: Analyze how experiencing visual imagery affects understanding

Transfer Goals ● ●

Understandings ●

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Value does more work than color: a painting can feel flat or dimensional based on value alone, regardless of how many hues are used. What appears to be one color is almost never just one — close observation reveals a spectrum, and painting it accurately requires seeing past assumptions.

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How do tints, tones, and shades change the way color appears in a painting? How does value create the illusion of form, light, and depth? Why is careful observation important when mixing and applying color? How do artists use color variation to represent reflective surfaces like gemstones? How does close observation change the way we see and mix color?

468

Art Foundations: Painting & Sculpture: Unit 2 Knowledge ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

The definitions of tint, tone, and shade How to mix tints (color + white), shades (color + black), and tones (color + gray or complementary color) How value affects light, shadow, and form How to identify multiple colors within a single object Basic painting techniques for smooth, controlled application Objects reflect multiple colors, not just one Planning and testing color before painting leads to stronger outcomes Gemstone facets rely on strong contrast and sharp value changes

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I can identify five colors I observe in a gemstone photo. I can create value charts showing tints, tones, and shades of each color. I can use my value charts to mix accurate colors while painting. I can paint gemstone facets using value contrast to show depth and light. I can demonstrate craftsmanship through careful mixing and clean painting.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Gemstone Painting: Students create a finished Observation: Teacher checks in on students' gemstone painting that demonstrates effective use understanding of tints, tones and shades. of tints, tones, and shades, along with technical control and strong craftsmanship. STAGE 3: LEARNING PLAN First Topic:

Estimated # of Lessons: 2

Learning Targets: ● I can identify five colors I observe in a gemstone photo. ● I can create value charts showing tints, tones, and shades of each color.

Essential Questions: ● How do tints, tones, and shades change the way color appears in a painting? ● How does close observation change the way we see and mix color? ● Why is careful observation important when mixing and applying color?

Learning Activities: Introduction & Observation ● Introduce gemstone imagery and discuss facets, light, and reflection Review tints, tones, and shades Students analyze a gemstone photo and identify five observed colors Begin a sketch of the gemstone ● Color Mixing & Value Charts ● Demonstrate mixing tints, tones, and shades. Students create a value chart with a row for each observed color. Charts are labeled and saved as references

469

Art Foundations: Painting & Sculpture: Unit 2 Second Topic: Painting the Gemstone

Estimated # of Lessons: 3

Learning Targets: ● I can use my value charts to mix accurate colors while painting. ● I can paint gemstone facets using value contrast to show depth and light. ● I can demonstrate craftsmanship through careful mixing and clean painting.

Essential Questions: ● How does value create the illusion of form, light, and depth? ● How do artists use color variation to represent reflective surfaces like gemstones? ● How does close observation change the way we see and mix color?

Learning Activities: Drawing & Planning ● Students transfer or redraw the gemstone onto chipboard ● Plan color placement using value charts ● Identify facet shapes, highlights, and darkest values ● Students paint using their value charts as guides Focus on: Sharp edges between facets, Strong value contrast

470

Art Foundations: Painting & Sculpture: Unit 3 Course Name: Art Foundations: Painting and Sculpture Est. # of Lessons: 5

Unit 3 Title:

Painting with Water

Unit Overview: With color mixing skills in hand, we explore a medium that behaves unlike anything else — watercolor. We experiment with water, pigment, and layering to create transparency, atmosphere, and mood. The unit builds toward a final landscape where we apply our growing understanding of color families to communicate a specific time of day, weather, or emotional quality. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.2.HSI: Choose from a range of materials and methods to plan works of art VA:Cr2.1.HSI: Engage in making a work of art without a fully preconceived plan VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Re8.1.HSI: Analyze how the working methods and practices of artists influence their work

Transfer Goals ● ● ●

Understandings ● ● ●

Color families influence mood, depth, and temperature in a painting. Layering builds complexity and depth over time. Mistakes in watercolor often require creative problem-solving rather than erasing.

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ● ● ●

Basic watercolor vocabulary: wash, glaze, wet-on-wet, wet-on-dry, transparency Color families and relationships: warm, cool, analogous, complementary How water-to-paint ratios affect value and intensity Basic watercolor tools and materials (brushes, paper, palettes) Proper care and setup of watercolor materials Landscape concepts: foreground, middle

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Creative Problem Solvers) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How does watercolor behave differently from other painting media? How do color families influence mood, depth, and atmosphere in a painting? How can artists use water, layering, and transparency to create space and realism? Why does watercolor reward patience in ways other media do not? How can color choices communicate time of day, weather, or emotion in a landscape? Skills (Framed as Learning Targets)

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I can use basic watercolor techniques to control paint and water. I can create color studies using warm, cool, and related color families. I can layer watercolor washes to show depth and atmosphere. I can apply color intentionally to create a mood in a landscape. I can demonstrate craftsmanship by caring for materials and working patiently.

471

Art Foundations: Painting & Sculpture: Unit 3 ● ●

ground, background, horizon line Watercolor is a transparent medium that requires planning and control. Light values are preserved by the paper, not painted back in. STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Artist Reflection: Students write a reflection describing how their landscape composition creates depth through foreground, middle ground, background, and the horizon line; explaining at least two watercolor techniques used; discussing color choices and mood; identifying a challenge and how they solved it; and reflecting on what they learned about watercolor during the project.

Small Groups: The teacher works with table groups and reviews watercolor washes.

STAGE 3: LEARNING PLAN First Topic: Intro to Watercolor & Color Families

Estimated # of Lessons: 2

Learning Targets: ● I can use basic watercolor techniques to control paint and water. ● I can create color studies using warm, cool, and related color families. ● I can demonstrate craftsmanship by caring for materials and working patiently.

Essential Questions: ● How does watercolor behave differently from other painting media? ● How can artists use water, layering, and transparency to create space and realism? ● Why does watercolor reward patience in ways other media do not?

Learning Activities: ● Introduce watercolor materials and setup ● Demonstrate wet-on-wet and wet-on-dry ● Review warm vs. cool colors ● Practice basic washes. Begin warm and cool color swatches ● Demonstrate layering and glazing, ● Discuss mood created by color choices ● Create small nature-based color studies ● Warm, Cool, Analogous, or complementary scheme. Second Topic: Planning the Final Landscape

Estimated # of Lessons: 3

Learning Targets: ● I can layer watercolor washes to show depth and atmosphere.

Essential Questions: ● How do color families influence mood, depth, and atmosphere in a painting?

472

Art Foundations: Painting & Sculpture: Unit 3 ● ●

I can apply color intentionally to create a mood in a landscape. I can demonstrate craftsmanship by caring for materials and working patiently.

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How can artists use water, layering, and transparency to create space and realism? How can color choices communicate time of day, weather, or emotion in a landscape?

Learning Activities: ● Review landscape composition and how artists create depth in a painting ● Demonstrate sky, land, and water techniques ● Sketch landscape composition ○ Choose a dominant color family ○ Plan the mood and time of day ○ Final Watercolor Landscape ● Demonstrate building layers gradually ● Reinforce light-to-dark approach ● Paint the final landscape ○ Apply color family intentionally ○ Build foreground, middle ground, background ● Refinement & Reflection ● Mini demo on details and contrast ● Facilitate critique or reflection ● Students add final details and complete reflection

473

Art Foundations: Painting & Sculpture: Unit 4 Course Name: Art Foundations: Painting and Sculpture Est. # of Lessons: 5

Unit 4 Title: Assemblage- Inside the Box

Unit Overview: We shift from painting to sculpture — and from technical precision to personal expression. Inspired by the work of Joseph Cornell, we construct a three-dimensional box and fill it with found and personal objects arranged to communicate meaning, memory, or narrative. This unit asks us to think about how everyday materials can become expressive when placed with intention. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.1.HSI: Use multiple approaches to begin and refine works of art VA:Cr2.3.HSI: Demonstrate awareness of how to transform and arrange materials to create meaning VA:Re7.1.HSI: Hypothesize ways in which art influences perception and understanding of human experiences VA:Cn11.1.HSI: Describe how knowledge of culture, traditions, and history may influence personal responses to art

Transfer Goals ● ●

●

Understandings ● ● ● ● ●

Objects can carry personal, cultural, and symbolic meaning. Assemblage is a way to communicate ideas through arrangement and context. Limited space can encourage intentional design choices. Craftsmanship and thoughtful placement enhance visual impact. Artists like Joseph Cornell used boxes as stages for imagination and memory.

Essential Questions ● ● ● ● ● ●

Knowledge ● ● ●

The definition of assemblage sculpture Who Joseph Cornell was and the characteristics of his box sculptures Artist Joseph Cornell shared a narrative through composition and object

Create original artworks to develop creativity, competence, and confidence. (VOG: Creative Problem Solvers) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Critical Thinkers) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can ordinary objects be transformed into meaningful works of art? How does assemblage allow artists to tell stories through objects and space? How does a container or boundary shape what an artist can say? How do placement, repetition, and scale affect meaning in assemblage sculpture? How can a confined space enhance creative thinking rather than limit it? How does empty space inside an assemblage affect meaning and composition? Skills (Framed as Learning Targets)

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I can explain what assemblage sculpture is and describe Joseph Cornell’s artwork. I can create a sturdy cardboard box to serve as the foundation for my sculpture. I can select and arrange objects to

474

Art Foundations: Painting & Sculpture: Unit 4 ● ● ●

relationships How artists use found objects and symbolism to convey meaning Basic principles of three-dimensional composition (balance, emphasis, unity) Safe and effective ways to cut, fold, and construct cardboard boxes

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communicate a theme or story. I can use composition and spacing intentionally inside a three-dimensional space. I can demonstrate craftsmanship through secure construction and thoughtful assembly.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Artist Statement: Students present or write an artist statement Assemblage: Completed piece inspired by Cornell’s work

One on One Progress Check In: The teacher circulates during studio work time, reviews the student construction process, and offers feedback Student Gallery Walk Critique: Peer critique focusing on meaning and composition

STAGE 3: LEARNING PLAN First Topic: Introduce Assemblage and the Artist Joseph Cornell, and Other Assemblage Artists

Estimated # of Lessons: 1

Learning Targets : ● I can explain what assemblage sculpture is and describe Joseph Cornell's artwork. ● I can create a sturdy cardboard box to serve as the foundation for my sculpture. ● I can select and arrange objects to communicate a theme or story.

Essential Questions: ● How can ordinary objects be transformed into meaningful works of art? ● How does assemblage allow artists to tell stories through objects and space? ● How does a container or boundary shape what an artist can say?

Learning Activities: ● Introduce assemblage and Joseph Cornell ● View and discuss Cornell box examples ● Analyze: Object choice, Arrangement, Mood, and meaning ● Introduce project expectations ● Box Construction — Demonstrate how to: ○ Cut and fold the cardboard ○ Create depth and compartments ○ Reinforce corners and edges ● Students build and personalize their boxes ● Planning & Object Selection — Students sketch box interiors, plan the placement of objects, and discuss symbolism and narrative. Teacher conferences for idea approval

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Art Foundations: Painting & Sculpture: Unit 4 Second Topic: Creating Box Assemblage

Estimated # of Lessons: 4

Learning Targets: ● I can use composition and spacing intentionally inside a three-dimensional space. ● I can demonstrate craftsmanship through secure construction and thoughtful assembly.

Essential Questions: ● How do placement, repetition, and scale affect meaning in assemblage sculpture? ● How can a confined space enhance creative thinking rather than limit it? ● How does empty space inside an assemblage affect meaning and composition?

Learning Activities: ● Encourage intentional object choice over quantity. Remind students that negative space matters ● Model respectful handling of personal objects. Reinforce that Cornell’s work is poetic, not literal ● Assemblage Construction — Students begin assembling objects ● Focus on: Balance, Visual flow, Layering, and depth ● The teacher circulates to provide feedback ● Refinement & Finishing: Secure loose objects, adjust composition, and add background color or texture if desired. ● Final craftsmanship check

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Art Foundations: Painting & Sculpture: Unit 5 Course Name: Art Foundations: Painting and Sculpture Est. # of Lessons: 5

Unit 5 Title: Papier Mache Figures

Unit Overview: We continue building our sculptural thinking, this time working at a larger scale. Using recycled materials as an armature, we construct a human, animal, or hybrid figure and bring it to life through layered papier-mâché, paint, and embellishment. This unit challenges us to think about form, gesture, and structure — and to solve problems as they emerge across a multi-session build. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr2.1.HSI: Engage in making a work of art, demonstrating innovation through experimentation VA:Cr1.2.HSI: Choose from a range of materials and methods VA:Cr3.1.HSI: Apply relevant criteria to examine and plan revisions VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ● ●

Understandings ● ● ● ● ●

Structure determines what is possible: how we build beneath the surface shapes everything visible above it. Patience is a material — drying time, layering, and process cannot be rushed without consequences. Drying time is part of the artistic process and affects outcomes. Structural problem-solving improves both form and function. Three-dimensional forms communicate ideas differently from two-dimensional art.

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ●

What an armature is and why it is essential for sculpture Recycled materials appropriate for armatures (cardboard, wire, foil, bottles, tubes) Basic papier-mâché methods (paste preparation, strip application, layering, drying) Safety procedures for materials, tools, and

How does a strong armature support form and balance in sculpture? How can papier-mâché be layered to create strength, durability, and form? How do proportion, gesture, and pose communicate movement or personality? How can recycled materials be used intentionally rather than randomly? How does working in three dimensions change the way artists think about form and balance? Skills (Framed as Learning Targets)

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I can design and build a stable armature using recycled materials. I can apply papier-mâché in layers to strengthen and shape my sculpture. I can create a human, animal, or hybrid form with intentional proportion and gesture. I can solve structural problems as they arise during construction. I can demonstrate craftsmanship through

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Art Foundations: Painting & Sculpture: Unit 5 ● ●

paste Principles of balance, proportion, gesture, and structure Form, proportion, and craftsmanship influence how realistic and visually balanced a three-dimensional sculpture appears.

clean layering and secure construction.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Papier-Mâché Sculpture + Artist Reflection: Students create a final papier-mâché sculpture using a recycled-material armature that demonstrates strong structure, balance, intentional form, gesture, and craftsmanship. They also complete a short reflection explaining how the armature supported the sculpture, how layering strengthened the form, and one challenge they faced along with their solution.

Planning Sketch & Armature Proposal: Students submit a labeled sketch that identifies the subject and pose, armature materials, and key balance points. Papier-Mâché Layering Check In: Demonstrates effective paper-mâché techniques through even strip application, adequate layering, and clean work habits.

STAGE 3: LEARNING PLAN First Topic: Plan and Begin Initial Construction

Estimated # of Lessons: 1

Learning Targets: ● I can design and build a stable armature using recycled materials. ● I can create a human, animal, or hybrid form with intentional proportion and gesture.

Essential Questions: ● How does a strong armature support form and balance in sculpture? ● How do proportion, gesture, and pose communicate movement or personality? ● How can recycled materials be used intentionally rather than randomly?

Learning Activities: ● View examples of papier-mâché sculptures, discuss armatures, balance, and pose. ● Sketch sculpture ideas (pose, materials, structure). Plan and choose recycled materials for the armature. ● Armature Construction: Build internal structure, Test balance and stability, Secure joints with tape/wire, The teacher checks for standing strength. Second Topic: Construction and Finishing of Sculpture

Estimated # of Lessons: 4

Learning Targets: ● I can apply papier-mâché in layers to strengthen and shape my sculpture. ● I can solve structural problems as they arise during construction.

Essential Questions: ● How can papier-mâché be layered to create strength, durability, and form? ● How does working in three dimensions change the way artists think about form and

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Art Foundations: Painting & Sculpture: Unit 5 ●

I can demonstrate craftsmanship through clean layering and secure construction.

balance?

Learning Activities: ● Papier-Mâché Layering -Demonstrate paste and strip application. Apply 2–4 layers, allowing drying between sessions. Focus on smoothing and form-building. ● Refinement & Surface Detail ● Add features (faces, fur, clothing, texture) ● Reinforce weak areas ● Final papier-mâché layers if needed ● Paint and embellish the sculpture

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Art Foundations: Painting & Sculpture: Unit 6 Course Name: Art Foundations: Painting and Sculpture Est. # of Lessons: 4

Unit 6 Title: Biomorphic Sculpture

Unit Overview: In our final unit, we bring together everything we have learned about form, observation, and artistic influence. We study artists who drew inspiration from the natural world — Arp, Moore, Hepworth, O'Keeffe — and use their work as a lens for carving our own biomorphic sculptures from soap. We close the course by creating a final painting and sculpture inspired by an artistic movement of our choosing, presenting both in a self-constructed mini-gallery that reflects our growth across the year. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ●

VA:Cr1.2.HSI: Shape an artistic investigation of present-day life using contemporary practice VA:Cr2.1.HSI: Engage in making a work of art without a fully preconceived plan VA:Cr3.1.HSI: Apply relevant criteria to examine, reflect on, and plan revisions VA:Re7.1.HSI: Hypothesize ways in which art influences perception and understanding of human experiences VA:Re8.1.HSI: Analyze how the working methods of artists influence their work VA:Cn10.1.HSI: Document the process of developing ideas from early stages to fully elaborated ideas

Transfer Goals ●

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Understandings ●

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Nature has been solving problems of form for millions of years — artists who look closely at living organisms find shapes that feel truer and more alive than anything invented from scratch. Artists use biomorphic shapes to convey a sense of life, energy, and movement that contrasts with rigid geometry. Artists can communicate emotion and movement through the use of line, contour, and rhythm within a form. Even when a sculpture does not depict a recognizable object, the shape, curve, and balance of the piece can evoke feeling, motion, or natural harmony. Subtractive sculpture requires planning &

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Critical Thinkers) Create original artworks to develop creativity, competence, and confidence. (VOG: Creative Problem Solvers) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ●

What is a biomorphic shape, and how does it differ from geometric form? How can an artist express emotion, energy, or movement through abstract, organic forms? What challenges and advantages come with working subtractively (carving away material)? How can texture and contour enhance the expressiveness of a sculptural form?

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patience because once material is removed, it cannot be replaced. This process teaches precision, problem-solving, & adaptability while allowing artists to discover form by gradually revealing it within the material. Surface texture and contour interact with light and shadow, adding depth and visual interest. Smooth, flowing surfaces may suggest calmness or elegance, while rough, textured areas can add energy or contrast. The treatment of surface is a vital tool for visual and emotional expression in sculpture. Knowledge

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Biomorphic Forms Tool safety and proper handling How sculptural form can communicate energy, emotion, & natural beauty even without representing a specific object or creature. Concept of abstraction in sculpture Subtractive sculpture techniques Artists like Jean Arp, Henry Moore, Barbara Hepworth, and Georgia O’Keeffe explored biomorphic abstraction in the early to mid-20th century to express natural rhythms, movement, and emotion through simplified organic shapes. Form , texture, contour, positive and negative space, balance and movement

Skills (Framed as Learning Targets) ● ● ● ● ● ● ●

I can identify and describe biomorphic shapes in art and nature. I can design an original biomorphic form inspired by nature or the human body. I can safely and effectively use carving tools to sculpt a three-dimensional form from soap. I can apply principles of form, balance, and movement to create an expressive sculpture. I can identify biomorphic abstraction in modern art (inspired by artists such as Jean Arp, Henry Moore, and Barbara Hepworth). I can create a final artwork inspired by a specific artist movement. I can present my work in a self-constructed mini gallery.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Final Biomorphic Soap Sculpture: A sculpture that demonstrates organic, original design, smooth & well-finished craftsmanship, thoughtful use of form & texture, & careful, safe tool handling throughout the process. Artist Statement: Explaining their source of inspiration, how their sculpture represents organic or emotional qualities, and what they learned about abstraction and form. Mini Gallery Construction and Presentation:

Formative Assessment Sketchbook Exploration: Create 3–4 thumbnail sketches of potential biomorphic forms based on natural inspiration (shells, plants, bones, etc.). Carving Process Check-In: Mid-project observation or mini critique where students show their inprogress soap sculpture. Artist Reflection: Students reflect on their artistic process and outcomes by explaining how the artistic movement influenced their work, describing their

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Art Foundations: Painting & Sculpture: Unit 6 Students present their work professionally in a constructed gallery space with a structurally sound and neatly assembled foam core gallery, thoughtfully and securely displayed artwork, and an arrangement that shows consideration of space, scale, and presentation.

artistic decisions and challenges, and considering their growth in painting, sculpture, and creative thinking. Group Critique: Students present their finished sculpture and participate in a guided critique, reflecting on what makes the work feel alive or organic and where balance and movement are evident.

STAGE 3: LEARNING PLAN First Topic: Introduction to Biomorphic Forms

Estimated # of Lessons: 1

Learning Targets: ● I can identify and describe biomorphic shapes in art and nature and identify biomorphic abstraction in modern art inspired by artists such as Jean Arp, Henry Moore, and Barbara Hepworth.

Essential Questions: ● What is a biomorphic shape, and how does it differ from geometric form? ● How can an artist express emotion, energy, or movement through abstract organic forms?

Learning Activities: ● Introduce the term biomorphic forms (organic, flowing, inspired by living organisms). Show visual examples of: ○ Natural forms (shells, seeds, bones, plants, coral) ○ Biomorphic sculptures (abstract, organic shapes) Explain subtractive sculpture and how carving removes material to reveal form. ● Observe and discuss examples. ● Identify shapes that feel organic vs. geometric. ● Make connections between nature and abstract art. ● Key Emphasis: Nature inspires form, movement, rhythm, and emotion. Second Topic: Carving and Refinement

Estimated # of Lessons: 3

Learning Targets: ● I can design an original biomorphic form inspired by nature or the human body. ● I can safely/effectively use carving tools to sculpt a three-dimensional form from soap. ● I can apply principles of form, balance, and movement to create an expressive sculpture.

Essential Questions: ● What challenges and advantages come with working subtractively? ● How can texture and contour enhance the expressiveness of a sculptural form?

Learning Activities: Safety & Tool Demonstration ● ● ● ●

Review carving safety (direction of cuts, hand placement, slow pressure). Demonstrate proper use of carving tools (plastic knives, loop tools, wooden tools). Model how to rotate the soap instead of forcing cuts. Student Actions: Practice safe tool handling with guidance. Ask questions before beginning carving.

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Art Foundations: Painting & Sculpture: Unit 6 ●

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Key Emphasis: Safety and control are essential in subtractive sculpture. Guide students to study their bar of soap and imagine organic forms hidden inside. ○ Encourage sketching 2–3 biomorphic ideas inspired by nature. ○ Reinforce that there is no single “correct” outcome. ○ Student Actions: Sketch ideas focusing on: Curved lines, Flowing shapes, Balance and movement. Choose one concept to develop. Key Emphasis: Carving is a process of discovery, not perfection. Initial Carving: Removing Large Areas ○ Demonstrate removing large sections first (blocking out the form). ○ Emphasis carving slowly and evenly. ○ Student Actions: Begin carving primary shapes. Rotate the soap frequently to view from all angles. Focus on silhouette and overall form. Key Emphasis: Think in the round — sculpture must work from every angle. Refinement & Surface Development ○ Demonstrate smoothing, rounding edges, and adding subtle texture. ○ Encourage students to respond to what the form becomes naturally. ○ Student Actions: Refine contours and curves. Add texture or carved lines inspired by natural surfaces. Adjust form as new ideas emerge. ○ Key Emphasis: Organic forms evolve through observation and response. Demonstrate final smoothing techniques. ○ Discuss when to stop carving to avoid overworking.

Third Topic: Final Art Piece

Estimated # of Lessons: 2

Learning Targets : I can create a final artwork inspired by a specific artist movement. I can present my work in a self-constructed mini gallery.

Essential Questions: How can an artist express emotion, energy, or movement through abstract organic forms? How can texture and contour enhance the expressiveness of a sculptural form?

Learning Activities: ● Mini Gallery with Painting and Sculpture. ● Painting: ○ The teacher introduces a group of artists from a particular time period and leads a discussion with students that analyses commonalities found in their artwork. ○ Students sketch three thumbnails of 5” x 5” painting ideas that are influenced by this artist movement. ○ Students choose one of their sketches to develop into a final painting. ● Sculpture: ○ The teacher introduces a group of sculptors from a particular time period and leads a discussion with the students that analyses commonalities found in the group of artwork. ○ Students sketch three thumbnails of sculpture ideas influenced by this artist movement. ○ Students choose one of their sketches to develop into a final sculpture. ● Mini Gallery ○ Students will construct a mini gallery from four 6” x 6” pieces of foam core using an adhesive. ○ Students will display their final art pieces in this maquette.

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Art Foundations: Printmaking & Collage ART FOUNDATIONS: PRINTMAKING & COLLAGE Course # WAN103

0.5 credit (FVA, HUM)

In this foundation course, students will explore both the medium of printmaking and the medium of collage. In the first quarter, printmaking processes and techniques including frottage, collagraph, monoprinting, relief, intaglio, and screen printing will be introduced. Emphasis will be placed on craftsmanship, creativity and original design concepts involved in producing artwork. In the second quarter, the art and history of collage will be explored while creating both 2D and 3D pieces. Non-Objective and Realistic imagery will provide students with inspiration. Creativity, experimentation and expression will be encouraged through the process. In both printmaking and collage, students will learn how to apply the elements of art and the principles of design while creating their original images and designs. Sketchbooks will be used to explore ideas and plan compositions through thumbnail sketches, project exercises and refinement of ideas and compositions. All students will be required to do selfevaluations of their artwork.

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Art Foundations: Printmaking and Collage (Semester Course) In this course, we discover what happens when we stop thinking of art as a single image made by a single hand — and start thinking about multiples, layers, repetition, and remix. Moving through eight units, we learn to print, carve, transfer, layer, cut, and arrange. We begin by mastering the logic of relief printmaking — thinking in reverse, planning positive and negative space — and then push that logic into new territory: a personal maker's mark, the cultural tradition of Gyotaku, the experimental freedom of monotype, and the atmospheric drama of Edo-period weather prints. In the second half of the course, we shift from printing to collaging — using everything we've made as raw material for new compositions that communicate identity, history, and personal meaning. We close the year with a synthesis project that brings printmaking and collage together into a single layered artwork. Eight units. Ink, paper, found objects, and imagination. One big idea: that meaning lives in the layers. Unit 1: Postcard - Mirror Image 3 Lessons

Unit 2: Maker’s Mark - Stamp 3 Lessons

Unit 3: Gyotaku - Fish Printing 3 Lessons

Unit 4: One of a Kind Monotype 3 Lessons

We become printmakers and world travelers at the same time. Designing a travel postcard using a Styrofoam plate, we learn how relief printing works — raised surfaces print, carved areas don't — and discover why everything, including the text, must be planned and carved in reverse. Thinking like a printmaker means thinking differently about design from the start.

Every artist who has ever worked with a printing press has had a maker's mark — a personal stamp used to claim and sign their work. In this unit, we design our own: a small carved cork stamp that includes our initials and a symbol that represents us as artists. We'll use our maker's marks all year long to sign our work.

Long before photography, Japanese fishermen used ink and paper to record the fish they caught. In this unit, we practice their technique — pressing paper onto inked rubber fish to pull detailed prints — and discover how texture, pressure, and observation can turn the natural world into a printing plate. We also add our maker's marks from Unit 2, connecting two printmaking traditions across time.

A monotype is the only print in the world that can never be made again. In this unit, we draw, paint, and push ink across a smooth surface and transfer it to paper — combining drawing, painting, and printmaking in a single process. We embrace accidents, experiment freely, and discover that unexpected results are often the most interesting ones.

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Art Foundations: Printmaking and Collage (continued) Unit 5: Weather Prints 4 Lessons

Unit 6: Layers of Meaning Gelli Prints 4 Lessons

Artists in Edo-period Japan used woodblock printmaking to capture wind, rain, and storms — not just as weather, but as mood, drama, and story. In this unit, we study their work closely and create our own relief prints that show a weather event in a landscape. Line, pattern, and composition become the tools we use to make viewers feel the atmosphere we're depicting.

A gelli plate is slippery, unpredictable, and endlessly generous — it will take any texture, stencil, or mark you press into it and give something back you didn't expect. In this unit, we build a collection of layered monoprints, then cut them apart and reassemble them into a collage that communicates a personal theme or story. The prints become raw material. The collage becomes the meaning.

Unit 7: Collage About Self 5 Lessons

Unit 8: Collage and Printmaking 5 Lessons

Collage is not just a technique We close the course by — it is a way of thinking about bringing everything together. identity and influence. In this Using relief printing and unit, we research a historical monoprinting techniques we've figure we connect with and developed across the year, we create a mixed-media collage build a collection of prints and that represents both ourselves then cut, arrange, and layer and the person who inspires them into a final collage us. Images, symbols, color, composition. Two techniques, texture, and text layer together one artwork, one idea: that to tell a story about who we printmaking and collage are and who we look to. together can say things neither can say alone.

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Art Foundations: Printmaking & Collage: Unit 1 Course Name: Art Foundations: Printmaking and Collage Est. # of Lessons: 3 Unit 1 Title: Wish You Were Here: Styrofoam Relief Printmaking Postcards - Printing in Reverse Unit Overview: We become printmakers and world travelers at the same time. Designing a travel postcard using a Styrofoam plate, we learn how relief printing works — raised surfaces print, carved areas don't — and discover why everything, including the text, must be planned and carved in reverse. Thinking like a printmaker means thinking differently about design from the start. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ● ● ● ●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present-day life using a contemporary practice of art or design. VA:Cr2.1.Ia: Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme. VA:Cr2.3.Ia: Collaboratively develop a proposal for an artwork that responds to a given theme. VA:Pr4.1.Ia: Analyze, select, and curate artifacts and/or artworks for presentation. VA:Pr5.1.Ia: Develop and refine artistic techniques and work for presentation. VA:Re7.1.Ia: Hypothesize about the meaning of an artwork based on visual evidence and prior knowledge. VA:Re8.1.Ia: Interpret an artwork or collection of works, supported by relevant and sufficient evidence. VA:Re9.1.Ia: Establish relevant criteria to evaluate a work of art. VA:Cn10.1.Ia : Document the process of developing ideas from early stages to fully elaborated ideas. VA:Cn11.1.Ia: Analyze how art reflects changing times, traditions, resources, and cultural uses.

Transfer Goals

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Understandings ● ●

In printmaking, every mark you don't make is as deliberate as every mark you do — negative space is a decision, not an absence. Printmaking demands a different kind of thinking: you must commit to choices before

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ●

How does relief printmaking require artists to think differently about design and process? Why must text and imagery be reversed in printmaking?

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you see results, working backward from the image you imagine. When image and text share a surface, they don't just coexist — each one changes what the other means. The places we dream of going tell others something real about who we are.

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Knowledge ● ● ● ● ● ● ●

How do positive and negative space work together to create a successful print? How can imagery and symbols communicate a sense of place or travel experience? How can art express personal interests, dreams, or aspirations? Skills (Framed as Learning Targets)

The definition and characteristics of relief printmaking How to prepare and carve a Styrofoam printing plate How and why designs must be reversed in printmaking How to write text in mirror image The difference between positive space (printed areas) and negative space (carved areas) Basic composition principles: balance, emphasis, and visual flow Proper use of watercolor markers for inking a plate

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I can design an original postcard inspired by a travel destination. I can carve a Styrofoam plate using relief printmaking techniques. I can write and carve text in mirror image so it prints correctly. I can use positive and negative space intentionally in my design. I can ink and print my plate using watercolor markers with care and control. I can explain how my artwork communicates a sense of place or personal aspiration.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Printing Postcards: Printmaking reliefs demonstrating originality and clarity of destination imagery, correct use of mirror image text, effective use of positive and negative space, craftsmanship in carving and printing, and effort. Written Reflection: Includes what place did you choose and why, what did you want a viewer to feel or understand from your postcard, and what did you learn about thinking like a printmaker?

Planning: Sketchbook planning and design drafts Observation: Carving technique and safety Test prints: Student problem-solving during the process Teacher conference: feedback during work time

STAGE 3: LEARNING PLAN First Topic: Introduction to Relief Printmaking

Estimated # of Lessons: 1

Learning Targets: ● I can design an original postcard inspired by a travel destination. ● I can use positive and negative space intentionally in my design.

Essential Questions (from Stage 1): ● How does relief printmaking require artists to think differently about design and process? Why must text and imagery be reversed in

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Art Foundations: Printmaking & Collage: Unit 1

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printmaking? How do positive and negative space work together to create a successful print? How can imagery and symbols communicate a sense of place or travel experience? How can art express personal interests, dreams, or aspirations?

Learning Activities: Introduction to Relief Printmaking & Planning ● Introduce relief printmaking and share contemporary, vintage postcard samples and Styrofoam print examples ● Demonstrate how relief prints work (raised vs. carved areas) ● Discuss positive and negative space ● Introduce the postcard theme: a place you’d love to travel to ● Students brainstorm and research destinations and imagery ● Students sketch postcard designs, including text that will become the reversed text Plate Preparation & Reversing the Design

● Demonstrate transferring a design onto Styrofoam ● Model how to reverse letters and imagery with tissue paper that is flipped to become a mirror ● ● ● ●

image Review carving and tool handling Review the best tools to use for a styrofoam plate Students draw their final reversed design onto the plate Teacher checks for clear imagery, correct mirror-image text, thoughtful use of space

Second Topic: Carving the Plate, Inking and Printing

Estimated # of Lessons: 2

Learning Targets: ● I can design an original postcard inspired by a travel destination. ● I can carve a Styrofoam plate using relief printmaking techniques. ● I can write and carve text in mirror image so it prints correctly. ● I can use positive and negative space intentionally in my design. ● I can ink and print my plate using watercolor markers with care and control. ● I can explain how my artwork communicates a sense of place or personal aspiration.

Essential Questions: ● How does relief printmaking require artists to think differently about design and process? ● Why must text and imagery be reversed in printmaking? ● How do positive and negative space work together to create a successful print? ● How can imagery and symbols communicate a sense of place or travel experience? ● How can art express personal interests, dreams, or aspirations?

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Art Foundations: Printmaking & Collage: Unit 1 Learning Activities: ● Students carve their Styrofoam plates Focus on: clean lines, clear positive/negative space, correct and Legible reversed text. The teacher circulates and provides feedback before printing ● Inking and Test Prints: Demonstrate inking plates with watercolor markers ● Show the printing process using damp paper and pressure. ● Students create test prints and make adjustments to plates if needed ● Students print multiple postcards. Emphasis on: ○ Even inking ○ Careful placement ○ Craftsmanship Class discussion on common challenges (uneven pressure, reversed text issues) ○ Final Printing ● Students print final postcard editions. Focus on craftsmanship, clean printing, and intentional color use.Allow time for signing, numbering, and labeling prints ● Reflection & Critique ● Students complete a written reflection ● Group critique focusing on composition, clarity, and communication of place ● Optional postcard exchange or display

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Art Foundations: Printmaking & Collage: Unit 2 Course Name: Art Foundations: Printmaking and Collage Unit 2 Title: Mark Your Making: Designing a Personal Maker’s Mark

Est. # of Lessons: 3

Unit Overview: Every artist who has ever worked with a printing press has had a maker's mark — a personal stamp used to claim and sign their work. In this unit, we design our own: a small carved cork stamp that includes our initials and a symbol that represents us as artists. We'll use our maker's marks all year long to sign our work. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ● ● ● ● ●

VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia Shape an artistic investigation of personal identity using contemporary artistic practices. VA:Cr2.1.Ia Experiment, plan, and make multiple works of art and design. VA:Cr2.2.Ia Demonstrate understanding of the safe and proficient use of materials, tools, and equipment. VA:Cr2.3.Ia Collaboratively develop and refine ideas through critique and feedback. VA:Pr4.1.Ia Analyze, select, and curate artwork for presentation. VA:Pr5.1.Ia Develop and refine artistic techniques and work for presentation. VA:Re7.1.Ia Analyze how visual imagery communicates meaning. VA:Re8.1.Ia Interpret intent and meaning in an artwork. VA:Re9.1.Ia Apply criteria to evaluate artistic work. VA:Cn10.1.Ia Document the development of ideas from initial planning to final product. VA:Cn11.1.Ia Analyze how art communicates personal and cultural identity.

Transfer Goals ● ● ●

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Understandings ● ●

A maker's mark is more than a signature — it is a compressed self-portrait, a claim of authorship that survives the work. In relief printing, what you remove shapes what survives — the carved-away space is as

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to foster commitment to creative contributions in society. (VOG: Responsible Citizens)

Essential Questions ● ● ●

How do artists use symbols, initials, or marks to communicate identity and authorship? Why is reversal (mirror image) necessary in relief printmaking? How do positive and negative space affect the clarity and effectiveness of a printed

491

Art Foundations: Printmaking & Collage: Unit 2 much a design choice as what you leave behind.

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Knowledge ● ● ● ● ●

image? In what ways does craftsmanship impact the success of a functional art tool like a stamp? Skills (Framed as Learning Targets)

The definition and purpose of a maker’s mark. Basic relief printmaking vocabulary (relief, plate, positive space, negative space, mirror image). How to reverse letters and designs so they print correctly. Safe and proper use of carving tools for cork plates. How to ink and print a small relief stamp cleanly.

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I can design a simple and effective maker’s mark using my initials. I can write and carve letters in mirror image so they print correctly. I can identify and apply positive and negative space in my stamp design. I can safely carve a cork plate using appropriate tools. I can print a clear, consistent stamp and evaluate its effectiveness.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Maker’s Mark/Stamp: Demonstrating a successful reversal of initials, effective use of positive and negative space, and craftsmanship and clarity of the printed mark Written Reflection: Connects identity and process about how your Maker’s Mark reflect something about your identity or artistic voice and how will using this mark throughout the semester become part of your artistic process and ownership of your work?

Practice Sheet: Mirror-image of a drawing Thumbnail sketches: design planning Observation: Of carving technique and tool safety Test prints: experimenting with printing and mirror images using printmaking and problem solving techniques. Teacher Conferences: following test printing

STAGE 3: LEARNING PLAN First Topic: Introduction and Planning

Estimated # of Lessons: 1

Essential Questions: ● How do artists use symbols, initials, or marks to communicate identity and authorship? ● Why is reversal (mirror image) necessary in relief printmaking? ● How do positive and negative space affect the clarity and effectiveness of a printed image?

Learning Activities:

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Art Foundations: Printmaking & Collage: Unit 2 ● ● ● ● ●

Discuss the concept of maker’s marks and show historical and contemporary examples. Demonstrate how relief printmaking works and why images must be reversed. Use prior knowledge to use tissue to design initials or mark. Students sketch 3–4 thumbnail designs for their maker’s mark. Peer or teacher feedback on clarity, simplicity, and reversibility.

Second Topic: Transfer, Inking, and Printing

Estimated # of Lessons: 2

Learning Targets: ● I can design a simple and effective maker’s mark using my initials. ● I can write and carve letters in mirror image so they print correctly. ● I can identify and apply positive and negative space in my stamp design. ● I can safely carve a cork plate using appropriate tools. ● I can print a clear, consistent stamp and evaluate its effectiveness.

Learning Activities: ● Demonstrate how to transfer the final design onto the cork plate. ● Review carving safety and techniques. ● Students carve their designs, focusing on clean edges and intentional negative space. ● Demonstrate proper inking and stamping techniques. ● Students print multiple test impressions ● Troubleshoot issues such as uneven pressure, excess ink, or unclear letters. ● Students refine carving if needed and create a final stamped impression. ● Written reflection addressing the essential questions. ● Discuss how students will use their maker’s mark to sign future artwork.

493

Art Foundations: Printmaking & Collage: Unit 3 Course Name: Art Foundations: Printmaking and Collage Unit 3 Title: Gyotaku: Nature as the Printing Plate

Est. # of Lessons: 3

Unit Overview: Long before photography, Japanese fishermen used ink and paper to record the fish they caught. In this unit, we practice their technique — pressing paper onto inked rubber fish to pull detailed prints — and discover how texture, pressure, and observation can turn the natural world into a printing plate. We also add our maker's marks from Unit 2, connecting two printmaking traditions across time. STAGE 1: DESIRED RESULTS Established Goals

● VA:Cr1.1.Ia Use multiple approaches to ●

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begin creative endeavors. VA:Cr2.1.Ia Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.3.Ia Apply visual organizational strategies to design and produce a work of art. VA:Pr4.1.Ia Analyze, select, and curate artifacts and/or artworks for presentation. VA:Pr5.1.Ia Develop and refine artistic techniques and work for presentation. VA:Re7.1.Ia Analyze how one's understanding of the world is affected by experiencing visual imagery. VA:Re8.1.Ia Interpret an artwork or collection of works, supported by relevant and sufficient evidence. VA:Re9.1.Ia Establish relevant criteria to evaluate a work of art. VA:Cn10.1.Ia Document the process of developing ideas from early stages to fully realized works of art. VA:Cn11.1.Ia Demonstrate understanding of relationships between visual art and other disciplines, cultures, and historical contexts.

Transfer Goals ●

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Understandings ●

When observation becomes urgent — when something must be recorded and remembered — artists find a way to make

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ●

How can printmaking be used to document and represent the natural world? What makes Gyotaku different from other

494

Art Foundations: Printmaking & Collage: Unit 3 ●

the world itself into the printing plate. Learning a tradition carries responsibility: understanding where a practice comes from shapes how we are permitted to engage with it.

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Knowledge ● ● ● ● ●

relief printmaking techniques? How do texture, pressure, and ink application affect a printed image? Why is cultural context important when learning and practicing traditional art forms? Skills (Framed as Learning Targets)

The history and purpose of Gyotaku fish printing. Basic relief printmaking vocabulary (relief, texture, impression, pressure, registration). How to prepare a fish form for printing. Proper techniques for applying ink evenly to textured surfaces. Safe and hygienic procedures when working with replica or rubber fish.

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I can explain the history and cultural significance of Gyotaku printing. I can create a clear fish print using proper inking and pressure techniques. I can identify and use natural texture to create visual detail in a print. I can evaluate my print and make adjustments to improve clarity and contrast. I can reflect on how printmaking can communicate information about nature.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Gyotaku Fish Print & Reflection: Concentrating on effective use of relief printing techniques, craftsmanship and clarity of final print, understanding of Gyotaku’s cultural and historical context assessed during a class critique, and thoughtfully written reflection addressing essential questions.

Test prints: Process experimentation Observation: Iinking and pressure control Critique: Conversations with peers during printing by participating in a process critique Teacher Conference: after the first print is pulled

STAGE 3: LEARNING PLAN First Topic: Introduction & Demonstration, & Printing Process

Estimated # of Lessons: 1

Learning Targets: ● I can explain the history and cultural significance of Gyotaku printing. ● I can evaluate my print and make adjustments to improve clarity and contrast. ● I can reflect on how printmaking can communicate information about nature.

Essential Questions: ● How can printmaking be used to document and represent the natural world? ● What makes Gyotaku different from other relief printmaking techniques? ● How do texture, pressure, and ink application affect a printed image? ● Why is cultural context important when learning and practicing traditional art forms?

495

Art Foundations: Printmaking & Collage: Unit 3 Learning Activities: ● Introduce Gyotaku with a historical background and visual examples. Discuss cultural origins and respectful practice. ● Demonstrate: Inking the fish (brayer or brush) ● Introduce traditional paper ● Paper placement ● Applying pressure by hand or with a baren ● Students practice test prints on newsprint ● Students create multiple fish prints on newspaper and or newsprint, experimenting with: ● Ink amount, Paper type, Pressure and hand placement ● The teacher circulates for technique feedback and troubleshooting Second Topic: Refinement & Final Prints

Estimated # of Lessons: 2

Learning Targets: ● I can explain the history and cultural significance of Gyotaku printing. ● I can identify and use natural texture to create visual detail in a print ● I can create a clear fish print using proper inking and pressure techniques. ● I can evaluate my print and make adjustments to improve clarity and contrast. ● I can reflect on how printmaking can communicate information about nature.

Learning Activities: ● Refinement & Final Prints ● Students select the best techniques and produce final prints ● Students add their maker’s mark from the previous lesson, tying the history of Gyotaku fish printing to this printmaking lesson ● Group discussion on successes and challenges. ● Reflection & Critique ● Students participate in a guided critique focusing on: Texture, Print Clarity, Craftsmanship ● Written reflection connecting process, culture, and outcome.

496

Art Foundations: Printmaking & Collage: Unit 4 Course Name: Art Foundations: Printmaking and Collage Unit 4 Title: One of a Kind: Exploring Monotype Printing

Est. # of Lessons: 3

Unit Overview: A monotype is the only print in the world that can never be made again. In this unit, we draw, paint, and push ink across a smooth surface and transfer it to paper — combining drawing, painting, and printmaking in a single process. We embrace accidents, experiment freely, and discover that unexpected results are often the most interesting ones. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. VA:Cr2.1.Ia Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.3.Ia Apply visual organizational strategies to design and produce a work of art. VA:Pr4.1.Ia Analyze, select, and curate artifacts and/or artworks for presentation. VA:Pr5.1.Ia Develop and refine artistic techniques and work for presentation. VA:Re7.1.Ia Analyze how one's understanding of the world is affected by experiencing visual imagery. VA:Re8.1.Ia Interpret intent and meaning in artistic work. VA:Re9.1.Ia Establish relevant criteria to evaluate a work of art. VA:Cn10.1.Ia Document the process of developing ideas from early stages to fully realized works of art. VA:Cn11.1.Ia Demonstrate understanding of relationships between visual art and other disciplines, cultures, and historical contexts.

Transfer Goals ●

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Understandings ● ● ●

Process and experimentation are central to expressive printmaking. Unexpected results are a natural and valuable part of the creative process. The boundaries between drawing, painting, and printmaking dissolve in monotype — the

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

Essential Questions ● ● ●

How does monotype printing blur the line between drawing, painting, and printmaking? What makes a monotype different from other printmaking techniques? How can experimentation and risk-taking improve artistic outcomes?

497

Art Foundations: Printmaking & Collage: Unit 4 process itself is the point.

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Knowledge ● ● ● ● ●

How do value, texture, and layering affect the final printed image? Skills (Framed as Learning Targets)

The definition and characteristics of monotype printmaking. Basic printmaking vocabulary (plate, transfer, pressure, ghost print, registration). Multiple monotype techniques (additive, subtractive, and combined methods). How ink application, pressure, and paper type affect printed results. Safe and proper use of printmaking tools and materials.

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I can explain what makes a monotype different from other printmaking processes. I can create a monotype print using additive and/or subtractive techniques. I can experiment with mark-making, texture, and value in my prints. I can evaluate my print and revise my process based on results. I can reflect on how experimentation influenced my final artwork.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Monotype Print & Reflection: Demonstrating effective use of monotype techniques, evidence of experimentation and risk-taking, use of value, texture, and composition, craftsmanship and care in printing, and written reflection addressing the process and learning

Test prints: Demonstrating experimentation and problem solving Teacher Conference: following observation of technique and process Critique: Peer feedback

STAGE 3: LEARNING PLAN First Topic: Introduction & Exploration

Estimated # of Lessons: 1

Learning Targets: ● I can explain what makes a monotype different from other printmaking processes.

Essential Questions: ● How does monotype printing blur the line between drawing, painting, and printmaking? ●

What makes a monotype different from other printmaking techniques?

Learning Activities: ● Introduce monotype printing with historical and contemporary examples. ● Demonstrate additive and subtractive monotype techniques. ● Students experiment with test prints using different tools and marks. ● Developing Compositions - Students plan a composition (theme optional: mood, nature, abstraction, or self-expression).

498

Art Foundations: Printmaking & Collage: Unit 4 ● ●

Create the first intentional monotype print. Discuss “ghost prints” and layering possibilities.

Second Topic: Refinement, Layering, Final Print, and Reflection

Estimated # of Lessons: 2

Learning Targets: ● I can explain what makes a monotype different from other printmaking processes. ● I can create a monotype print using additive and/or subtractive techniques. ● I can experiment with mark-making, texture, and value in my prints. ● I can evaluate my print and revise my process based on results. ● I can reflect on how experimentation influenced my final artwork.

Essential Questions: ● How does monotype printing blur the line between drawing, painting, and printmaking? ● What makes a monotype different from other printmaking techniques? ● How can experimentation and risk-taking improve artistic outcomes? ● How do value, texture, and layering affect the final printed image?

Learning Activities: ● Students refine their process and create additional prints. Optional: Layer ghost prints or add hand coloring after printing. ● Teacher conferences focused on value, contrast, and composition. ● Students select and refine a final print. ● Class critique focused on process, experimentation, and visual impact. ● Written reflection connecting essential questions to student work.

499

Art Foundations: Printmaking & Collage: Unit 5 Course Name: Art Foundations: Printmaking and Collage Unit 5 Title: Weather Prints - Capturing the Storm

Est. # of Lessons: 4

Unit Overview: Artists in Edo-period Japan used woodblock printmaking to capture wind, rain, and storms — not just as weather, but as mood, drama, and story. In this unit, we study their work closely and create our own relief prints that show a weather event in a landscape. Line, pattern, and composition become the tools we use to make viewers feel the atmosphere we're depicting. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. VA:Cr2.1.Ia Engage in making a work of art using art elements and principles. VA:Cr3.1.Ia Apply relevant criteria to examine, reflect on, and plan revisions for works of art. VA:Re7.2.Ia Analyze how visual imagery influences understanding of events, places, and culture. VA:Cn11.1.Ia Relate artistic ideas and works with societal, cultural, and historical context.

Transfer Goals ● ●

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Understandings ● ● ● ●

Weather is never just weather in art — it is mood, tension, and story compressed into line and pattern. The weather an artist chooses to depict is never neutral — it is the emotional argument of the composition. What cannot be touched or held — wind, rain, cold — can still be felt in a print through the direction and energy of marks. Looking closely at how artists of the past solved visual problems reveals both technique and worldview.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

Edo-period Japan and ukiyo-e printmaking Relief printmaking process Landscape composition Ways artists depict weather Use of line to show rain, wind, and

How can artists visually represent weather in an image? How can line, pattern, and composition create the feeling of movement and atmosphere? How did Edo-period artists use printmaking to communicate everyday life and nature? How can we use historical art as inspiration for our own artwork?

Skills (Framed as Learning Targets) ● ●

I can analyze how Edo-period artists used printmaking to show weather and atmosphere. I can design a landscape composition that includes a weather event.

500

Art Foundations: Printmaking & Collage: Unit 5 ● ●

movement Pattern and repetition in printmaking Historical role of printmaking in Japanese culture

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I can use line, pattern, and texture to communicate rain, wind, snow, or other weather. I can create a relief print using proper printmaking techniques. I can reflect on how the weather influences the mood of my artwork.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Relief Print Showing A Weather Event In A Landscape: Demonstrating craftmanship of printmaking, clarity of weather depiction, effective use of line and pattern, strong composition, creative interpretation of historical inspiration Artist Reflection: explaining weather chosen, techniques used to show the weather, and mood created in the artwork

Observation: during sketching and design planning Discussion: Participation in the discussion of Edoperiod prints, Peer feedback during work time Planning: Thumbnail sketches showing weather ideas Teacher Conference: about thumbnail sketches One on One Progress Checks: during plate creation

STAGE 3: LEARNING PLAN First Topic: Observation and Plate Creation

Estimated # of Lessons: 2

Essential Questions : ● How can artists visually represent weather in an image? ● How can line, pattern, and composition create the feeling of movement and atmosphere? ● How did Edo-period artists use printmaking to communicate everyday life and nature? ● How can we use historical art as inspiration for our own artwork?

Learning Activities: ● Looking at Edo Period Prints - examine several examples of Edo-period weather prints by artists such as Hokusai and Hiroshige. ● Discuss: What type of weather do we see, How the artist used line and pattern to show movement, How people and landscapes interact with the weather ● Students will sketch ideas from the examples and identify techniques they notice. ● Weather Observation and Idea Development - brainstorm different types of weather that could inspire our prints.

501

Art Foundations: Printmaking & Collage: Unit 5 ● Students will create several small thumbnail sketches of landscapes that include weather such as: ● ● ●

Rain, Wind, Snow, Storm clouds, Fog, Lightning Students will select their strongest idea and develop a refined sketch for their print. Students will transfer their design onto a printmaking plate, such as styrofoam or linoleum. Students carve or press the design while thinking carefully about: Positive and negative space, Line quality, Patterns that suggest weather, Movement in the composition

Second Topic: Printing, Critique, and Reflection

Estimated # of Lessons: 2

Learning Targets: ● I can analyze how Edo-period artists used printmaking to show weather and atmosphere. ● I can design a landscape composition that includes a weather event. ● I can use line, pattern, and texture to communicate rain, wind, snow, or other weather. ● I can create a relief print using proper printmaking techniques. ● I can reflect on how the weather influences the mood of my artwork.

Essential Questions: ● How can artists visually represent weather in an image? ● How can line, pattern, and composition create the feeling of movement and atmosphere? ● How did Edo-period artists use printmaking to communicate everyday life and nature? ● How can we use historical art as inspiration for our own artwork?

Learning Activities: ● Students will ink their plates and create multiple prints. ● We will experiment with: Different ink applications, Paper placement, Print quality ● Students will select their strongest print for final presentation. ● Display the finished prints and discuss: How successfully the weather is communicated; How line and pattern create movement; What mood or story the weather creates ● Students will complete a short written reflection about their artwork.

502

Art Foundations: Printmaking & Collage: Unit 6 Course Name: Art Foundations Printmaking and Collage Unit 6 Title: Layers of Meaning: Gelli Printing & Collage

Est. # of Lessons: 4

Unit Overview: A gelli plate is slippery, unpredictable, and endlessly generous — it will take any texture, stencil, or mark you press into it & give something back you didn't expect. In this unit, we build a collection of layered monoprints, then cut them apart and reassemble them into a collage that communicates a personal theme or story. The prints become raw material. The collage becomes the meaning. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ● ● ● ● ●

VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia Shape an artistic investigation of a personally meaningful theme. VA:Cr2.1.Ia Experiment, plan, and make multiple works of art. VA:Cr2.2.Ia Demonstrate safe and proficient use of materials, tools, and equipment. VA:Pr5.1.Ia Develop and refine artistic techniques and work for presentation. VA:Re7.1.Ia Analyze how visual elements influence meaning. VA:Re9.1.Ia Apply criteria to evaluate artistic work. VA:Cn10.1.Ia Document the development of ideas from early stages to final work. VA:Cn11.1.Ia Analyze how art communicates personal meaning and reflects lived experiences.

Transfer Goals ● ● ●

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Layering is not just a technique — each new layer changes the meaning of what came before. When an artist cuts an image apart and rearranges it, they are not destroying the original — they are releasing new meaning from it. Collage is the art form of the both/and — it can hold contradictions, connections, and complexity that a single image cannot. Artistic process often involves revision,

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ● ●

How can layering and texture communicate meaning or emotion? In what ways can printmaking be both planned and spontaneous? How does cutting and rearranging images change their meaning? How do artists use repetition and variation to strengthen a composition? How can mixed media reflect personal ideas or experiences?

503

Art Foundations: Printmaking & Collage: Unit 6 failure, and discovery. Knowledge ● ● ● ● ●

Skills (Framed as Learning Targets)

What gelli printing is and how it differs from traditional relief or intaglio printmaking How layering, transparency, and texture affect visual composition The role of positive and negative space in printmaking and collage How collage can be used to reorganize, emphasize, and reinterpret imagery Safe and effective use of brayers, acrylic paint, gelli plates, and cutting tools

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I can create layered monoprints using a gelli plate. I can experiment with texture, stencils, and image transfer. I can select and arrange printed imagery to create a balanced collage. I can explain how my artistic choices communicate meaning. I can reflect on my process and growth as an artist.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Collage Artwork: Demonstrates use of layered gelli prints, thoughtful composition and arrangement, craftsmanship and effort, and communication of a theme or idea Reflection (Written or Verbal): Demonstrating their process and experimentation, how layering and collage contributed to meaning, and challenges and discoveries made during printmaking

Observation: during printing and experimentation Process checks: number of prints created, risktaking, engagement Teacher Conferences: after reviewing sketches and planning thumbnails Discussion: Peer feedback during the collage planning stage

STAGE 3: LEARNING PLAN First Topic: Gelli Plate Printmaking Exploration

Estimated # of Lessons: 1

Learning Targets: ● I can create layered monoprints using a gelli plate. ● I can experiment with texture, stencils, and image transfer.

Essential Questions: ● How can layering and texture communicate meaning or emotion? ● In what ways can printmaking be both planned and spontaneous?

Learning Activities: ● Teacher demonstration of gelli plate tools and materials, including brayers, acrylic paint, stencils, masks, and found textures ● Students experiment with pulling monoprints using a variety of techniques ● Exploration of texture creation using natural objects, cardboard, bubble wrap, fabric, etc. ● Students practice layering prints by adding additional colors, shapes, and textures ● Demonstration and experimentation with image transfer techniques ● Students create a series of experimental prints to build a collection of imagery ● Class discussion about positive and negative space, layering, and composition

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Art Foundations: Printmaking & Collage: Unit 6 ●

Students reflect on which prints are most successful and why

Second Topic: Collage Composition and Visual Communication

Estimated # of Lessons: 3

Learning Targets: ● I can select and arrange printed imagery to create a balanced collage. ● I can explain how my artistic choices communicate meaning. ● I can reflect on my process and growth as an artist.

Essential Questions: ● How does cutting and rearranging images change their meaning? ● How do artists use repetition and variation to strengthen a composition? ● How can mixed media reflect personal ideas or experiences?

Learning Activities: ● Students review their collection of gelli prints and select the most interesting or successful images ● Demonstration of cutting, arranging, and composing a collage from printed materials ● Students experiment with arrangement and composition before gluing ● Focus on balance, focal point, layering, and visual movement ● Students assemble their final mixed-media collage composition ● Peer discussion or critique about how the collage communicates a theme, idea, or story ● Students complete a short written reflection about their artistic choices and process

505

Art Foundations: Printmaking & Collage: Unit 7 Course Name: Art Foundations: Printmaking and Collage Unit 7 Title: Collage About Self

Est. # of Lessons: 5

Unit Overview: Collage is not just a technique — it is a way of thinking about identity and influence. In this unit, we research a historical figure we connect with and create a mixed-media collage that represents both ourselves and the person who inspires us. Images, symbols, color, texture, and text layer together to tell a story about who we are and who we look to. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. VA:Cr2.1.Ia Engage in making a work of art that explores personal meaning. VA:Cr3.1.Ia Reflect on and revise artistic work to strengthen ideas and craftsmanship. VA:Re7.2.Ia Analyze how visual imagery communicates ideas and personal meaning. VA:Cn10.1.Ia Create artwork that relates personal interests and experiences to broader themes.

Transfer Goals ● ● ●

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Understandings ●

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The things we choose to surround ourselves with — images, symbols, colors, texts — reveal more about who we are than any single statement could. We are always in conversation with the past The people who came before us shape what we notice, what we value, & what we make. When image, symbol, and text appear together on a single surface, each one changes how we read the others. The more deeply we understand someone,

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How can art communicate who we are and what influences us? Why do certain historical figures inspire us or feel relatable? How can collage combine images and symbols to communicate ideas? How can we visually represent connections between ourselves and others?

506

Art Foundations: Printmaking & Collage: Unit 7 the more we have to say about them — research is a form of artistic preparation. Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Purpose and history of collage in art How artists communicate identity in artwork Research methods for learning about historical figures Symbolism and visual storytelling Composition and layering in collage Mixed media materials and techniques Connections between personal identity and cultural history

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I can research a historical figure and explain why they inspire me and identify visual symbols and imagery that represent ideas about identity. I can plan a collage that connects my identity with a historical figure and use layering, composition, & materials to communicate meaning. I can create a collage that clearly shows ideas about influence and identity. I can reflect on how my artwork communicates my connection to the historical figure.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Mixed Media Collage showing a connection between the student & a historical figure. Demonstrate concept/personal meaning, use of symbolism/imagery, composition/layering, craftsmanship/effort, clarity of visual communication. Artist Reflection: Includes discussion on the chosen historical figure, the reason for the connection, visual symbols and imagery used, and how the collage communicates identity

Brainstorming and research notes Planning: Sketches and collage planning Teacher Conferences: during the creative process Discussion: Peer feedback during work time, participation in class discussion

STAGE 3: LEARNING PLAN First Topic: Discussion and Development

Estimated # of Lessons: 2

Learning Targets: ● I can research a historical figure and explain why they inspire me. ● I can identify visual symbols and imagery that represent ideas about identity. ● I can plan a collage that connects my identity with a historical figure.

Essential Questions: ● How can art communicate who we are and what influences us? ● Why do certain historical figures inspire us or feel relatable? ● How can collage combine images and symbols to communicate ideas? ● How can we visually represent connections

507

Art Foundations: Printmaking & Collage: Unit 7 between ourselves and others? Learning Activities: ● Look at examples of artists who use collage to explore identity and culture. Examples may include artists such as Romare Bearden, Hannah Höch, and contemporary collage artists. ● As a class we will discuss: How collage can tell a story; How artists combine images and symbols; How identity can be represented visually ● Students will brainstorm historical figures who inspire them. ● Students will choose a historical figure they feel connected to. ● Students will research the person and consider questions such as: ○ What did this person accomplish? ○ What values or qualities do they represent? ○ Why do I identify with this person? ● Students will write a short reflection explaining their connection. ● Students will sketch ideas for their collage. ● Vsual ways to show connections between ourselves and the historical figure using: Images, Symbols, Color, Text, Textures ● Students will plan composition and layering before beginning the final artwork. Second Topic: Creating and Reflecting

Estimated # of Lessons: 3

Learning Targets:

Essential Questions:

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I can research a historical figure and explain why they inspire me. I can identify visual symbols and imagery that represent ideas about identity. I can plan a collage that connects my identity with a historical figure and use layering, composition, & materials to communicate meaning. I can create a collage that clearly shows ideas about influence and identity and reflect on how my artwork communicates my connection to the historical figure.

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Learning Activities: ● Students will create a mixed media collage using materials such as: Magazine images, Printed photographs, Colored paper, Text fragments ● Drawing or painting elements - Students will focus on: Layering imagery; Creating a strong composition; Using symbols and images to communicate ideas ● Students will share their finished collage with the class. ● Discuss: ○ How the artwork communicates the connection between the student and the historical figure ○ What symbols and imagery were used ○ How composition and layering strengthen the artwork ● Students will complete a written reflection explaining their artistic choices.

508

Art Foundations: Printmaking & Collage: Unit 8 Course Name: Art Foundations: Printmaking and Collage Unit 8 Title: Layered Prints - Combining Printmaking and Collage

Est. # of Lessons: 5

Unit Overview: We close the course by bringing everything together. Using relief printing and monoprinting techniques we've developed across the year, we build a collection of prints and then cut, arrange, and layer them into a final collage composition. Two techniques, one artwork, one idea: that printmaking and collage together can say things neither can say alone. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. VA:Cr2.1.Ia Engage in making works of art that explore and apply artistic ideas and materials. VA:Cr3.1.Ia Reflect on and revise artistic work to strengthen visual communication. VA:Re7.2.Ia Analyze how visual elements communicate meaning in works of art. VA:Cn10.1.Ia Create artwork that connects personal ideas and experiences with visual expression.

Transfer Goals ● ● ●

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Understandings ●

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When two techniques combine into one artwork, neither means what it meant alone — the combination creates possibilities that belong to neither on its own. A print becomes raw material the moment you cut into it — what was fixed becomes flexible, and meaning becomes available for reassembly. Not knowing exactly what you're making is not a weakness — it is how artists discover what is possible.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Information Analysts) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How can artists combine printmaking and collage to create layered artwork? How can repeated printed images become part of a larger composition? How do artists use layering and composition to communicate ideas? How can experimentation lead to new creative discoveries?

509

Art Foundations: Printmaking & Collage: Unit 8 ●

Composition is not decoration — it is the logic that tells a viewer where to look and what to feel. Knowledge

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Skills (Framed as Learning Targets)

Basic printmaking techniques, such as relief printing or monoprinting How prints can be repeated and layered Collage techniques, including cutting, arranging, and gluing Principles of composition Ways artists combine mixed media Examples of artists who combine printmaking and collage Visual storytelling through imagery and layering

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I can create prints using printmaking techniques. I can experiment with textures, shapes, and repeated imagery. I can arrange printed images into a collage composition. I can use layering to create visual interest and meaning. I can combine printmaking and collage materials to communicate an idea. I can reflect on my artistic choices and explain my process.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Mixed Media Artwork: Combines printmaking and collage techniques to demonstrate use of printmaking techniques, effective layering and composition, creative use of materials, craftsmanship and effort, and clarity of visual communication. Artist Reflection: Explains the idea or theme explored in the artwork, how printmaking elements were used, how collage and layering help communicate meaning and, how the combination of the two techniques make possible that neither technique could have achieved alone.

Observation: during printmaking experiments Planning: Sketches for collage composition Discussion: Participation in class discussion and brainstorming Teacher Conferences: Progress checks during the collage process Critique: Peer feedback

STAGE 3: LEARNING PLAN First Topic: Inspiration and Exploration

Estimated # of Lessons: 2

Learning Targets: ● I can create prints using printmaking techniques. ● I can experiment with textures, shapes, and repeated imagery. ● I can reflect on my artistic choices and explain my process.

Essential Questions: ● How can artists combine printmaking and collage to create layered artwork? ● How can repeated printed images become part of a larger composition? ● How do artists use layering and composition to communicate ideas? ● How can experimentation lead to new creative discoveries?

510

Art Foundations: Printmaking & Collage: Unit 8 Learning Activities: ● Look at examples of artists who combine printmaking and collage, such as Robert Rauschenberg and Romare Bearden. ● Discuss: How artists layer images; How repetition can create patterns and movement; How collage can tell a story ● Students will brainstorm themes or ideas they may want to explore in their artwork. ● Students will create a series of prints using techniques such as: Relief printing with foam or linoleum; Monoprinting; Texture printing with found objects ● Students will experiment with color, shape, and pattern while creating multiple prints. The goal is to create a collection of printed images that can later be used for collage. Second Topic: Selecting and Reflecting

Estimated # of Lessons: 3

Learning Targets: ● I can create prints using printmaking techniques. ● I can experiment with textures, shapes, and repeated imagery. ● I can arrange printed images into a collage composition. ● I can use layering to create visual interest and meaning. ● I can combine printmaking and collage materials to communicate an idea. ● I can reflect on my artistic choices and explain my process.

Learning Activities: ● Students will review their prints and choose the strongest images. ● Students will cut shapes, textures, and sections from their prints. ● Discuss how cropping and rearranging images can create new compositions. ● Students will arrange their printed pieces onto a final surface. They may also include additional materials such as: Colored paper, Magazine images, Hand-drawn elements, Text or symbols ● Students will experiment with placement before gluing to create a balanced composition. ● Students will glue their final composition and refine their artwork. ● Display the artwork and discuss: How printmaking and collage work together; How layering creates depth and interest; What ideas or themes are communicated ● Students will complete a short written reflection about their process and artistic choices.

511

Drawing Techniques II DRAWING TECHNIQUES II Course # WAN201

0.5 credit (FVA, HUM)

PREREQUISITE: WAN101 Art Foundation: Drawing & Ceramics Drawing Techniques II: Perspective & Composition builds upon foundational drawing skills, guiding students through more advanced exploration of media and methods with emphasis on perspective, depth, and compositional clarity. Students will engage with charcoal, conte crayon, oil pastel, and colored pencils to create expressive and realistic artworks, culminating in a comprehensive final project that synthesizes the techniques learned.

512

Drawing Techniques II (Semester Course) You already know how to draw; now it's time to push further. In this course, we explore new media and methods, using charcoal, pen and ink, oil pastels, and colored pencils to create expressive, realistic, and intentionally composed drawings. Along the way, we sharpen our understanding of perspective, depth, and composition, and we develop the habits of planning, reflection, and revision that strengthen every piece we make. The course culminates in an independent project where we choose our own subject and medium to create a finished artwork that showcases our strongest skills and emerging artistic voice. Unit 1: Intro to Drawing & Perspective 5-6 Days

Unit 2: Charcoal 4-5 Days

Unit 3: Pen & Ink 2-3 Days

We start by sharpening our foundational skills and learning how to create real depth on a flat page. Through one-point and two-point perspectives, overlapping, size variation, and placement, we discover how to make objects feel like they exist in space. We apply these techniques to architectural and still life drawings, using our sketchbooks as a place to explore ideas, take risks, and practice before committing to finished work.

Now that we have incorporated perspective into our compositions, next we get your hands (literally) dirty exploring the expressive world of charcoal. We learn how to work with different types of charcoal and tools, practicing tone, contrast, and pressure in order to turn simple shapes into realistic, 3D forms. We use these skills to create a landscape drawing that shows depth through atmospheric perspective.

Next, we discover how powerful a single line can be. Using pen and ink, we’ll learn how to create depth, texture, and form without erasing or blending; every mark counts. We experiment with techniques like hatching, stippling, and scumbling in our sketchbooks, then apply those skills to a detailed nature drawing. Our composition lives inside a drawn border, but here’s the twist: we break that border on purpose to make our artwork feel dynamic and alive. By the end of the unit, we’ll be creating bold, confident drawings that use line to tell a visual story.

513

Drawing Techniques II (continued) Unit 4: Pastel 4-5 Days

Unit 5: Colored Pencil 4-5 Days

Unit 6: Independent Drawing 5-6 Days

This unit is all about getting comfortable with oil pastels and learning how to use them to bring ordinary objects to life in bold and expressive ways. We will explore how to blend, layer, and scumble to create vibrant textures and smooth transitions. We will dive into color theory to help us make thoughtful choices that enhance your drawing. Everything we learn will lead up to a final expressive object drawing that will show off our understanding of technique, color harmony, and personal artistic voice.

Colored pencils reward patience and precision. We learn how to use colored pencils to create realistic and detailed artwork with confidence. We start by exploring different types of colored pencils and practice layering, blending, and mixing colors to create smooth transitions and rich textures. Then, we apply these techniques to detailed nature drawings, rendering textures like fur, feathers, and petals with the kind of control that makes a flat page feel alive.

We have spent the semester building skills, experimenting with new mediums, and growing artistic voice. Now it is time to bring it all together. We choose a subject, select a medium, gather references, and plan a composition that showcases our strongest techniques and ideas. Once finished, we reflect on artistic choices and write an artist statement to help others understand your process.

514

Drawing Techniques II: Unit 1 Course Name: Drawing Techniques II

Unit 1 Title: Intro to Drawing & Perspective Est. # of Lessons: 5-6

Unit Overview: We start by sharpening our foundational skills and learning how to create real depth on a flat page. Through one-point and two-point perspectives, overlapping, size variation, and placement, we discover how to make objects feel like they exist in space. We apply these techniques to architectural and still life drawings, using our sketchbooks as a place to explore ideas, take risks, and practice before committing to finished work. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.HSI: Shape an artistic investigation of an aspect of present-day life using a contemporary practice of art and design. VA:Cr1.2.HSII: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr1.2.HSIII: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.

Transfer Goals ●

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Understandings ●

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Artists need a growth mindset, supportive creative spaces, and collaborative relationships to experiment with new techniques like perspective drawing, which helps them develop confidence to take risks and innovate in their artistic practice. The way we see and draw objects changes dramatically based on where we position ourselves as viewers - mastering one and two point perspectives allows artists to control how the audience experiences space, depth, and movement in their artwork.

Essential Questions ●

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Knowledge ●

Review of Basic Drawing Skills (Line, Shape, Form, Value)

Explore, develop, and refine artistic skills across diverse media and techniques, fostering creativity, competence, and confidence in creating original artworks. (VOG: Effective Communicators) Engage in creative processes to generate innovative solutions, utilizing critical analysis and reflective thinking to enhance artistic outcomes and address complex problems. (VOG: Critical Thinkers) Build visual literacy skills, enabling them to interpret, analyze, and communicate ideas clearly and effectively through visual and digital media. (VOG: Information Analysts)

What do I need - in my mindset, my environment, and my relationships with others - to take creative risks and push my art in new directions? How can I use my pencil as both a drawing tool and a measuring tool to create accurate proportions and perspective? What drawing techniques help me transform a flat sketch into a realistic 3-D object that looks like it is popping off the paper?

Skills (Framed as Learning Targets) ●

I can control my pencil pressure and my movements as I draw the object.

515

Drawing Techniques II: Unit 1 ● ● ● ●

Understanding Perspective: One-Point and Two-Point How to Create Depth with Overlapping, Size Variation, and Placement Types of perspective drawing: simple architectural forms, still life arrangements Purpose of sketchbooks

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I can use my pencil to visually measure an object in order to compare it to other objects in my drawing. I can build the perspective lines in my drawing based on the scale of objects. I can create a 3-D drawing of an object using one and two point perspective techniques. I can apply different drawing techniques to create value and texture.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Accordion Book Drawing: perspective through atmosphere Final Drawings: still life and architectural drawing that shows clear representations of scale and proportion using 1 point and 2 point perspective

Techniques page: Practice continuous line, gesture, value, and scales Sketchbook Check-in: Planning Sketches of compositional balance and value One on One Check Ins: Periodic reviews of student’s choices on texture and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Review of Basic Drawing Skills (Line, Shape, Form, Value)

Estimated # of Lessons: 1

Learning Targets: ● I can control my pencil pressure and my movements as I draw the object. ● I can apply different drawing techniques to create value and texture.

Essential Questions: ● What do I need - in my mindset, my environment, and my relationships with others - to take creative risks and push my art in new directions? ● How can I use my pencil as both a drawing tool and a measuring tool to create accurate proportions and perspective? ● What drawing techniques help me transform a flat sketch into a realistic 3-D object that looks like it is popping off the paper?

Learning Activities: ● Review basic drawing essentials ● Understand the purpose of a sketchbook in our class ● Create a page in a sketchbook to demonstrate different techniques.

516

Drawing Techniques II: Unit 1 Second Topic: Understanding Perspective: OnePoint and Two-Point

Estimated # of Lessons: 1

Learning Targets: ● I can control my pencil pressure and my movements as I draw the object. ● I can use my pencil to visually measure an object in order to compare it to other objects in my drawing. ● I can build the perspective lines in my drawing based on the scale of objects. ● I can create a 3-D drawing of an object using one and two point perspective techniques.

Essential Questions: ● How can I use my pencil as both a drawing tool and a measuring tool to create accurate proportions and perspective? ● What drawing techniques help me transform a flat sketch into a realistic 3-D object that looks like it is popping off the paper?

Learning Activities: ● Model how to use drawing tools, such as rulers and vanishing points, to create both one-point and two-point perspective. ● Draw a cube in each perspective style on a page in our sketchbook to show our understanding. Third Topic: Creating Depth with Overlapping, Size Variation, and Placement

Estimated # of Lessons: 1

Learning Activities: ● View a variety of artworks that use perspective to understand how artists create depth and space. ● Walk through and then break down images into basic shapes and compare how their sizes change to show distance ● Create accordion-folded drawings that show objects in perspective, using correct scale and proportion in the composition. Fourth Topic: Perspective Drawing of Simple Architectural Forms

Estimated # of Lessons: 1- 2

Learning Targets: ● I can control my pencil pressure and my

Essential Questions: ● How can I use my pencil as both a drawing

517

Drawing Techniques II: Unit 1 ● ● ● ●

movements as I draw the object. I can use my pencil to visually measure an object in order to compare it to other objects in my drawing. I can build the perspective lines in my drawing based on the scale of objects. I can create a 3-D drawing of an object using one and two point perspective techniques. I can apply different drawing techniques to create value and texture.

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tool and a measuring tool to create accurate proportions and perspective? What drawing techniques help me transform a flat sketch into a realistic 3-D object that looks like it is popping off the paper?

Learning Activities: ● How to transform a basic cube into a building using architectural elements. ● Create a final drawing: building structure using one-point and two-point perspective. Fifth Topic: Perspective in Still Life Arrangements Variation and Placement

Estimated # of Lessons: 1-2

Learning Activities: ● Use cut-outs of objects in different scales and arrange them on a sketchbook page to learn how to compose a still life using scale and balance ● Final drawing: still life

518

Drawing Techniques II: Unit 2 Course Name: Drawing Techniques II

Unit 2 Title:

Charcoal

Est. # of Lessons: 4-5

Unit Overview: Now that we have incorporated perspective into our compositions, next we get your hands (literally) dirty exploring the expressive world of charcoal. We learn how to work with different types of charcoal and tools, practicing tone, contrast, and pressure in order to turn simple shapes into realistic, 3D forms. We use these skills to create a landscape drawing that shows depth through atmospheric perspective. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr2.1.HSI: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.1.HSIII: Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept.

Transfer Goals ● ● ● ●

Understandings ● ● ●

Charcoal is a versatile medium that can create both delicate, subtle marks and bold, expressive gestures. Artists develop value creating form, depth, and space through control of their charcoal mark making. Drawing is a practice of constant decisionmaking about what to include, emphasize, or leave out.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Charcoal Types and Tools Value Variations in Charcoal (Creating Contrast and Tone) How to apply texture and mark making techniques to create a realistic landscape drawing

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

What unique possibilities does charcoal offer that other drawing media don't? How can we use the full range of values from pure white to deep black to create dimension and mood? How do artists and designers determine whether a particular direction in their work is effective? How can we translate three-dimensional forms onto a two-dimensional surface? Skills (Framed as Learning Targets)

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I can control my charcoal pressure and movements as I apply layers to my paper. I can apply charcoal using a variety of mark making techniques. I can create tonal contrast and textures in different values to create a 3 dimensional

519

Drawing Techniques II: Unit 2 ●

Different applications that artists use with charcoal

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form. I can create thumbnail sketches of my ideas to establish my composition. I can collect and curate reference material as a basis for my artwork. I can review, reflect, and refine my mark making and values of my artwork.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: landscape drawing that shows clear representations of scale and proportion using 1 point and 2 point perspective as well as value to emphasize atmospheric perspective

Charcoal Techniques page: Practice gradient values and textures Sketchbook Check-in: Planning Sketches of compositional balance and value One on One Check Ins: Periodic reviews of student’s choices on texture and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Introduction to Charcoal Types, Tools, Textures, and Value(Creating Contrast and Tone)

Estimated # of Lessons: 1

Learning Targets : ● I can control my charcoal pressure and movements as I apply layers to my paper. ● I can apply charcoal using a variety of mark making techniques. ● I can create tonal contrast and textures in different values to create a 3 dimensional form.

Essential Questions: ● What unique possibilities does charcoal offer that other drawing media don't? ● How can we use the full range of values from pure white to deep black to create dimension and mood? ● How do artists and designers determine whether a particular direction in their work is effective? ● How can we translate three-dimensional forms onto a two-dimensional surface?

Learning Activities: ● Review charcoal types and tools. ● Learn to create different textures and values through the application of techniques. ● Create a value study in charcoal Second Topic: Charcoal Landscape Drawing

Estimated # of Lessons: 3-4

Learning Targets: ● I can apply charcoal using a variety of mark-making techniques.

Essential Questions: ● How can we use the full range of values from pure white to deep black to create dimension

520

Drawing Techniques II: Unit 2 ●

I can create tonal contrast and textures in different values to create a 3 dimensional form.

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and mood? How can we translate three-dimensional forms onto a two-dimensional surface?

Learning Activities: ● Apply value to create atmospheric perspective ● Create a composition of a landscape with distinct foreground, middle ground, and background elements. ● Use charcoal techniques to finish landscape drawing.

521

Drawing Techniques II: Unit 3 Course Name: Drawing Techniques II

Unit Title: Pen & Ink

Est. # of Lessons: 2-3

Unit Overview: Next, we discover how powerful a single line can be. Using pen & ink, we’ll learn how to create depth, texture, & form without erasing or blending; every mark counts. We experiment with techniques like hatching, stippling, & scumbling in our sketchbooks, then apply those skills to a detailed nature drawing. Our composition lives inside a drawn border, but here’s the twist: we break that border on purpose to make our artwork feel dynamic & alive. By the end of the unit, we’ll be creating bold, confident drawings that use line to tell a visual story. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Re9.1.HSII: Apply relevant criteria to examine, reflect on, and provide informed constructive feedback on the artwork of peers and others in a variety of settings. VA:Re9.1.IIa: Determine the relevance of criteria used by others to evaluate a work of art or collection of works.

Transfer Goals ● ● ●

Understandings ●

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When every mark is permanent, artists plan deliberately, building value, texture, & form through the density & direction of line rather than through erasing or blending. Compositional boundaries aren't just frame. Artists can use borders & intentionally break them to control movement, emphasis, & energy.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ● ● ● ● ● ● ●

Pen (Materials and Application) pen and ink materials line variation hatching techniques cross hatching techniques stippling techniques scumbling techniques value through line density contour and form border composition sphere shading with line

Explore, develop, & refine artistic skills across diverse media & techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How can I create value/depth using only line? How do different pen techniques change the way a surface looks? How can breaking the border make my composition more dynamic? What strategies help me make a flat drawing feel three‑dimensional? Skills (Framed as Learning Targets)

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I can use hatching and cross hatching to create light and shadow. I can apply stippling and scumbling to show texture and depth. I can shade a circle to make it look like a sphere using pen techniques. I can design a composition within a border that supports my subject. I can intentionally break the border to add movement and emphasis. I can create a detailed nature drawing using

522

Drawing Techniques II: Unit 3 ● ●

nature observation texture rendering

pen and ink techniques.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: Still life drawing that utilizes drawing techniques to show movement and form.

Pen & Ink Techniques page: Value, Movement, and Movement Still Life Check-in: Practice Sketches of compositional balance and value In Progress Group Critique: Assessing composition and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Introduction to Pen Types, Tools, Textures, and Value(Creating Line and Movement)

Estimated # of Lessons: 1

Learning Targets: ● I can use hatching and cross hatching to create light and shadow and apply stippling and scumbling to show texture and depth. ● I can shade a circle to make it look like a sphere using pen techniques.

Essential Questions: ● How can I create value/depth using only line? ● How do different pen techniques change the way a surface looks? ● What strategies help me make a flat drawing feel three‑dimensional?

Learning Activities: Review Pen & Ink techniques and tools. Learn to create different textures and values through the application of techniques. Create a value study and sphere drawing in sketchbook Second Topic: Still Life with Pen & Ink

Estimated # of Lessons: 1-2

Learning Targets: ● I can use hatching & cross hatching to create light and shadow and apply stippling and scumbling to show texture and depth. ● I can design a composition within a border that supports my subject and intentionally break the border to add movement & emphasis & create a detailed nature drawing using pen and ink techniques.

Essential Questions: ● How can I create value and depth using only line? ● How do different pen techniques change the way a surface looks? ● How can breaking the border make my composition more dynamic? ● What strategies help me make a flat drawing feel three‑dimensional?

Learning Activities: ● Create a small still life study with gesture lines ● Create a pen & ink drawing of the still life that captures the values, lines, and movement of a unique composition.

523

Drawing Techniques II: Unit 4 Course Name: Drawing Techniques II

Unit Title:

Pastel

Est. # of Lessons: 4-5

Unit Overview: This unit is all about getting comfortable with oil pastels and learning how to use them to bring ordinary objects to life in bold and expressive ways. We will explore how to blend, layer, and scumble to create vibrant textures and smooth transitions. We will dive into color theory to help us make thoughtful choices that enhance your drawing. Everything we learn will lead up to a final expressive object drawing that will show off our understanding of technique, color harmony, and personal artistic voice. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.3.HSII: Demonstrate understanding of the relationship between personal expression and the intentional use of materials, techniques, and processes in artwork. VA:Re9.1.HSI: Establish relevant criteria in order to evaluate a work of art or collection of works. VA:Re9.1.IIa: Determine the relevance of criteria used by others to evaluate a work of art or collection of works.

Transfer Goals ● ● ● ●

Understandings ● ● ●

The intensity and purity of pastel colors can convey mood and atmosphere more immediately than value-based media. Working in color requires thinking about relationships and harmonies, not just individual hues. Oil pastels bridge the gap between drawing and painting, combining the directness of drawing with the color possibilities of painting.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Oil Pastels (Materials and Application) Chalk Pastels (Materials and Application) Expressive object drawing

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How can I use pastel techniques like layering and scumbling to create textures and depth? How do I utilize expressive lines to create movement in my composition? What choices can I make to balance form and color in my composition? How can we translate three-dimensional forms onto a two-dimensional surface?

Skills (Framed as Learning Targets) ● ●

I can explore and refine oil pastel application using blending, layering, and scumbling techniques. I can create clean edges, textures, and soft transitions through controlling my pastel

524

Drawing Techniques II: Unit 4 ● ●

application. I can apply color theory and composition strategies to create expressive object drawings. I can use constructive critique and feedback to evaluate the effectiveness of my artistic choices and revise their work accordingly.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: Object drawing that utilizes color to create an expressive drawing.

Oil Pastel Techniques page: Hues and Texture Chalk Pastel Techniques page: Hues and Texture Still Life Check-in: Practice Sketches of compositional balance & value through gesture drawing Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Introduction to Oil Pastel, Tools, Textures, and Color

Estimated # of Lessons: 1

Learning Targets: ● I can explore and refine pastel application using blending, layering, and scumbling techniques. ● I can create clean edges, textures, and soft transitions through controlling my pastel application.

Essential Questions: ● How can I use pastel techniques like layering and scumbling to create textures and depth? ● How do I utilize expressive lines to create movement in my composition?

Learning Activities: ● Review pastel techniques and tools. ● Learn to create different textures through the application of techniques. ● Learn basic color theory. ● Create a techniques page in pastel Second Topic: Expressive Object Drawing

Estimated # of Lessons: 3-4

Essential Questions: ● How can I use pastel techniques like layering and scumbling to create textures and depth? ● How do I utilize expressive lines to create movement in my composition? ● What choices can I make to balance form and color in my composition?

525

Drawing Techniques II: Unit 4

●

strategies to create expressive object drawings. I can use constructive critique and feedback to evaluate the effectiveness of their artistic choices and revise their work accordingly.

Learning Activities: ● Apply pastel techniques to create a layered compositional drawing. ● Create a composition of an object with expressive colors.

526

Drawing Techniques II: Unit 5 Course Name: Drawing Techniques II

Unit Title: Colored Pencil

Est. # of Lessons: 4-5

Unit Overview: Colored pencils reward patience and precision. We learn how to use colored pencils to create realistic and detailed artwork with confidence. We start by exploring different types of colored pencils and practice layering, blending, and mixing colors to create smooth transitions and rich textures. Then, we apply these techniques to detailed nature drawings, rendering textures like fur, feathers, and petals with the kind of control that makes a flat page feel alive. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr2.1.HSII: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.3.HSII: Redesign an object, system, place, or design in response to contemporary issues. VA:Re9.1.HSII: Determine the relevance of criteria used by others to evaluate a work of art or collection of works

Transfer Goals ● ● ● ●

Understandings ●

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Artists use a variety of techniques to achieve realistic effects through accumulated layers rather than single layers or gestures of mark making. Artists apply color theory, value , and textures in combination to create a threedimensional reality to create a realistic interpretation of the world. The limitations of a medium, its permanence, transparency, and pace, can become creative strengths when artists work with those qualities rather than against them.

Essential Questions ● ● ●

Knowledge ●

Layering and blending techniques for building color optically

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How do I layer and blend colored pencils to create smooth transitions and vibrant color? What techniques help me draw fur, feathers, or petals with realistic texture and depth? How can I use colored pencils to accurately capture the shape, color, and fine details of what I see?

Skills (Framed as Learning Targets) ● ●

I can control my pencil pressure and markmaking to create smooth color transitions. I can use planning, layering, and control to

527

Drawing Techniques II: Unit 5 ● ● ● ● ●

Color theory as applied to colored pencil, hue, value, saturation, color harmony How surface tooth affects color depth and richness Directional mark-making and how stroke direction creates texture (fur, feathers, petals) Observation strategies for capturing shape, shadow, and color variation from life or reference Surface choice and tooth directly affect the depth and richness achievable with colored pencils, making the relationship between ground and medium essential to planning.

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refine my drawings over time, making intentional decisions about texture, color blending, and precision. I can apply color theory to create color harmony and contrast. I can render textures like fur, feathers, or plant surfaces using directional mark making. I can draw detailed, realistic representations of animals or plants by observing shapes, shadows, and color changes. I can articulate the choices I made in my drawings to others. I can use peer or self-assessment to make improvements in my artwork.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: a nature drawing that demonstrates layered color, textural rendering, and observational accuracy.

Colored Pencil Value: Gradient page Sketchbook Check-in: Planning Sketches of compositional balance and color In Progress Group Critique: Hue and Value One on One Check Ins: Layering hue and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Introduction to Colored Pencil, Tools, Colors, and Value (Creating Contrast and Tone)

Estimated # of Lessons: 1

Learning Targets: ● I can control my pencil pressure and markmaking to create smooth color transitions. ● I can layer and blend colored pencils to mix custom colors and values. ● I can apply color theory to create color harmony and contrast. ● I can render textures like fur, feathers, or plant surfaces using directional mark making.

Essential Questions: ● How do I layer and blend colored pencils to create smooth transitions and vibrant color? ● How can I use colored pencils to accurately capture the shape, color, and fine details of what I see?

Learning Activities: ● Review colored pencil techniques and tools. ● Learn to create different hues and values through the application of techniques. ● Create a value gradient in colored pencil.

528

Drawing Techniques II: Unit 5 Second Topic: Nature Drawing

Estimated # of Lessons: 3-4

Essential Questions: ● How do I layer and blend colored pencils to create smooth transitions and vibrant color? ● What techniques help me draw fur, feathers, or petals with realistic texture and depth? ● How can I use colored pencils to accurately capture the shape, color, and fine details of what I see?

Learning Activities: ● Apply hues and value to create a realistic representation of nature ● Create textures found in furs or plant life through colored pencil techniques. ● Use colored pencil techniques to finish the nature drawing.

529

Drawing Techniques II: Unit 6 Course Name: Drawing Techniques II

Unit Title: Independent Drawing

Est. # of Lessons: 5-6

Unit Overview: We have spent the semester building skills, experimenting with new mediums, and growing artistic voice. Now it is time to bring it all together. We choose a subject, select a medium, gather references, and plan a composition that showcases our strongest techniques and ideas. Once finished, we reflect on artistic choices and write an artist statement to help others understand your process STAGE 1: DESIRED RESULTS Established Goals ●

● ●

Transfer Goals ● ● ● ●

Understandings ● ●

●

Artists use research, composition, and thoughtful planning to strengthen their artwork. Artistic voice emerges through intentional selection and synthesis—choosing which techniques, approaches, and influences to combine reveals personal values and vision more than technical proficiency alone. The relationship between concept and execution is reciprocal—initial ideas evolve through the making process, and technical challenges often reveal new conceptual directions. Reflecting on and articulating one's artistic process deepens understanding of the choices made and helps communicate intent to an audience.

Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ●

What steps do I need to take to plan a final project that reflects my best skills and creative voice? How am I communicating my artistic process, goals, and choices for viewers of my drawing? What do I want them to see or feel?

530

Drawing Techniques II: Unit 6 Knowledge ● ● ● ●

Skills (Framed as Learning Targets)

Researching a subject Designing compositional sketches of the artwork Applying techniques specific to the medium of choice. Use art vocabulary to explain your artmaking process.

● ● ● ● ● ●

I can choose a subject and medium that align with my artistic strengths and goals. I can gather and use reference images and resources to support my composition. I can use thumbnails and sketches to plan a strong and balanced layout. I can apply my drawing techniques effectively in my final work and participate in a critique using thoughtful observations and feedback. I can plan and execute an original artwork using the medium and techniques mastered throughout the course. I can communicate artistic choices by reflecting on my process and techniques.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of planning Final Drawing: piece completed using the drawing techniques of the medium of their choice Artist Statement: Students will answer questions about creating their artwork & then put the sentences together in one paragraph on a slide with a photo of their artwork to present to the class.

Sketchbook Check-in: Planning Sketches of original work of art in medium of their choice In Progress Group Critique: value, texture, composition, and color theory applied One on One Check Ins: Refining work Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Final Artwork

Estimated # of Lessons: 4

Learning Targets: ● I can choose a subject and medium that align with my artistic strengths and goals. ● I can gather and use reference images and resources to support my composition. ● I can use thumbnails and sketches to plan a strong and balanced layout. ● I can apply my drawing techniques effectively in a final work.

Essential Questions: ● What steps do I need to take to plan a final project that reflects my best skills and creative voice? ● How do I use research and sketching to inform a meaningful composition?

Learning Activities: ● Thumbnail Sketches ● Final Sketch ● Final Drawing

531

Drawing Techniques II: Unit 6 Second Topic: Artist Statement

Estimated # of Lessons: 1-2

Learning Targets: ● I can write an artist statement that explains my process, intentions, and outcomes. ● I can participate in a critique using thoughtful observations and feedback.

Essential Questions: ● How can I clearly explain my artistic process, goals, and choices?

Learning Activities: ● Artist Statement questions ● Creating a slide presentation ● Final Critique

532

Drawing Techniques III DRAWING TECHNIQUES III Course # WAN301

0.5 credit (FVA, HUM)

Prerequisite: WAN201 Drawing Techniques II Drawing Techniques III: Figure & Life Drawing challenges students to capture the human form with greater accuracy, energy, and personal style. Working from observation, students explore a range of drawing media while studying anatomy, proportion, and gesture to build convincing figures that feel alive and expressive. As their skills grow, students tackle more complex compositions, integrating movement, pose, and surrounding space, to create polished life drawings that balance structure with storytelling and artistic intent.

533

Drawing Techniques III (Semester Course)

Figure & Life Drawing challenges students to capture the human form with greater accuracy, energy, and personal style. Working from observation, students explore a range of drawing media while studying anatomy, proportion, and gesture to build convincing figures that feel alive and expressive. As their skills grow, students tackle more complex compositions, integrating movement, pose, and surrounding space, to create polished life drawings that balance structure with storytelling and artistic intent. Unit 1: Advanced Pencil Technique 3-5 Days

Unit 2: Charcoal Figure Drawing 4-6 Days

Unit 3: Conte Crayon Figure Drawing 5-7 Days

This is our foundation. Before we can push our figure drawing into new media and more complex compositions, we need to know what we are working with: the structure beneath the surface. We begin with pencil, the most direct tool for understanding line, value, and form, and use it to study the skeleton and major muscle groups that shape every pose. Through gesture drawings and longer figure studies, we develop the habits of observation that carry through everything that follows. By the end of this unit, we are drawing the human body with enough confidence and structural understanding to take those skills somewhere new.

With a structural foundation in place, we move from pencil to charcoal, a medium that demands we think in values rather than lines. The anatomical knowledge we built in Unit 1 stays with us; now we apply it through light and shadow, learning how form is revealed by what the light hits and what it misses. We study how fabric drapes and folds over the body, how figures occupy space rather than float on a page, and how charcoal's range, from soft gray to deep black, lets us build drawings that feel solid and alive. By the end of this unit, we are using value the way we used line: with intention.

We have built form with pencil and revealed it with charcoal. Now we work with conte crayon, a medium that bridges the tonal control of charcoal with more expressive mark-making. We bring forward what we know about anatomy, value, and drapery, and push further into composition: how the figure and its surroundings are arranged to guide the viewer's eye and communicate something beyond accurate observation. We also begin combining conte with other materials, discovering that no single medium has to work alone. By the end of this unit, we are making drawings that are not just correct, they are designed.

534

Drawing Techniques III (continued) Unit 4: Pastel and Figure Life Drawing 4-7 Days

Unit 5: Colored Pencil Life Studies 5-7 Days

Unit 6: Independent Life Drawing 6-8 Days

After three units working in tonal media, we introduce color — and oil pastel is the right medium to make that shift boldly. The structural and compositional knowledge we have built carries forward; what changes is that we now have hue as a tool alongside value. We layer and blend oil pastels to bring energy and mood into our figure and environment work, learning how color choices shape what a drawing communicates beyond what it depicts. By the end of this unit, we are working with a full visual vocabulary, structure, value, composition, and color, and putting all of it to use in a single piece.

Oil pastel pushed us toward expression and energy. Colored pencil asks us to slow down. We bring the same anatomical and compositional knowledge forward, but the focus shifts toward precision, layering tones with control, building textures that describe skin, fabric, and the surfaces around our figures. Where oil pastel rewarded boldness, colored pencil rewards patience and close observation. By the end of this unit, we have completed a fully developed life study that draws on everything we have practiced across the course, and demonstrates the range we have built as figure artists.

Five units of figure drawing, pencil, charcoal, conte, oil pastel, colored pencil, have given us a wide range of tools and a deepening understanding of the human form. This unit asks us to make our own decisions about all of it. We choose our subject, select the medium that best serves our concept, gather references, and plan a composition from the first thumbnail through the finished piece. The skills are ours now; the question is what we want to say with them. We also prepare our work for critique and presentation, practicing how to talk about our process and choices as artists. This is where technical skill and personal voice become the same thing.

535

Drawing Techniques III: Unit 1 Course Name: Drawing Techniques III

Unit 1 Title: Advanced Pencil Techniques Est. # of Lessons: 3-5

Unit Overview: This is our foundation. Before we can push our figure drawing into new media and more complex compositions, we need to know what we are working with: the structure beneath the surface. We begin with pencil, the most direct tool for understanding line, value, and form, and use it to study the skeleton and major muscle groups that shape every pose. Through gesture drawings and longer figure studies, we develop the habits of observation that carry through everything that follows. By the end of this unit, we are drawing the human body with enough confidence and structural understanding to take those skills somewhere new. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision. VA:Re.7.2.IIa: Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ● ●

● ● ●

Understandings ● ● ● ● ●

Artists use line and value intentionally so that form and structure appear three‑dimensional. Artists study skeletal and muscular systems so that their drawings reflect accurate human proportion. Artists use gesture drawing to capture movement before refining details. Artists control pencil pressure and direction to show volume, weight, and motion. Artists build drawings in stages so that

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ●

How can I use gesture drawing to capture movement in a pose? How do skeletal and muscular structures help me draw the body accurately? How can I use pencil pressure and line direction to create realistic form? What strategies help me draw figures with correct proportion and balance?

536

Drawing Techniques III: Unit 1 structure supports surface detail. Knowledge ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Line quality Value scales Pencil pressure control Form shading Skeletal structure Major muscle groups Gesture drawing Proportion systems Dynamic posing Movement lines Figure construction Observational drawing strategies

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I can control my pencil pressure to create light and dark values. I can use gesture lines to show movement and direction in a pose. I can identify major skeletal structures to guide my proportions. I can apply basic muscle forms to create realistic figure shapes. I can draw dynamic poses that show balance and motion. I can refine my drawings using line, shading, and proportion.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: illustrated notes about muscle structure and bone movement 3 Final Drawings: gesture lines, drawing structure, contour lines

Drawing Check-ins: Sketches of body position through structure, lines, and pressure One on One Check Ins: Periodic reviews of student’s work Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to Life Drawing

Estimated # of Lessons: 1-2

Learning Targets: ● I can control my pencil pressure to create light and dark values. ● I can use gesture lines to show movement and direction in a pose. ● I can identify major skeletal structures to guide my proportions. ● I can apply basic muscle forms to create realistic figure shapes. ● I can draw dynamic poses that show balance and motion. ● I can refine my drawings using line, shading, and proportion.

Essential Questions: ● How can I use gesture drawing to capture movement in a pose? ● How do skeletal and muscular structures help me draw the body accurately? ● How can I use pencil pressure and line direction to create realistic form? ● What strategies help me draw figures with correct proportion and balance?

Learning Activities: Demonstration of drawing techniques from a model and/or skeleton Discussion of proper movement and pressure Intro to muscle structure and bone placement

537

Drawing Techniques III: Unit 1 Second Topic: Skeletal and Muscle Drawing

Estimated # of Lessons: 2-3

Learning Activities: ● Demonstration of Drawing Poses with gesture lines, drawing structure, and contour lines ● Drawing of body pose in gesture lines ● Drawing of body pose in drawing structure (shapes) ● Drawing of body pose in contour lines

538

Drawing Techniques III: Unit 2 Course Name: Drawing Techniques III

Unit 2 Title: Charcoal Figure Drawing

Est. # of Lessons: 4-6

Unit Overview: With a structural foundation in place, we move from pencil to charcoal, a medium that demands we think in values rather than lines. The anatomical knowledge we built in Unit 1 stays with us; now we apply it through light and shadow, learning how form is revealed by what the light hits and what it misses. We study how fabric drapes and folds over the body, how figures occupy space rather than float on a page, and how charcoal's range, from soft gray to deep black, lets us build drawings that feel solid and alive. By the end of this unit, we are using value the way we used line: with intention. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

●

Transfer Goals ● ● ●

● ● ●

Understandings ● ● ● ● ●

Artists study muscle structure first so that their figures appear solid and believable. Artists use value gradation to show volume and depth in the human form. Artists draw fabric with attention to folds and tension so that drapery supports the pose and movement. Artists place figures within environments so that scale and space feel realistic. Artists layer charcoal marks carefully so that light, shadow, and texture work together to describe form.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ●

How can I use value to make a figure look three‑dimensional? How does understanding muscle structure improve the accuracy of my drawing? What techniques help me draw drapery that looks natural and connected to the body? How can I show movement and balance in a dynamic pose? How do I place a figure into an environment so it feels grounded and believable?

539

Drawing Techniques III: Unit 2 Knowledge ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Charcoal tools and types Value gradation Light and shadow Muscle structure Drapery folds Fabric tension Figure proportions Dynamic posing Environmental placement Background and foreground Texture with charcoal Blending and erasing techniques

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I can use charcoal to create smooth value transitions for form and depth. I can identify major muscle groups and use them to guide my figure drawing. I can draw drapery that shows folds, tension, and gravity. I can draw figures in dynamic poses that show movement and balance. I can place a figure into an environment using scale and perspective. I can refine my drawing using contrast, texture, and proportion.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: life drawing that shows clear representations of scale and proportion and balance

Sketchbook Check-in: Planning Sketches of compositional balance and value One on One Check Ins: Periodic reviews of student’s choices on texture and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Charcoal Techniques in Figure Drawing

Estimated # of Lessons: 1-2

Learning Targets: ● I can use charcoal to create smooth value transitions for form and depth. ● I can identify major muscle groups and use them to guide my figure drawing. ● I can draw drapery that shows folds, tension, and gravity. ● I can draw figures in dynamic poses that show movement and balance. ● I can place a figure into an environment using scale and perspective. ● I can refine my drawing using contrast, texture, and proportion.

Essential Questions: ● How can I use value to make a figure look three‑dimensional? ● How does understanding muscle structure improve the accuracy of my drawing? ● What techniques help me draw drapery that looks natural and connected to the body? ● How can I show movement and balance in a dynamic pose? ● How do I place a figure into an environment so it feels grounded and believable?

Learning Activities: ● Review charcoal types and tools. ● Learn to create different textures and values found in life through the application of techniques. ● Create 4 quick gesture studies

540

Drawing Techniques III: Unit 2 Second Topic: Charcoal Figure Drawing

Estimated # of Lessons: 3-4

Learning Activities: ● Thumbnail Sketches ● Final Sketch on final paper ● Layer value and texture

541

Drawing Techniques III: Unit 3 Course Name: Drawing Techniques III

Unit 3 Title: Conte Crayon Figure Drawing Est. # of Lessons: 7

Unit Overview: We have built form with pencil and revealed it with charcoal. Now we work with conte crayon, a medium that bridges the tonal control of charcoal with more expressive mark-making. We bring forward what we know about anatomy, value, and drapery, and push further into composition: how the figure and its surroundings are arranged to guide the viewer's eye and communicate something beyond accurate observation. We also begin combining conte with other materials, discovering that no single medium has to work alone. By the end of this unit, we are making drawings that are not just correct, they are designed. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

●

Transfer Goals ● ● ●

Understandings ● ● ● ● ●

Artists study anatomical details first so that their figures appear accurate and believable. Artists use conte crayon blending to create smooth transitions between light and shadow. Artists draw drapery with attention to folds and movement so fabric supports the pose and form. Artists integrate mixed‑media materials so multiple techniques work together in a unified composition. Artists plan compositions carefully so that figures and supporting elements guide the viewer’s eye.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ● ●

How can I use conte crayon to create smooth value and expressive lines? How does understanding anatomy improve the realism of my figure drawings? What techniques help me draw drapery that looks natural and connected to the body? How can I combine conte crayon values and hues without losing clarity? How do I arrange a figure and background to create a strong composition?

542

Drawing Techniques III: Unit 3 Knowledge ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Conte crayon types Paper surfaces for conte Blending techniques Light and shadow Anatomical landmarks Drapery folds Fabric tension Mixed‑media materials Layering methods Composition planning Focal point development Figure placement

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I can identify and use different conte crayon materials correctly. I can blend conte crayon to create value, depth, and smooth transitions. I can draw anatomical details that improve proportion and structure. I can render drapery that shows folds, tension, and movement. I can combine hues and values to enhance my drawing. I can create a composition where the figure is clear and visually strong.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation of the progress of drawing techniques from life studies Final Drawing: Life drawing that utilizes gesture drawing techniques and hue to show movement and form as well as depth and value.

In Progress Check-in: Assessing composition and value In Progress Group Critique: Assessing composition and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Conte Techniques in Figure Drawing

Estimated # of Lessons: 2-3

Learning Targets: Essential Questions : ● I can identify and use different conte ● How can I use conte crayon to create smooth crayon materials correctly. value and expressive lines? ● I can blend conte crayon to create value, ● How does understanding anatomy improve depth, and smooth transitions. the realism of my figure drawings? ● I can draw anatomical details that improve ● What techniques help me draw drapery that proportion and structure. looks natural and connected to the body? ● I can render drapery that shows folds, ● How can I combine conte crayon values and tension, and movement. hues without losing clarity? ● I can combine hues and values to enhance ● How do I arrange a figure and background to my drawing. create a strong composition? ● I can create a composition where the figure is clear and visually strong. Learning Activities: ● Review conte crayon colors and tools. ● Review different textures and values through the application of techniques. ● Create a 3 quick value sketches in conte crayon

543

Drawing Techniques III: Unit 3 Second Topic: Conte Figure Drawing

Estimated # of Lessons: 3-4

Learning Targets: Essential Questions: ● I can identify and use different conte ● How can I use conte crayon to create smooth crayon materials correctly. value and expressive lines? ● I can blend conte crayon to create value, ● How does understanding anatomy improve depth, and smooth transitions. the realism of my figure drawings? ● I can draw anatomical details that improve ● What techniques help me draw drapery that proportion and structure. looks natural and connected to the body? ● I can render drapery that shows folds, ● How can I combine conte crayon values and tension, and movement. hues without losing clarity? ● I can combine hues and values to enhance ● How do I arrange a figure and background to my drawing. create a strong composition? ● I can create a composition where the figure is clear and visually strong. Learning Activities: ● Create a life study with gesture lines ● Apply conte crayon hues to captures the values, lines, and movement of a unique composition.

544

Drawing Techniques III: Unit 4 Course Name: Drawing Techniques III

Unit 4 Title: Pastel Figure & Life Drawing

Est. # of Lessons: 4-7

Unit Overview: After three units working in tonal media, we introduce color — and oil pastel is the right medium to make that shift boldly. The structural and compositional knowledge we have built carries forward; what changes is that we now have hue as a tool alongside value. We layer and blend oil pastels to bring energy and mood into our figure and environment work, learning how color choices shape what a drawing communicates beyond what it depicts. By the end of this unit, we are working with a full visual vocabulary, structure, value, composition, and color, and putting all of it to use in a single piece. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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Transfer Goals ● ● ●

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Understandings ● ● ● ●

Artists layer and blend oil pastels to build vibrant, textured surfaces that communicate depth and energy. Artists study both the figure and its environment to create dynamic compositions with visual balance. Artists use anatomical references to inform proportion/movement in expressive forms. Artists apply expressive color intentionally to evoke mood and direct the viewer’s eye.

Essential Questions ● ● ● ●

Knowledge ●

Oil pastel application and blending

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can I use layering and blending techniques to express energy and movement? What color choices will help me communicate emotion in my figure and life compositions? How do I plan a figure-based composition that integrates background and setting? How can I push my oil pastel skills to create dynamic, refined artwork?

Skills (Framed as Learning Targets) ●

I can layer & blend oil pastels to create

545

Drawing Techniques III: Unit 4 ● ● ● ● ●

Expressive mark-making & layering techniques Color theory for mood and energy Perspective in figure and life drawing Anatomical observation and proportion Compositional planning with foreground, figure, and environment

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expressive textures and color transitions. I can apply anatomical knowledge to accurately draw figures in proportion. I can compose a balanced figure drawing with a well-integrated background. I can use oil pastel techniques to express mood and movement in my artwork. I can revise my composition based on feedback to strengthen clarity and impact.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: Life drawing that utilizes color to create an expressive drawing.

Still Life Check-in: Practice Sketches of compositional balance & value through gesture drawing Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Oil Pastel Techniques & Color Review

Estimated # of Lessons: 1-3

Essential Questions: ● How can I use layering and blending techniques to express energy and movement? ● What color choices will help me communicate emotion in my figure and life compositions?

Learning Activities: ● Review oil pastel techniques, tools and color theory. ● Create different textures through the application of techniques. ● Create 2 small composition drawings from life using hue and value Second Topic: Oil Pastel Drawing

Estimated # of Lessons: 3-4

Learning Targets: ● I can layer and blend oil pastels to create expressive textures and color transitions. ● I can apply anatomical knowledge to accurately draw figures in proportion. ● I can compose a balanced figure drawing with a well-integrated background. ● I can use oil pastel techniques to express mood and movement in my artwork. ● I can revise my composition based on feedback to strengthen clarity and impact.

Essential Questions: ● How can I use layering and blending techniques to express energy and movement? ● What color choices will help me communicate emotion in my figure and life compositions? ● How do I plan a figure-based composition that integrates background and setting? ● How can I push my oil pastel skills to create dynamic, refined artwork?

Learning Activities: Apply oil pastel techniques to create a layered compositional drawing. Create a composition of an object with expressive colors. 546

Drawing Techniques III: Unit 5 Course Name: Drawing Techniques III

Unit 5 Title: Colored Pencil Life Studies

Est. # of Lessons: 5-7

Unit Overview: Oil pastel pushed us toward expression and energy. Colored pencil asks us to slow down. We bring the same anatomical and compositional knowledge forward, but the focus shifts toward precision, layering tones with control, building textures that describe skin, fabric, and the surfaces around our figures. Where oil pastel rewarded boldness, colored pencil rewards patience and close observation. By the end of this unit, we have completed a fully developed life study that draws on everything we have practiced across the course, and demonstrates the range we have built as figure artists. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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Transfer Goals ● ● ●

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Understandings ●

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Artists build accurate figure drawings by first observing the underlying skeletal & muscular structures. They develop texture & form with layered pencil marks, controlling pressure & color variation for detail. Artists plan their compositions to emphasize the form & realism of the figure while guiding the viewer’s eye through the artwork. They use color & value to enhance realism & depth in their drawings.

Explore, develop, & refine artistic skills across diverse media & techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, & confidence. (VOG: Information Analysts) Analyze personal & professional artistic works to synthesize & reflect on visual language, techniques, & artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How can I use layering and pressure to create realistic texture and form with colored pencil? What anatomical details do I need to understand to improve my figure drawing? How can I plan my composition to make the figure the focal point of my piece? What drawing techniques help colored pencil work appear more realistic and detailed?

547

Drawing Techniques III: Unit 5 Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Colored pencil layering techniques Pencil pressure control for texture Skeletal structure and proportion Muscular anatomy for figure drawing Drapery and fabric rendering Realistic shading and blending Figure-in-environment composition planning

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I can draw skeletal/muscular structures to support my figure drawing & layer/blend colored pencil to build realistic textures/ values. I can plan a detailed composition that highlights the figure/apply texture techniques to show skin, fabric, & anatomical form. I can revise my drawing based on peer and instructor feedback to improve realism.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Sketchbook Drawings: evaluation in the progress of drawing techniques Final Drawing: Life drawing that shows vibrant colors and deep hues

Sketchbook Check-in: Planning Sketches of compositional balance and color In Progress Group Critique: Hue and Value One on One Check Ins: Layering hue and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Colored Pencil Techniques

Estimated # of Lessons: 1

Learning Targets: ● I can layer & blend colored pencil to build realistic textures & values and plan a detailed composition that highlights the figure. I can also apply texture techniques to show skin, fabric, and anatomical form.

Essential Questions: ● How can I use layering and pressure to create realistic texture and form with colored pencil? ● What drawing techniques help colored pencil work appear more realistic and detailed?

Learning Activities: Review colored pencil techniques and tools. Create different hues and values through the application of techniques on two color studies Second Topic: Colored Pencil Life Study

Estimated # of Lessons: 4-6

Learning Targets: ● I can draw skeletal and muscular structures to support my figure drawing and layer and blend colored pencil to build realistic textures and values. I can plan a detailed composition that highlights the figure and apply texture techniques to show skin, fabric, and anatomical form. ● I can revise my drawing based on peer and instructor feedback to improve realism.

Essential Questions: ● How can I use layering and pressure to create realistic texture and form with colored pencil? ● What anatomical details do I need to understand to improve my figure drawing? ● How can I plan my composition to make the figure the focal point of my piece? ● What drawing techniques help colored pencil work appear more realistic and detailed?

Learning Activities: ● Thumbnail Sketches illustrating skeletal and muscle structures ● Final Contour Drawing ● Apply techniques over final drawing to create colors, values and textures 548

Drawing Techniques III: Unit 6 Course Name: Drawing Techniques III

Unit 6 Title: Independent Life Drawing

Est. # of Lessons: 6-8

Unit Overview: Five units of figure drawing, pencil, charcoal, conte, oil pastel, colored pencil, have given us a wide range of tools and a deepening understanding of the human form. This unit asks us to make our own decisions about all of it. We choose our subject, select the medium that best serves our concept, gather references, and plan a composition from the first thumbnail through the finished piece. The skills are ours now; the question is what we want to say with them. We also prepare our work for critique and presentation, practicing how to talk about our process and choices as artists. This is where technical skill and personal voice become the same thing. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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Transfer Goals ● ●

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Understandings ●

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Artists plan their compositions through thumbnail sketches and reference gathering to ensure clarity of subject and intent. Artists develop deeper observational skills and confidence by repeatedly drawing from life and applying feedback. Artists synthesize gesture, anatomy, proportion, and technical skill to develop a final piece that communicates form and emotion. Artists revise and refine their work through

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How do I plan a life drawing project from idea to final artwork? How can I use references and sketches to improve accuracy and composition? What techniques best show form, proportion, and detail in a final drawing? How do I prepare my work for critique or display? What steps do I need to take to plan a final project that reflects my best skills and creative voice?

549

Drawing Techniques III: Unit 6 critique and reflection in preparation for presentation or exhibition. Knowledge ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Project planning strategies Reference selection Thumbnail sketching Layout and composition Figure proportion Anatomical structure Value rendering Line refinement Comprehensive drawing process Critique participation Exhibition preparation Artist reflection

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I can gather and use reference images and resources to support my composition. I can create sketches and layout plans to design a strong composition. I can apply figure drawing techniques to render accurate proportion and form. I can use value and line to create a finished, realistic drawing. I can revise my work based on critique and reflection. I can prepare my artwork for presentation or exhibition. I can apply my drawing techniques effectively in my final work. I can participate in a critique using thoughtful observations and feedback. I can communicate artistic choices by reflecting on my process and techniques.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Sketchbook Drawings: evaluation in the progress of planning Final Drawing: piece completed using the drawing techniques of the medium of their choice Artist Statement: Students will answer questions about creating their artwork and then put the sentences together in one paragraph on a slide with a photo of their artwork to present to the class.

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STAGE 3: LEARNING PLAN First Topic: Independent Life Drawing

Estimated # of Lessons: 5-6

Learning Targets: Essential Questions: ● I can gather and use reference images and ● How do I plan a life drawing project from idea resources to support my composition. to final artwork? ● I can create sketches and layout plans to ● How can I use references and sketches to design a strong composition. improve accuracy and composition? ● I can apply figure drawing techniques to ● What techniques best show form, proportion, render accurate proportion and form. and detail in a final drawing? ● I can use value and line to create a finished, ● How do I prepare my work for critique or

550

Drawing Techniques III: Unit 6 ● ● ● ● ●

realistic drawing. I can revise my work based on critique and reflection. I can prepare my artwork for presentation or exhibition. I can apply my drawing techniques effectively in my final work. I can participate in a critique using thoughtful observations and feedback. I can communicate artistic choices by reflecting on my process and techniques.

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display? What steps do I need to take to plan a final project that reflects my best skills and creative voice?

Learning Activities: ● Thumbnail Sketches ● Final Sketch ● Final Drawing Second Topic: Artist Statement

Estimated # of Lessons: 1-2

Learning Targets: ● I can prepare my artwork for presentation or exhibition. ● I can participate in a critique using thoughtful observations and feedback. ● I can communicate artistic choices by reflecting on my process and techniques.

Essential Questions: ● How am I communicating my artistic process, goals, and choices for viewers of my drawing? What do I want them to see or feel?

Learning Activities: ● Artist Statement questions ● Creating a slide presentation ● Final Critique

551

AP Drawing AP DRAWING Course #:WAH401

1 credit (FVA, HUM)

PREREQUISITE: WAN301 Drawing Techniques III Or WAN303 Painting Techniques III In AP Drawing, you’ll use the skills you learn in the course, and your own ideas, to create unique works of art. Throughout the course, you’ll develop an inquiry that guides artmaking through practice, experimentation, and revision of materials, processes, and ideas while demonstrating drawing skills through painting, drawing, sequential art, printmaking, illustration, animation, fibers, and others.

552

AP Drawing (Full Year Course) In AP Drawing, we use the skills we develop in the course — and our own ideas — to create unique works of art. Throughout the course, we build an inquiry that guides our artmaking through practice, experimentation, and revision, exploring materials, processes, and ideas across a range of drawing approaches including painting, printmaking, illustration, sequential art, animation, fibers, and others. We develop a sustained investigation that is genuinely our own, document our thinking and growth along the way, and culminate in a curated portfolio that demonstrates both our technical range and our emerging artistic voice. Unit 1:Investigate Materials, Processes, & Ideas 7-10 Days

Unit 2: Experimentation & Revision 16-24 Days

We begin by building the foundation of our AP portfolio. Our sketchbooks become laboratories for experimentation, research, and reflection — places to mind-map, sketch, journal, and study artists who connect to our developing ideas. Rather than moving straight to finished pieces, we build our inquiry slowly and deliberately, so that the sustained investigation we develop is genuinely our own.

We push further into our investigation by taking creative risks with materials, processes, and ideas. We break away from familiar approaches, test unusual media combinations, and let unexpected results open new directions. Through guided challenges and self-directed work, we learn to revise with purpose — refining compositions, adjusting ideas, and documenting our thinking — so that practice, experimentation, and revision are visible throughout our portfolio.

Unit 3: Present Art & Design 4-7 Days

We shift from making to curating. We select and sequence our strongest pieces, write artist statements that explain our inquiry and process, and prepare our work for AP scoring and exhibition. We develop the language to talk about our own art clearly and professionally, revising based on feedback until our portfolio tells a coherent and compelling story.

Unit 4: Refine & Digital Submission 10-19 Days

We complete the final stage of our portfolio process. We photograph our work carefully, edit and format images to meet College Board standards, and upload our Sustained Investigation and Selected Works to the AP Digital Portfolio. We review and revise our written evidence, confirm our submission is complete, and reflect on how our work and thinking have developed across the course.

553

AP Drawing: Unit 1 Course Name: AP Drawing Unit 1 Title: Investigate Materials, Processes, & Ideas Est. # of Lessons: 7-10 Unit Overview: We begin by building the foundation of our AP portfolio. Our sketchbooks become laboratories for experimentation, research, and reflection — places to mind-map, sketch, journal, and study artists who connect to our developing ideas. Rather than moving straight to finished pieces, we build our inquiry slowly and deliberately, so that the sustained investigation we develop is genuinely our own. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept. VA:Cr2.2.IIIa: Demonstrate understanding of the importance of balancing freedom and responsibility in the use of images, materials, tools, and equipment in the creation and circulation of creative work. VA:Cr2.3.IIa: Redesign an object, system, place, or design in response to contemporary issues. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

Transfer Goals ● ● ●

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Understandings ●

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Artists investigate materials and processes first so that their inquiry reveals possibilities for visual exploration and meaning. Artists practice observational drawing techniques so that composition, gesture, and value become stronger visual tools. Artists experiment with a variety of media so that they discover techniques that support their artistic ideas. Artists study other artists and artworks so

Essential Questions ● ● ● ● ● ●

How do artists generate ideas that can sustain a body of work over time? How can composition, gesture, and value strengthen visual storytelling in drawing? In what ways does experimenting with different media expand artistic possibilities? How do artists use research and visual analysis to influence their creative direction? What makes a sustained investigation meaningful and visually compelling? How can documenting the creative process

554

AP Drawing: Unit 1

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that historical and contemporary ideas inform their creative choices. Artists develop sustained investigations so that a series of artworks can communicate a deeper concept or question. Artists document experimentation and reflection so that their creative process becomes visible and intentional.

improve artistic growth?

Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Process documentation Artist and theme research Visual reflection strategies AP Art and Design portfolio structure Sustained Investigation concept Portfolio expectations and scoring categories Sketchbook experimentation strategies Compositional drawing principles Gesture drawing techniques Timed drawing exercises Blocking value in drawing Observational still life drawing methods graphite value scales Colored pencil color studies Gouache color scheme application Media exploration and material comparison Artist research methods Visual analysis of artworks Inquiry question development Documentation of artistic process Brainstorming strategies for sustained investigation

Skills (Framed as Learning Targets) ● ● ● ● ● ●

I can explain the expectations and structure of the AP Art and Design portfolio. I can analyze examples of AP portfolios to understand successful artistic investigations. I can apply compositional drawing strategies to effectively organize visual elements. I can use gesture drawing and timed studies to strengthen observational skills. I can develop and refine a sustained investigation idea for my portfolio. I can document my experimentation, ideas, and reflections in my sketchbook.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Video Homework: Guided notetaking while watching videos from CollegeBoard Still Life Drawing: 45 minute drawing in charcoal displaying composition, texture and value Brainstorming Page: Guided brainstorming to define our personal inquiry that will lead our sustained investigation Visual Literacy Worksheet: Explore an art piece by a contemporary artist to decipher their concepts

Still Life Check-in: Composition, line, movement, and value should be clearly defined Group Critique: techniques, and composition review One on One Check Ins: Refining works Sustained Investigation: Inquiry into first independent piece in our sketchbook Rubric Reflection: Self evaluation and Response to Process Questions

555

AP Drawing: Unit 1 and ideas through visual references Written Evidence 2 Week Check Ins: Write about the artistic process through sustained investigation. Present written evidence about the process and next steps needed to complete to work. First Independent Piece: Independently create a piece based on sustained investigation STAGE 3: LEARNING PLAN First Topic: What is AP Art

Estimated # of Lessons: 1

Learning Targets: ● I can explain the expectations and structure of the AP Art and Design portfolio. ● I can analyze examples of AP portfolios to understand successful artistic investigations.

Essential Questions: ● How do artists generate ideas that can sustain a body of work over time? ● How can composition, gesture, and value strengthen visual storytelling in drawing? ● In what ways does experimenting with different media expand artistic possibilities? ● How do artists use research and visual analysis to influence their creative direction? ● What makes a sustained investigation meaningful and visually compelling? ● How can documenting the creative process improve artistic growth?

Learning Activities: ● Review online gallery of previous year’s AP Art show ● Slide deck about AP Art, expectations, and portfolio exam ● Homework: Skills Videos 1: 1A (2), 1B (1), 1C (3), 1D (7), 1E (4) all with guided notes Second Topic: Compositional Drawing & Still Life Studies

Estimated # of Lessons: 3-4

Learning Targets: ● I can apply compositional drawing strategies to effectively organize visual elements. ● I can use gesture drawing and timed studies to strengthen observational skills.

Essential Questions: ● How can composition, gesture, and value strengthen visual storytelling in drawing?

Learning Activities: ● Demonstration on framing a composition on the paper ● Demonstration of drawing techniques ● Gesture drawing ● Timed drawings (5 minutes, 10 minutes, 20 minutes, 45 minutes) ● Blocking Value

556

AP Drawing: Unit 1 ●

“Gallery Walk” to look at our peers works

Third Topic: Sustained Investigation

Estimated # of Lessons: 3-5

Learning Targets: ● I can explain the expectations and structure of the AP Art and Design portfolio. ● I can analyze examples of AP portfolios to understand successful artistic investigations. ● I can apply compositional drawing strategies to effectively organize visual elements. ● I can use gesture drawing and timed studies to strengthen observational skills. ● I can create color studies and value charts to explore how materials affect visual outcomes. ● I can research artists and artworks that relate to my artistic interests. ● I can develop and refine a sustained investigation idea for my portfolio. ● I can document my experimentation, ideas, and reflections in my sketchbook.

Learning Activities: ● Slide deck about Sustained Investigation, portfolio examples ● Guided brainstorming page in sketchbook ● Homework: Skills Videos 2: 2A (2), 2B (1), 2C (4), 2D (4) with guided notetaking. ● Worksheet and independent reading about compositional content and visual literacy of an art piece ● Sustained Investigation for first independent piece

557

AP Drawing: Unit 2 Course Name: AP Drawing

Unit 2 Title: Experimentation & Revision

Est. # of Lessons: 16-24

Unit Overview: We push further into our investigation by taking creative risks with materials, processes, and ideas. We break away from familiar approaches, test unusual media combinations, and let unexpected results open new directions. Through guided challenges and self-directed work, we learn to revise with purpose — refining compositions, adjusting ideas, and documenting our thinking — so that practice, experimentation, and revision are visible throughout our portfolio. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr2.1.IIIa: Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept. VA:Cr2.2.IIIa: Demonstrate understanding of the importance of balancing freedom and responsibility in the use of images, materials, tools, and equipment in the creation and circulation of creative work. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Cr3.1.IIIa: Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision. VA:Re8.1.IIa: Identify types of contextual information useful in the process of constructing interpretations of an artwork or collection of works.

Transfer Goals ● ● ●

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Understandings ● ● ●

Artists experiment with materials early so that unexpected relationships and new directions emerge. Artists revise intentionally so that ideas become stronger and more fully realized. Artists take creative risks so that the depth of inquiry and concept development is evident.

Essential Questions ● ● ● ●

How can revision improve clarity and impact in my work? In what ways does experimenting with different media expand artistic possibilities? How do artists use research and visual analysis to influence their creative direction? How can documenting the creative process improve artistic growth?

558

AP Drawing: Unit 2 Knowledge ● ● ● ● ● ●

Media manipulation Experimentation strategies Revision techniques Series development Reflective writing Critique utilization

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ●

I can evaluate my work and revise with specific intent. I can document how my artwork changed through revision. I can develop multiple iterations that demonstrate growth. I can experiment with different materials such as graphite, colored pencil, gouache, and other media. I can create color studies and value charts to explore how materials affect visual outcomes. I can research artists and artworks that relate to my artistic interests. I can develop and refine a sustained investigation idea for my portfolio. I can document my experimentation, ideas, and reflections in my sketchbook.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Video Homework: Guided notetaking while watching videos from CollegeBoard Colored Pencil Color Study: Displaying combinations of colors to create unique tones and hues Colored Pencil Drawing: Drawing using colors created in color study to create a realistic artwork Graphite Value Chart: Shows values from dark to light based on pencil type, pressure amount, and pencil technique Gouache Color Schemes: 4 color schemes with the progression of value in 7 different ranges per hue Gouache Painting: Painting broken into 4 quadrants, each one using the hues and values from previous color schemes Chalk Pastel Color Studies: Combinations of colors to create unique tones and hues found in an object Chalk Pastel Drawing: Drawing using colors create in color study to create a realistic artwork Written Evidence 2 Week Check Ins: Write about the artistic process through sustained investigation. Present written evidence about the process and next steps needed to complete to

Colored Pencil Check-in: Color studies and small art piece displaying colored pencil techniques Graphite Check-in: Value studies and small art piece displaying pencil techniques Gouache Check-in: Color schemes and small art piece displaying gouache techniques Chalk Pastel Check-in: Color studies and small art piece displaying chalk pastel techniques Group Critique: techniques, and composition review One on One Check Ins: Refining works Sustained Investigation: Inquiry into independent piece in our sketchbook Rubric Reflection: Self evaluation and Response to Process Questions

559

AP Drawing: Unit 2 work. Second Independent Piece: Independently create a piece based on sustained investigation STAGE 3: LEARNING PLAN First Topic: Exploring Materials

Estimated # of Lessons: 16-24

Learning Targets: ● I can apply compositional drawing strategies to effectively organize visual elements. ● I can experiment with different materials such as graphite, colored pencil, gouache, and other media. ● I can create color studies and value charts to explore how materials affect visual outcomes.

Essential Questions: ● In what ways does experimenting with different media expand artistic possibilities? ● How do artists use research and visual analysis to influence their creative direction? ● How can documenting the creative process improve artistic growth? ● How can revision improve clarity and impact in my work? ● In what ways does experimenting with different media expand artistic possibilities? ● How can documenting the creative process improve artistic growth?

Learning Activities: ● Demonstrations of colored pencil, charcoal, graphite, gouache, acrylic, oil, digital, and photography ● Slide deck on color theory ● Demonstration of matching values across hues ● Students will create a color study and small piece in colored pencil. ● Students will create a value chart and small piece in graphite. ● Students will create a color study and small piece in chalk pastel. ● Students will create a value chart and 4 section color scheme piece of a still life in gouache ● Studio days to work on independent art pieces ● Class critique of finished pieces

560

AP Drawing: Unit 3 Course Name: AP Drawing

Unit 3 Title: Present Art & Design

Est. # of Lessons:4-7

Unit Overview: We shift from making to curating. We select and sequence our strongest pieces, write artist statements that explain our inquiry and process, and prepare our work for AP scoring and exhibition. We develop the language to talk about our own art clearly and professionally, revising based on feedback until our portfolio tells a coherent and compelling story. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr3.1.IIIa: Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision. VA:Pr4.1.IIIa: Critique, justify, and present choices in the process of analyzing, selecting, curating, and presenting artwork for a specific exhibit or event. VA:Pr5.1.IIa: Analyze and evaluate the reasons and ways an exhibition is presented. VA:Re.7.1.IIIa: Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking. VA:Cn10.1.IIIa: Synthesize knowledge of social, cultural, historical, and personal life with art-making approaches to create meaningful works of art or design.

Transfer Goals ●

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Understandings ● ●

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Artists select and curate artworks intentionally so that their portfolio communicates a clear artistic narrative. Artists write about their process so that viewers understand the inquiry, experimentation, and decisions behind the work. Artists document their artwork carefully so that photographs accurately represent the quality and detail of the original piece.

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ● ●

How do artists choose which works best represent their artistic investigation and growth? How can written statements clarify the ideas, materials, and processes behind artwork? What techniques help artists document their work effectively through photography? How does sequencing affect how a viewer interprets a body of work? How can critique and revision strengthen

561

AP Drawing: Unit 3 ●

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Artists organize and sequence artworks strategically so that the portfolio shows development of ideas and technical growth. Artists revise written and visual presentation so that their artistic voice and process are communicated clearly. Artists prepare work for critique and viewing so that presentation strengthens how audiences interpret the artwork.

both artwork and presentation?

Knowledge ● ● ● ● ● ● ● ●

Portfolio curation strategies sequencing artworks for visual flow Written evidence structure Written evidence requirements for AP portfolios Describing materials processes and ideas in writing Documenting practice experimentation and revision Critique strategies for presentation improvement Visual communication through portfolio layout

Skills (Framed as Learning Targets) ● ● ● ●

I can write clear descriptions of my artistic inquiry, materials, and processes. I can explain how my artwork demonstrates practice, experimentation, and revision. I can select and sequence artworks that show the development of my sustained investigation. I can present my work for critique and revise my portfolio presentation based on feedback.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Video Homework: Guided notetaking while watching videos from CollegeBoard Progress Check Ins: Write about the artistic process through sustained investigation. Present written evidence about the process and next steps needed to complete to work. Written Evidence slide deck: Write out the written evidence for the AP portfolio based on the parameters set by CollegeBoard Third Independent Piece: Independently create a piece based on sustained investigation

Group Critique: techniques, and composition review One on One Check Ins: Assist while photographing artworks and writing ourwritten evidence Sustained Investigation: Inquiry into independent piece in our sketchbook Rubric Reflection: Self evaluation and Response to Process Questions

562

AP Drawing: Unit 3 STAGE 3: LEARNING PLAN First Topic: Written Evidence

Estimated # of Lessons:4-7

Learning Targets: ● I can write clear descriptions of my artistic inquiry, materials, and processes. ● I can explain how my artwork demonstrates practice, experimentation, and revision. ● I can select and sequence artworks that show the development of my sustained investigation. ● I can present my work for critique and revise my portfolio presentation based on feedback.

Essential Questions: ● How do artists choose which works best represent their artistic investigation and growth? ● How can written statements clarify the ideas, materials, and processes behind artwork? ● How does sequencing affect how a viewer interprets a body of work? ● How can critique and revision strengthen both artwork and presentation?

Learning Activities: ● Homework: Skills Videos 3: 2A (2), 2B (1), 2C (4), 2D (4) with guided notetaking. ● Slide deck on written evidence and the structure of the AP portfolio ● Review of the parameters for written evidence, process, and materials set by CollegeBoard ● Students will create a slide deck of 4 slides containing the finished art piece, and sustained investigation for the art piece as well as the written evidence, process and materials captions.

563

AP Drawing: Unit 3 Course Name: AP Drawing

Unit 4 Title: Refine & Digital Submission

Est. # of Lessons: 10-19

Unit Overview: We complete the final stage of our portfolio process. We photograph our work carefully, edit and format images to meet College Board standards, and upload our Sustained Investigation and Selected Works to the AP Digital Portfolio. We review and revise our written evidence, confirm our submission is complete, and reflect on how our work and thinking have developed across the course. STAGE 1: DESIRED RESULTS Established Goals VA:Pr4.1.Ia: Analyze, select, and curate artifacts and/or artworks for presentation and preservation. VA:Pr6.1.Ia: Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ●

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Understandings ● ● ● ● ● ●

Artists refine their final works so that craftsmanship and conceptual clarity are evident in the finished portfolio. Artists document artwork carefully so that digital images accurately represent the original artwork. Artists organize and prepare digital files intentionally so that their work meets professional presentation standards. Artists select artworks thoughtfully so that their portfolio communicates artistic growth and investigation. Artists follow portfolio submission guidelines so that their work can be evaluated clearly and fairly. Artists revise written explanations so that their ideas, materials, and processes are communicated effectively.

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ● ●

How do artists photograph their work so that the image accurately represents the original artwork? What steps are necessary to prepare artwork for professional digital presentation? How do artists select works that best represent their investigation and artistic growth? How can written explanations strengthen how viewers understand the artwork? How does careful documentation and organization influence the success of a portfolio submission?

564

AP Drawing: Unit 3 Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

photographing artwork with proper lighting staging artwork for photography camera composition and framing techniques editing photographs for clarity and accuracy digital file naming and organization preparing images for AP portfolio submission selecting artworks for sustained investigation

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I can photograph my artwork using appropriate lighting, staging, and composition. I can adjust camera settings to improve the clarity and color accuracy of my artwork images. I can edit and format digital images so they meet AP portfolio submission standards. I can organize and label digital files according to submission guidelines. I can select artworks that best represent my sustained investigation and artistic growth. I can write and revise captions that describe my materials, processes, and ideas. I can compile and submit a complete digital portfolio that represents my artistic development

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

AP Portfolio: Written to highlight our art making based on the parameters set by CollegeBoard Portfolio Presentations: presenting our finished portfolios to the class

One on One Check Ins: Assist while photographing artworks and writing ourwritten evidence Progress Checkin: Writing a draft of our portfolio

STAGE 3: LEARNING PLAN First Topic: Photographing Artworks

Estimated # of Lessons: 2-5

Learning Targets: ● I can photograph my artwork using appropriate lighting, staging, and composition. ● I can adjust camera settings to improve the clarity and color accuracy of my artwork images. ● I can edit and format digital images so they meet AP portfolio submission standards. ● I can organize and label digital files according to submission guidelines.

Essential Questions: ● How do artists photograph their work so that the image accurately represents the original artwork? ● What steps are necessary to prepare artwork for professional digital presentation? ● How do artists select works that best represent their investigation and artistic growth?

Learning Activities: ● Slide deck on photographing artworks, how to stage, what to look for, how to adjust settings

565

AP Drawing: Unit 3 ● ● ●

Demonstration of composing the shot Demonstration on adjusting settings to enhance the photograph Students will photograph all artworks that were created throughout the course as well as their sustained investigations within their sketchbooks

Second Topic: Final Portfolio

Estimated # of Lessons: 8-14

Learning Targets:

Essential Questions: ● What steps are necessary to prepare artwork for professional digital presentation? ● How do artists select works that best represent their investigation and artistic growth? ● How can written explanations strengthen how viewers understand the artwork? ● How does careful documentation and organization influence the success of a portfolio submission?

● ● ●

I can select artworks that best represent my sustained investigation and artistic growth. I can write and revise captions that describe my materials, processes, and ideas. I can compile and submit a complete digital portfolio that represents my artistic development

Learning Activities: ● Review of CollegeBoard parameters for portfolio submission ● Students will put together a slide deck of 20 images (5 finished pieces, 15 sustained investigation) ● Students will create a draft of their written evidence, process and materials captions along with their photographed images ● Students will revise their draft to create a comprehensive portfolio ● Students will submit their portfolios through the Collegeboard website

566

Sculpture & Ceramics II SCULPTURE & CERAMICS II Course # WAN202

0.5 credit (FVA, HUM)

PREREQUISITE: WAN101Art Foundation- Drawing and Ceramics OR WAN102 Art Foundation- Painting & Sculpture Sculpture & Ceramics II expands students’ 3D studio skills through an energetic mix of clay, mixed-media sculpture, and relief work. Students develop sculptural form in clay through expressive hand-building and armature-based construction, while also strengthening craftsmanship and design thinking through functional vessels and pottery wheel techniques. Surface becomes a major focus as students explore carved and built textures, pattern, and imagery, then translate those ideas into finished ceramic work through glazing and firing processes. Beyond clay, students broaden their sculpting toolkit with papiermâché construction and cardboard reliefs, learning how structure, layering, and material choices affect form and durability. Throughout the course, students investigate biomorphic forms, organic shapes inspired by nature, to create dynamic, visually engaging pieces that emphasize movement, balance, and strong composition. Regular sketching, critique, and revision support creative problem solving and culminate in a portfolio of finished sculptural and ceramic works.

567

Sculpture & Ceramics II (Semester Course) In this course, students grow as 3D artists by creating work in clay, ceramics, mixed media, and relief. They learn to build, refine, and personalize sculptural forms while exploring texture, surface, and nature-inspired design. The course ends with a portfolio of finished works that show their creativity and growth. Unit 1: Sculptural Forms in Clay 4-5 Days

Unit 2: Functional Vessels & Pottery Wheel 3-4 Days

Unit 3: Surface Design & Glazing Techniques 2-3 Days

Unit 4: Architectural Letters 7-8 Days

Every great sculpture starts with a strong foundation. We learn to build from the inside out by constructing wire and wood armatures, then layering clay to develop form, balance, and movement. How we build determines what's possible later.

Now that we understand structure, we explore form with purpose. We center clay on the pottery wheel and shape functional vessels that are both beautiful and useful, discovering how repetition, variety, and craftsmanship make 3D design feel intentional.

With strong forms in hand, we ask: how do we bring them to life? We explore surface design and glazing, sgraffito, layering, color mixing, and kiln science, learning how surface treatment can transform a simple clay form into a finished work of art.

We push our design thinking further, this time combining engineering and typography. We turn a letter into a bold, freestanding sculpture, planning structure, building depth, and using paint and texture to give our letter personality and impact.

568

Sculpture & Ceramics II (continued) Unit 5: Biomorphic Form 2 Days

Unit 6: Cardboard Reliefs 3-4 Days

Unit 7: Final Piece & Portfolio Review 4-6 Days

We shift from building up to carving away. Inspired by natural forms like shells, seed pods, the human body. Then we use a reductive process to carve smooth, organic sculptures from soap, learning that sometimes removing material reveals the truest form.

We explore a different kind of depth: relief. Using cardboard, layering, and shadow, we create compositions that feel spatial without being fully three dimensional while proving that great sculpture isn't always about size or medium, but about intention.

Everything we've learned, structure, surface, design thinking, personal voice, comes together here. We develop an original concept, execute a final piece from start to finish, and curate a portfolio that tells the story of our growth as artists.

569

Sculpture & Ceramics II: Unit 1 Course Name: Sculpture & Ceramics II

Unit 1 Title: Sculptural Forms in Clay

Est. # of Lessons: 4-5

Unit Overview: Every great sculpture starts with a strong foundation. We learn to build from the inside out by constructing wire and wood armatures, then layering clay to develop form, balance, and movement. How we build determines what's possible later. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr2.1.IIIa: Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept. VA:Cr3.1.IIIa: Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ● ● ●

Understandings ● ● ● ● ●

Artists build strong armatures first so that their sculptures maintain structural integrity and balance. Artists layer materials intentionally so that form develops with depth and dimension. Artists consider balance and weight distribution so that sculptures remain stable and visually grounded. Artists construct three dimensional forms thoughtfully so that space and structure work together. Artists observe and research references before building so that their sculptural ideas are grounded and intentional.

Essential Questions ● ● ● ● ● ●

Knowledge ● ●

Armature Construction Methods Wire Manipulation Techniques

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How do I build an armature that supports my sculptural idea? What techniques help create strong and stable three dimensional forms? How can layering materials improve the depth and complexity of my sculpture? How do artists balance visual weight in sculptural compositions? How can planning drawings help transform a two dimensional idea into a successful three dimensional sculpture? How do sculptors use structure and materials to turn an initial concept into a stable form?

Skills (Framed as Learning Targets) ●

I can explain how sculptural forms have been developed and used throughout art history.

570

Sculpture & Ceramics II: Unit 1 ● ● ● ● ● ● ● ● ●

Newspaper Layering Techniques Wood Support Structures Structural Integrity Concepts Balance In Sculpture Weight Distribution Three Dimensional Form Development Layering Strategies Spatial Awareness Problem Solving In Sculpture

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I can explain why artists use armatures and how they support sculptures during the building process. I can draw a detailed plan for a three dimensional form. I can build an armature using wire, newspaper, or wood to support my sculpture. I can layer materials to develop a strong three dimensional form. I can evaluate the balance and stability of my sculpture. I can construct a layered sculptural piece that demonstrates form and structure. I can revise my structure to improve stability and visual impact.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: Compositional sketches of ideas for sculpture Final Drawing: Detailed compositional drawing outline of sculpture Final Sculpture: Skeletal armature created by hand then covered with clay to be sculpted into completed piece.

Planning Check-in: Review thumbnail and final drawing with students to vet out structural integrity Sculpture Check-in: Application of clay to an armature and application of sculpting techniques Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to Sculpting Form

Estimated # of Lessons: 1

Learning Targets: ● I can explain how sculptural forms have been developed and used throughout art history. ● I can explain why artists use armatures and how they support sculptures during the building process. ● I can draw a detailed plan for a three dimensional form.

Essential Questions: ● How do I build an armature that supports my sculptural idea? ● What techniques help create strong and stable three dimensional forms? ● How can layering materials improve the depth and complexity of my sculpture? ● How do artists balance visual weight in sculptural compositions? ● How can planning drawings help transform a two dimensional idea into a successful three dimensional sculpture?

Learning Activities: ● Slide deck on the history of sculpting form ● Demonstration of sculptural techniques ● Demonstration of turning 2d drawings to 3d forms

571

Sculpture & Ceramics II: Unit 1 ● ●

Students will draw out their thumbnail sketches. Students will choose one idea from their thumbnail sketches and draw a final detailed drawing.

Second Topic: Creating an Armature

Estimated # of Lessons: 1

Learning Targets: ● I can explain why artists use armatures and how they support sculptures during the building process. ● I can build an armature using wire, newspaper, or wood to support my sculpture. ● I can evaluate the balance and stability of my sculpture.

Essential Questions: ● How do I build an armature that supports my sculptural idea? ● What techniques help create strong and stable three dimensional forms? ● How do sculptors use structure and materials to turn an initial concept into a stable form?

Learning Activities: ● Slide deck of different materials used to create armatures and how they are used. ● Demonstration of building an armature ● Students will build their armature based on their planning drawing from the previous lesson. Third Topic: Sculpting Form

Estimated # of Lessons: 2-3

Learning Targets: ● I can layer materials to develop a strong three dimensional form. ● I can evaluate the balance and stability of my sculpture. ● I can construct a layered sculptural piece that demonstrates form and structure. ● I can revise my structure to improve stability and visual impact.

Essential Questions: ● What techniques help create strong and stable three dimensional forms? ● How can layering materials improve the depth and complexity of my sculpture? ● How do artists balance visual weight in sculptural compositions? ● How do sculptors use structure and materials to turn an initial concept into a stable form?

Learning Activities: ● Review of sculpting techniques ● Demonstration of adding clay to an armature ● Students will sculpt on top of their armatures to create a finished form.

572

Sculpture & Ceramics II: Unit 2 Course Name: Sculpture & Ceramics II Est. # of Lessons:3-4

Unit 2 Title: Functional Vessels & Pottery Wheels

Unit Overview: Now that we understand structure, we explore form with purpose. We center clay on the pottery wheel and shape functional vessels that are both beautiful and useful, discovering how repetition, variety, and craftsmanship make 3D design feel intentional. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan.

Transfer Goals ● ● ● ●

Understandings ● ● ● ● ● ●

Artists center clay on the wheel first so that the form develops evenly and remains structurally sound. Artists developed the pottery wheel to form clay vessels more efficiently and with greater symmetry. Artists design functional vessels intentionally so that form and purpose work together. Artists use repetition and variation so that three dimensional designs feel balanced and unified. Artists consider negative space so that the vessel’s silhouette strengthens the overall composition. Artists trim and refine their work so that craftsmanship enhances both beauty and usability.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ● ●

How do we create a vessel that is both functional and visually strong? What techniques help maintain balance and symmetry on the pottery wheel? How can repetition and variety improve a functional design? How does negative space affect the overall form of a vessel? Why is trimming and refinement important in ceramic work?

573

Sculpture & Ceramics II: Unit 2 Knowledge ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Wheel Throwing Techniques Centering Clay Pulling Walls Trimming Methods Functional Vessel Design Integration Of Hand Building Negative Space In 3d Repetition In Form Variation In Design Structural Balance Craftsmanship In Ceramics

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I can center clay on the wheel to begin a functional vessel. I can pull walls evenly to create balanced forms. I can trim and refine my vessel for stability and clean design. I can integrate hand-building techniques with wheel throwing when needed. I can apply repetition, variety, and negative space to improve my design. I can create a cohesive series of functional vessels.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Wheel Thrown Pieces: Students will throw 3 vessels on the wheel in varying dimensions Handbuilt Additions: Students will embellish the thrown pottery vessel with hand built details

Wheel throwing Check-in: Demonstrate throwing techniques to create a sound and balanced vessel on the wheel Handbuilding Check-in: Application of hand built pieces to clay thrown vessels Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to the Wheel

Estimated # of Lessons:2-3

Learning Targets: ● I can center clay on the wheel to begin a functional vessel. ● I can pull walls evenly to create balanced forms. ● I can trim and refine my vessel for stability and clean design. ● I can integrate hand-building techniques ● I can create a cohesive series of functional vessels

Essential Questions: ● How do we create a vessel that is both functional and visually strong? ● What techniques help maintain balance and symmetry on the pottery wheel? ● How can repetition and variety improve a functional design? ● How does negative space affect the overall form of a vessel? ● Why is trimming and refinement important in ceramic work?

Learning Activities: ● Slide deck on history of pottery wheels and applications ● Demonstration of throwing techniques on the wheel ● Practice and experimentation with pressure and various techniques on the wheel ● Students will throw three vessels on the wheel, then decide which will be the one to be

574

Sculpture & Ceramics II: Unit 2 transformed in the next lesson. Second Topic: Trimming and Cleaning Form

Estimated # of Lessons: 1

Learning Targets: ● I can trim and refine my vessel for stability and clean design. ● I can integrate hand-building techniques with wheel throwing when needed. ● I can apply repetition, variety, and negative space to improve my design.

Essential Questions: ● How do we create a vessel that is both functional and visually strong? ● How can repetition and variety improve a functional design? ● How does negative space affect the overall form of a vessel? ● Why is trimming and refinement important in ceramic work?

Learning Activities: ● Demonstration of trimming a thrown vessel ● Students will trim their vessels before completing the next step. ● Demonstration of attaching hand-built embellishments to thrown vessels ● Students will add embellishments to their vessel using hand-building techniques.

575

Sculpture & Ceramics II: Unit 3 Course Name: Sculpture & Ceramics II Est. # of Lessons: 2-3

Unit 3 Title: Surface Design & Glazing Techniques

Unit Overview: With strong forms in hand, we ask: how do we bring them to life? We explore surface design and glazing, sgraffito, layering, color mixing, and kiln science, learning how surface treatment can transform a simple clay form into a finished work of art. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

●

● ●

VA:Cr1.1.IIa: Individually or collaboratively formulate new creative problems based on student’s existing artwork. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision. VA:Pr4.1.IIa: Analyze, select, and critique personal artwork for a collection or portfolio presentation. VA:Re.7.1.IIa: Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments.

Transfer Goals ●

● ●

Understandings ● ● ● ●

Artists layer surface designs first so that texture and pattern enhance the overall form. Artists carve through surface layers so that contrast and depth strengthen visual impact. Artists test glaze combinations so that chemical reactions produce intentional color and texture results. Artists follow safety procedures so that kiln firing protects both artwork and studio community.

Essential Questions ● ● ● ● ● ●

How can surface design enhance the form of a ceramic piece? What happens when different glazes react in the kiln? How do layering and sgraffito create contrast and depth? Why is glaze testing important before final application? How do we safely load and fire a kiln? How does kiln temperature affect glazes?

576

Sculpture & Ceramics II: Unit 3 ●

Artists apply surface techniques thoughtfully so that decoration supports function and form. Knowledge

● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Sgraffito Technique Surface Layering Methods Glaze Chemistry Basics Glaze Mixing Procedures Glaze Testing Methods Texture Creation Techniques Patterned Surface Design Kiln Safety Protocols Kiln Loading Procedures Firing Stages Glaze Reaction Outcomes

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I can use sgraffito to create contrast and layered surface designs. I can mix and apply glazes intentionally to achieve desired results. I can design patterns and textures that support the form of my piece. I can test glaze combinations to understand color reactions. I can follow proper kiln loading and glazing safety procedures. I can evaluate how surface design enhances my ceramic work.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Glaze Experimentation: Students will experiment with glazing techniques as a way to create varying affect with color and texture Final Glazed Pieces: Students will complete glazing on all bisqueware from the previous units.

Glazing Check-in: Application of glazes to bisqueware Class Critique: Evaluation and sharing of ideas and opinions of final works Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to Glaze

Estimated # of Lessons: 1

Relevant Learning Targets (from Stage 1) : Relevant Essential Questions (from Stage 1): ● I can use sgraffito to create contrast and ● How can surface design enhance the form of layered surface designs. a ceramic piece? ● I can mix and apply glazes intentionally to ● What happens when different glazes react in achieve desired results. the kiln? ● I can test glaze combinations to understand ● How do layering and sgraffito create contrast color reactions. and depth? ● I can follow proper kiln loading and glazing ● Why is glaze testing important before final safety procedures. application? ● How do we safely load and fire a kiln? ● How does kiln temperature affect glazes? Learning Activities: ● Slide Deck on the history of glaze and techniques ● Learn about the changes to the chemical compositions of minerals inside glazes

577

Sculpture & Ceramics II: Unit 3 ● ●

Experiment with different glaze techniques and layering on a bisque slab Load and fire kiln

Second Topic: Applying Glaze to Bisqueware

Estimated # of Lessons: 1-2

Learning Targets: ● I can mix and apply glazes intentionally to achieve desired results. ● I can design patterns and textures that support the form of my piece. ● I can follow proper kiln loading and glazing safety procedures. ● I can evaluate how surface design enhances my ceramic work

Essential Questions: ● How can surface design enhance the form of a ceramic piece? ● Why is glaze testing important before final application? ● How do we safely load and fire a kiln?

Learning Activities: ● Discussion on creating mood and emphasizing the texture of our bisqueware with glaze ● Students will apply their glazes using various techniques. ● Load and Fire kiln ● Once all pieces are fired, we will hold a class critique of the finished pieces.

578

Sculpture & Ceramics II: Unit 4 Course Name: Sculpture & Ceramics II

Unit 4 Title: Architectural Letters

Est. # of Lessons: 7-8

Unit Overview: We push our design thinking further, this time combining engineering and typography. We turn a letter into a bold, freestanding sculpture, planning structure, building depth, and using paint and texture to give our letter personality and impact. STAGE 1: DESIRED RESULTS Established Goals ●

●

● ●

VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept. VA:Pr6.1.Ia: Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings. VA:Re.7.1.IIa: Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking.

Transfer Goals ● ● ● ●

Understandings ● ● ● ●

Artists explore font styles first so that line quality and shape communicate personality and intent. Artists plan structural support before construction so that sculptures remain balanced and free standing. Artists consider negative space so that the letter interacts dynamically with surrounding space. Artists build internal supports so that three

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

Essential Questions ● ● ● ● ●

How can font choice influence the personality of a sculptural letter? What design decisions make a sculpture visually balanced and physically stable? How does negative space affect the overall impact of a three dimensional form? What construction methods ensure structural integrity? How can surface treatments enhance the final presentation of a sculpture?

579

Sculpture & Ceramics II: Unit 4

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dimensional forms maintain strength and stability. Artists refine surfaces with layering and finishing techniques so that the final sculpture appears polished and intentional. Knowledge

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Skills (Framed as Learning Targets)

Font exploration Line quality analysis Geometric and organic forms Negative space awareness Chipboard construction Exacto knife safety Structural bracing methods Cup support techniques Depth creation in sculpture Duct tape sealing methods Paper mache application Gesso preparation Acrylic painting techniques Rubric and reflection process

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I can explore and sketch multiple font designs before choosing a final direction. I can design a sculpture that stands independently with proper balance. I can construct an armature using chipboard and internal supports. I can use cups and bracing techniques to add depth and strength. I can apply paper mache and gesso to create a smooth finished surface. I can paint and add surface details to enhance my design. I can reflect on my creative process and evaluate my final sculpture.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: 10 ideas based on different letters and font shapes Final Sketch: Final sketch with detailed planning from front, back and sides. Paper Mache Form: Built three dimensional structure with paper mache techniques Painting and Ornamentation: Painted textures and shading effects to enhance a three dimensional form

One-on-One Planning Check-in: Review of ideas and structural needs for a completed form. Paper Mache Progress Check-in: One on one check in to evaluate structural needs of the form. Painting and Ornamentation Progress Check-in: One on one check in to evaluate structural needs of the form. Class Critique: Evaluation and sharing of ideas and opinions of final works Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to Architectural Letters

Estimated # of Lessons: 1

Learning Targets: ● I can explore and sketch multiple font designs before choosing a final direction. ● I can design a sculpture that stands independently with proper balance.

Essential Questions: ● How can font choice influence the personality of a sculptural letter? ● What design decisions make a sculpture visually balanced and physically stable? ● How does negative space affect the overall

580

Sculpture & Ceramics II: Unit 4 impact of a three dimensional form? Learning Activities: ● Slide deck on Architectural Letters and letter usage in sculpture by working artists ● Demonstration of planning out a three dimensional sculpture in the round ● Students will research letter shapes in different fonts. ● Students will sketch 10 thumbnail sketches of different ideas for their sculptures ● Students will draw out a final sketch with detail from the front, back and sides Second Topic: Creating the Form with Paper Mache

Estimated # of Lessons: 4-5

Learning Targets: ● I can explore and sketch multiple font designs before choosing a final direction. ● I can design a sculpture that stands independently with proper balance. ● I can construct an armature using chipboard and internal supports. ● I can use cups and bracing techniques to add depth and strength. ● I can apply paper mache and gesso to create a smooth finished surface.

Essential Questions: ● What design decisions make a sculpture visually balanced and physically stable? ● How does negative space affect the overall impact of a three dimensional form? ● What construction methods ensure structural integrity?

Learning Activities: ● Demonstration of building techniques to create the skeletal structure ● Students will build the skeletal structure of their paper mache works ● Demonstration of paper mache techniques ● Students will apply paper mache to their skeletal structures to create a three dimensional surface. Third Topic: Enhancing with Painting and Ornamentation

Estimated # of Lessons: 2

Learning Targets: ● I can paint and add surface details to enhance my design. ● I can reflect on my creative process and evaluate my final sculpture.

Essential Questions: ● How can surface treatments enhance the final presentation of a sculpture?

Learning Activities: ● Demonstration of painting techniques and review of materials ● Students will gesso their sculptures ● Students will use painting techniques to create the illusion of texture. ● Students will add embellishments through ornamentation. ● We will hold a final critique of our finished sculptures.

581

Sculpture & Ceramics II: Unit 5 Course Name: Sculpture & Ceramics II

Unit 5 Title: Biomorphic Form

Est. # of Lessons: 2

Unit Overview: We shift from building up to carving away. Inspired by natural forms like shells, seed pods, the human body. Then we use a reductive process to carve smooth, organic sculptures from soap, learning that sometimes removing material reveals the truest form. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.3.IIa: Redesign an object, system, place, or design in response to contemporary issues. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision. VA:Pr6.1.Ia: Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings. VA:Re.7.1.IIIa: Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments. VA:Re9.1.IIa: Determine the relevance of criteria used by others to evaluate a work of art or collection of works.

Transfer Goals ● ● ●

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●

Understandings ●

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Artists translate natural references into simplified organic forms so that the sculpture retains a sense of life and growth. Artists design contour and silhouette intentionally so that the eye moves fluidly around the form. Artists balance mass and negative space so that tension and harmony coexist within the sculpture.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens) Essential Questions

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How can we simplify natural references into continuous organic forms that still feel alive? How do contour and silhouette guide the viewer’s eye? How do mass and negative space work together to create balance? How does a reductive carving process influence artistic decision making? How does surface finish affect mood and light interaction?

582

Sculpture & Ceramics II: Unit 5 ● ● ●

Artists carve through subtraction carefully so that preserved volume strengthens the final outcome. Artists refine surface quality so that light enhances mood and form. Artists use proportion and internal rhythm so that the sculpture feels unified from every viewpoint. Knowledge

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Skills (Framed as Learning Targets)

Biomorphic design principles Natural form observation Contour simplification Silhouette development Reductive carving process Subtractive workflow planning Mass and negative space Proportion in sculpture Internal rhythm Surface refinement stages Tool safety and handling Light interaction with form Presentation and reflection strategies

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I can collect and sketch organic references that show growth and movement. I can identify contours and rhythms within natural forms. I can plan a subtractive carving process in stages. I can preserve main masses while removing material thoughtfully. I can carve smooth transitions and continuous silhouettes. I can use carving tools safely and effectively. I can refine surfaces from rough texture to polished finish. I can evaluate how negative space and proportion impact balance. I can present my work with photographs and written reflection.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: 10 ideas based on different shapes based on nature Final Sketch: Final sketch with detailed planning from front, back and sides. Carved Form: Carved three dimensional form from soap

Planning Check-in: Review of ideas for finished form. Carving Progress Check-in: One on one check in of the application of techniques to create a carved form. Class Critique: Evaluation and sharing of ideas and opinions of final works Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Biomorphic Sculpture

Estimated # of Lessons: 1

Learning Targets: ● I can collect and sketch organic references

Essential Questions: ● How can we simplify natural references into

583

Sculpture & Ceramics II: Unit 5 ● ● ●

that show growth and movement. I can identify contours and rhythms within natural forms. I can plan a subtractive carving process in stages. I can evaluate how negative space and proportion impact balance.

● ● ● ●

continuous organic forms that still feel alive? How do contour and silhouette guide the viewer’s eye? How do mass and negative space work together to create balance? How does a reductive carving process influence artistic decision making? How does surface finish affect mood and light interaction?

Learning Activities: ● Slide deck on biomorphic form ● Students will draw out 10 thumbnail sketches ● Students will draw one final sketch of front, back and sides. Second Topic: Carving of Biomorphic Form

Estimated # of Lessons: 1

Learning Targets: ● I can preserve main masses while removing material thoughtfully. ● I can carve smooth transitions and continuous silhouettes. ● I can use carving tools safely and effectively. ● I can refine surfaces from rough texture to polished finish. ● I can evaluate how negative space and proportion impact balance. ● I can present my work with photographs and written reflection

Essential Questions: ● How do contour and silhouette guide the viewer’s eye? ● How do mass and negative space work together to create balance? ● How does a reductive carving process influence artistic decision making? ● How does surface finish affect mood and light interaction?

Learning Activities: ● Demonstration of carving techniques ● Students will carve their forms from soap ● We will have a class critique of finished sculptures.

584

Sculpture & Ceramics II: Unit 6 Course Name: Sculpture & Ceramics II

Unit 6 Title: Cardboard Reliefs

Est. # of Lessons: 3-4

Unit Overview: We explore a different kind of depth: relief. Using cardboard, layering, and shadow, we create compositions that feel spatial without being fully three dimensional while proving that great sculpture isn't always about size or medium, but about intention. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Pr4.1.Ia: Analyze, select, and curate artifacts and/or artworks for presentation and preservation. VA:Re9.1.IIa: Determine the relevance of criteria used by others to evaluate a work of art or collection of works VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ●

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Understandings ●

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Artists define relief sculpture by designing a flat back and a front facing composition so that depth is created within a shallow space. Artists use layered planes and overlap so that foreground, middle ground, and background feel organized and spatial. Artists cut, score, and bend materials carefully so that craftsmanship strengthens the final presentation. Artists engineer internal supports so that relief sculptures remain flat, strong, and durable. Artists choose meaningful subjects so that creatures, patterns, or scenes from life communicate clear ideas. Artists study contemporary examples so

Essential Questions ● ● ● ● ●

What choices help a shallow artwork feel deep and spatial? How can layering and shadow organize space within a relief? How do cutting, scoring, and bending affect the strength and character of cardboard? What techniques keep a relief sculpture flat and structurally sound? How do artists use everyday subjects to create compelling relief designs?

585

Sculpture & Ceramics II: Unit 6 that design decisions connect technique with purpose. Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Definition of relief sculpture Difference between relief and sculpture in the round Foreground middle ground background organization Layering techniques Overlap and cast shadow Cardboard cutting methods Scoring techniques Bending techniques Structural reinforcement methods Tab and brace construction Composition planning Focal point development Contemporary cardboard artists Material respect and craftsmanship

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I can explain how relief sculpture differs from sculpture in the round using accurate vocabulary. I can create thumbnails that clearly separate foreground, middle ground, and background. I can cut, score, and bend cardboard with precision and control. I can build layered depth using alignment, spacing, and cast shadows. I can reinforce my sculpture with tabs and braces for durability. I can refine edges and surfaces for a professional finish. I can analyze contemporary cardboard relief artists and apply those ideas to my work.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: 10 small drawings brainstorming ideas Final Sketch: Final sketch with detailed planning Final Piece: Completed relief showing depth and dimension regardless of the flat back.

Planning Check-in: Review of ideas for finished relief. Progress Check-in: One-on-one check-in of the application of techniques to create a relief Class Critique: Evaluation and sharing of ideas and opinions of final works Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to Reliefs

Estimated # of Lessons:1

Learning Targets : ● I can explain how relief sculpture differs from sculpture in the round using accurate vocabulary. ● I can create thumbnails that clearly separate foreground, middle ground, and background.

Essential Questions: ● What choices help a shallow artwork feel deep and spatial? ● How can layering and shadow organize space within a relief? ● How do cutting, scoring, and bending affect the strength and character of cardboard? ● What techniques keep a relief sculpture flat and structurally sound? ● How do artists use everyday subjects to

586

Sculpture & Ceramics II: Unit 6 create compelling relief designs? Learning Activities: ● Slide deck about the history of reliefs ● Video on contemporary artist who works in cardboard ● Demonstration of cardboard construction techniques ● Students will draw out 10 thumbnail sketch ideas ● Students will choose one and draw a final sketch with more detail of their plans Second Topic: Constructing a Relief

Estimated # of Lessons:2-3

Learning Targets: ● I can cut, score, and bend cardboard with precision and control. ● I can build layered depth using alignment, spacing, and cast shadows. ● I can reinforce my sculpture with tabs and braces for durability. ● I can refine edges and surfaces for a professional finish. ● I can analyze contemporary cardboard relief artists and apply those ideas to my work.

Learning Activities: ● Demonstration of turning a drawing into a relief out of cardboard ● Students will build their reliefs ● We will hold a class critique when completed.

587

Sculpture & Ceramics II: Unit 7 Course Name: Sculpture & Ceramics II Est. # of Lessons: 4-6

Unit 7 Title: Final Piece & Portfolio Review

Unit Overview: Everything we've learned, structure, surface, design thinking, personal voice, comes together here. We develop an original concept, execute a final piece from start to finish, and curate a portfolio that tells the story of our growth as artists. STAGE 1: DESIRED RESULTS Established Goals ●

● ● ● ●

VA:Cr1.2.III: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr3.1.III: Reflect on, re-engage, revise, and refine works of art and design in response to personal artistic vision. VA:Pr4.1.IIa: Analyze, select, and critique personal artwork for a collection or portfolio presentation. VA:Re9.1.III: Construct evaluations of a work of art or collection of works based on differing sets of criteria. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking.

Transfer Goals ● ● ●

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●

Understandings ● ●

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Artists develop independent concepts first so that their final work communicates a clear and personal vision. Artists plan carefully from sketch to completion, ensuring craftsmanship and intention remain consistent throughout the process. Artists reflect on their creative process so that growth and problem solving become

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens) Essential Questions

● ● ● ● ●

How can we develop an original concept that reflects our personal voice? What planning strategies lead to a successful final piece? How does reflection improve artistic growth? What makes a portfolio cohesive and strong? How can critique help refine both artwork and presentation?

588

Sculpture & Ceramics II: Unit 7 ● ●

visible. Artists curate and document their work to demonstrate development and technical skill in a portfolio. Artists participate in critique to strengthen their artistic voice and presentation. Knowledge

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Skills (Framed as Learning Targets)

Concept development strategies Independent project planning Sketch to final workflow Time management for art projects Ceramic problem solving Written artist reflection structure Critique participation skills Portfolio organization methods Documentation and photography basics Presentation techniques

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I can develop an independent concept for my final piece. I can create sketches and plans that guide my final work. I can execute a project from concept to completion. I can evaluate my process and reflect on successes and challenges. I can organize and document my artwork in a professional portfolio. I can participate in critique and apply feedback to improve my work.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Drawings: evaluation in the progress of planning Final Drawing: piece completed using the techniques of the medium of their choice Artist Statement: Students will answer questions about creating their artwork.

Drawing Check-in: Planning Sketches of original work of art in medium of their choice In Progress Group Critique: techniques, and composition review One on One Check Ins: Refining work Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Final Piece

Estimated # of Lessons: 3-4

Learning Targets: ● I can develop an independent concept for my final ceramic piece. ● I can create sketches and plans that guide my final work. ● I can execute a project from concept to completion. ● I can evaluate my process and reflect on successes and challenges. ● I can organize and document my artwork in a professional portfolio.

Essential Questions: ● How can we develop an original concept that reflects our personal voice? ● What planning strategies lead to a successful final piece? ● How does reflection improve artistic growth? ● What makes a portfolio cohesive and strong? ● How can critique help refine both artwork and presentation?

589

Sculpture & Ceramics II: Unit 7 ●

I can participate in critique and apply feedback to improve my work.

Learning Activities: ● Thumbnail Sketches ● Final Sketch ● Final Sculpture Second Topic: Creating a Portfolio

Estimated # of Lessons: 1-2

Learning Targets: ● I can evaluate my process and reflect on successes and challenges. ● I can organize and document my artwork in a professional portfolio. ● I can participate in critique and apply feedback to improve my work.

Essential Questions: ● How does reflection improve artistic growth? ● What makes a portfolio cohesive and strong? ● How can critique help refine both artwork and presentation?

Learning Activities: ● Slide deck and share examples of what an art portfolio is ● Students will photograph their art pieces ● Students will create an artist statement to introduce their portfolio collection. ● We will share our completed portfolios during a critique with the class.

590

Sculpture & Ceramics III SCULPTURE & CERAMICS III Course # WAN302

0.5 credit (FVA, HUM)

PREREQUISITE: WAN202 Sculpture & Ceramics II Sculpture & Ceramics III is an advanced studio experience where ideas get bigger, forms get bolder, and students work like practicing artists and designers. Students develop original concepts through research, brainstorming, and iterative sketching, then turn plans into polished work using maquettes, full-scale templates, and detailed process planning. Technical growth is pushed through advanced armature construction and figure sculpture, focusing on proportion, gesture, and expressive surface. On the functional side, students sharpen wheel skills while designing cohesive dinnerware sets that balance consistency, craftsmanship, and real-world usability. The course also expands into architectural ceramics, decorative panels, reliefs, and modular works, exploring how pattern, texture, and structure interact with space. Students also participate in collaborative public installation work that builds teamwork, problem solving, and professional presentation skills. The course culminates in an independent, student-driven final project that showcases personal voice, technical mastery, and a fully realized body of 3D work through proposal, critique, and revision.

591

Sculpture & Ceramics III (Semester Course) In Sculpture & Ceramics III, we take our skills to the next level as we explore sculpture as both an art form and an engineering challenge. Throughout the course, we experiment with advanced clay techniques, push our pottery wheel skills beyond traditional vessels, and design sculptural forms that balance creativity with structural thinking. We investigate how artists use repetition, pattern, and modular design to create installations, and we collaborate on a large-scale paper-maché sculpture that transforms our classroom or school environment. Along the way, we also explore assemblage and found-object sculpture, discovering how everyday materials can become powerful works of art. As the course progresses, we refine our craftsmanship, develop our personal artistic voice, and learn to think like professional artists—planning, revising, and problem-solving through the creative process. By the end of the course, we bring everything together in a final independent sculpture project that showcases our ideas, skills, and growth as three-dimensional artists. Unit 1: Advanced Ceramic Sculpture & Structural Clay Forms 4 Days

Unit 2: Advanced Wheel Throwing & Altered Forms 5 Days

Unit 3: Ceramic Installation Tiles & Modular Sculpture 5 Days

We open this course by returning to clay, but The structural thinking we developed in Unit 1 with a different set of questions than before. now meets the wheel. We return to a familiar This is not about building a vessel or following tool with an unfamiliar intention, not to a familiar form. We are thinking about clay as a produce traditional vessels, but to throw forms structural material: how to engineer hollow we can alter, combine, and reshape into forms that remain stable, how to distribute something sculptural. Cutting, stretching, and weight so a sculpture stands on its own terms, assembling multiple thrown pieces, we and how to make decisions about space and discover that the wheel is a starting point balance that hold up under the demands of the rather than a finished process. Movement, kiln. Abstract forms inspired by architecture rhythm, and visual relationship become the and organic structures become our testing design criteria. By the end of this unit, we are ground. By the end of this unit, we are working producing work that blurs the line between at the intersection of art and engineering — pottery and sculpture, and asking whether that and that way of thinking carries through distinction still matters. everything that follows.

We have built single forms, first structural sculptures, then altered vessels. Now we ask what happens when individual pieces are designed in relationship to one another. Working with ceramic tiles, we explore how repetition and pattern can generate something larger than any single piece could communicate alone. Each tile is its own design problem and part of a larger visual system at the same time. As we carve, texture, and glaze, we are also thinking about installation: how the work interacts with the wall, the room, and the viewer moving through the space. By the end of this unit, our individual tiles become a collaborative whole.

592

Sculpture & Ceramics III (continued) Unit 4: Collaborative Paper-Maché Installation 5 Days

Unit 5: Found Object Sculpture & Assemblage 5 Days

Unit 6: Independent Advanced Sculpture Project 6 Days

The tile installation showed us how individual After working at large scale and in We have engineered clay, thrown and altered work can combine into something collective. collaboration, we return to individual work, but vessels, built modular installations, Now we take that principle further, building with an expanded sense of what sculpture can collaborated at large scale, and transformed something that could not exist without be made of. Clay, paper-maché, and ceramic found objects into sculpture. Each unit everyone working together. We shift from tile all asked us to build from raw material. expanded what we thought sculpture could be. ceramic to paper-maché, from small modular Found object sculpture inverts that: we start This final project asks us to draw on all of it, pieces to large-scale armature construction, with objects that already exist, already carry not by combining every technique, but by and from individual design decisions to shared meaning, and ask what new meaning they making deliberate choices about what serves ones. Planning how a sculpture interacts with a make when placed together. We study how our concept and what doesn't. We develop an specific space, dividing labor, and resolving assemblage artists use history, symbolism, and original idea, select materials and methods that structural problems as a team require us to surprise to say things that traditional sculpture support it, and work through the full process think beyond our own piece. By the end of this cannot. By the end of this unit, we have made from planning sketches to finished piece to unit, we have transformed part of our school a sculpture from materials we did not critique. By the end of this unit, we are environment, and the work is none of ours fabricate, and discovered that selection and presenting not just a sculpture, but a individually and all of ours together. arrangement are their own form of craft. demonstration of how we think as artists.

593

Sculpture & Ceramics III: Unit 1 Course Name: Sculpture & Ceramics III Forms Est. # of Lessons: 4

Unit 1 Title: Advanced Ceramic Sculpture & Structural Clay

Unit Overview: We open this course by returning to clay, but with a different set of questions than before. This is not about building a vessel or following a familiar form. We are thinking about clay as a structural material: how to engineer hollow forms that remain stable, how to distribute weight so a sculpture stands on its own terms, and how to make decisions about space and balance that hold up under the demands of the kiln. Abstract forms inspired by architecture and organic structures become our testing ground. By the end of this unit, we are working at the intersection of art and engineering — and that way of thinking carries through everything that follows. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking. VA:Cn11.1.IIa: Compare uses of art in a variety of societal, cultural, and historical contexts and make connections to uses of art in contemporary and local contexts.

Transfer Goals ● ● ● ●

Understandings ● ● ● ●

Artists engineer clay structures first so that large or complex forms remain stable. Artists hollow clay forms carefully so that sculptures dry and fire successfully. Artists design abstract forms intentionally so that structure and visual balance work together. Artists consider weight distribution so that sculptures stand securely.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How can clay be engineered to support complex sculptural forms? What design choices influence balance and structural stability? How do sculptors transform simple clay slabs into dynamic three dimensional structures? What mineral oxides create varying ranges of colors? Why do minerals change in the kiln? How can I create visual interest through glaze application?

594

Sculpture & Ceramics III: Unit 1 Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Hollow clay construction Slab engineering techniques Clay reinforcement methods Structural balance concepts Weight distribution in sculpture Clay drying and firing considerations

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I can construct hollow clay forms that maintain structural strength. I can plan internal supports for complex clay sculptures. I can apply slab construction techniques to build sculptural forms. I can evaluate balance and weight distribution in my sculpture. I can apply oxides to enhance the textures and composition of my piece. I can load the kiln. I can support my piece through my artistic voice during critique.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Marquette: A small sculpture used for experimentation of construction with shape and balance. Thumbnail Sketches: Compositional sketches of ideas for sculpture Final Drawing: Detailed compositional drawing outline of sculpture Final Sculpture: Structurally sound and balanced clay construction.

Planning Check-in: Review thumbnail and final drawing with students to vet out structural integrity Sculpture Check-in: Application of clay to a hollow slab construction and application of sculpting techniques to create balance and depth Rubric Reflection: Self evaluation and Response to Process Questions Class Final Critique: evaluation and Response to peer artworks

STAGE 3: LEARNING PLAN First Topic: Intro to Advanced Ceramic Techniques

Estimated # of Lessons: 1

Learning Targets: ● I can construct hollow clay forms that maintain structural strength. ● I can plan internal supports for complex clay sculptures. ● I can apply slab construction techniques to build sculptural forms. ● I can evaluate balance and weight distribution in my sculpture.

Essential Questions: ● How can clay be engineered to support complex sculptural forms? ● What design choices influence balance and structural stability? ● How do sculptors transform simple clay slabs into dynamic three dimensional structures?

Learning Activities: ● Slide deck of artist work demonstrating advanced sculptural techniques of building ● Demonstration of advanced techniques that utilize structural balance, and hollow clay construction. ● Students investigate how clay can be engineered to support larger sculptural forms and more

595

Sculpture & Ceramics III: Unit 1 complex shapes by creating a marquette. Second Topic: Application of Techniques to Create Structure

Estimated # of Lessons: 2

Learning Activities: ● Demonstration of planning techniques for final pieces ● Students will draw out 10 thumbnail sketches of ideas ● Students will draw a final sketch with detail from front, back and sides. ● Students will apply building techniques to create a structurally sound and balanced sculpture. Third Topic: Low Fire Oxide Glazing

Estimated # of Lessons: 1

Learning Targets: ● I can apply oxides to enhance the textures and composition of my piece. ● I can load the kiln. ● I can support my piece through my artistic voice during critique.

Essential Questions: ● What mineral oxides create varying ranges of colors? ● Why do minerals change in the kiln? ● How can I create visual interest through glaze application?

Learning Activities: ● Slide Deck about chemical changes and effects of glazes on bisqueware ● Demonstration of Custom Mixing Oxide Glazes ● Students will mix, create, and apply their own oxide glazes to their bisqueware. ● Loading and firing of kiln. ● We will hold a critique after all pieces are completed.

596

Sculpture & Ceramics III: Unit 2 Course Name: Sculpture & Ceramics III Est. # of Lessons: 5

Unit 2 Title: Advanced Wheel Throwing & Altered Forms

Unit Overview: The structural thinking we developed in Unit 1 now meets the wheel. We return to a familiar tool with an unfamiliar intention, not to produce traditional vessels, but to throw forms we can alter, combine, and reshape into something sculptural. Cutting, stretching, and assembling multiple thrown pieces, we discover that the wheel is a starting point rather than a finished process. Movement, rhythm, and visual relationship become the design criteria. By the end of this unit, we are producing work that blurs the line between pottery and sculpture, and asking whether that distinction still matters. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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VA:Cr1.1.IIa: Individually or collaboratively formulate new creative problems based on student’s existing artwork. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.1.IIIa: Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept. VA:Cr2.2.IIIa: Demonstrate understanding of the importance of balancing freedom and responsibility in the use of images, materials, tools, and equipment in the creation and circulation of creative work. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ● ● ● ●

Understandings ● ● ● ● ●

Artists alter wheel thrown forms so that functional pottery can become sculptural design. Artists combine multiple forms so that new visual relationships emerge. Artists reshape clay intentionally so that movement and rhythm develop in the form. Artists refine wheel thrown surfaces so that craftsmanship strengthens visual impact. Artists adapt traditional pottery wheel techniques so that historical craftsmanship continues to influence contemporary

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

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How can altering a vessel transform it into sculpture? What happens when multiple wheel thrown forms are combined? How does movement and rhythm influence ceramic design? What techniques help maintain balance and symmetry on the pottery wheel? Why is trimming and refinement important in ceramic work?

597

Sculpture & Ceramics III: Unit 2 ceramic design. Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Advanced wheel centering Altered vessel techniques Combining thrown forms Clay reshaping methods Ceramic surface refinement Sculptural vessel design

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I can throw larger and more complex forms on the wheel. I can cut and alter wheel thrown pieces intentionally. I can combine multiple forms into a sculptural composition. I can apply glaze to bisqueware using techniques developed I can refine altered forms for strong craftsmanship.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Wheel Thrown Pieces: Students will throw up to 5 shapes on the wheel in varying dimensions Handbuilding Techniques: Students will combine their thrown pottery into one piece using handbuilding techniques.

Wheel throwing Check-in: Demonstrate throwing techniques to create a sound and balanced vessel on the wheel Handbuilding Check-in: Application of hand building techniques to combine clay thrown vessels Rubric Reflection: Self evaluation and Response to Process Questions Class Final Critique: evaluation and Response to peer artworks

STAGE 3: LEARNING PLAN First Topic: Advanced Wheel Techniques

Estimated # of Lessons: 3

Learning Targets : ● I can throw larger and more complex forms on the wheel. ● I can cut and alter wheel thrown pieces intentionally.

Essential Questions: ● What techniques help maintain balance and symmetry on the pottery wheel? ● How does movement and rhythm influence ceramic design? ● Why is trimming and refinement important in ceramic work?

Learning Activities: ● Demonstration of advanced wheel throwing techniques ● Demonstration of trimming on the wheel ● Students will use the wheel to create up to 5 pieces, measuring two to be equal in opening size. ● After drying for two days to leatherware, students will trim their pieces on the wheel.

598

Sculpture & Ceramics III: Unit 2 Second Topic: Handbuilding Techniques

Estimated # of Lessons: 2

Learning Targets: ● I can cut and alter wheel thrown pieces intentionally. ● I can combine multiple forms into a sculptural composition. ● I can apply glaze to bisqueware using techniques developed ● I can refine altered forms for strong craftsmanship.

Essential Questions: ● How can altering a vessel transform it into sculpture? ● What happens when multiple wheel thrown forms are combined? ● How does movement and rhythm influence ceramic design?

Learning Activities: ● Demonstration of combining thrown pottery into one piece through handbuilding techniques ● Students will work independently to combine their thrown pieces into one sculpture. ● Load and fire kiln. ● Glaze bisqueware ● Lock and fire kiln ● Class critique of finished pieces

599

Sculpture & Ceramics III: Unit 3 Course Name: Sculpture & Ceramics III Est. # of Lessons: 5

Unit 3 Title: Ceramic Installation Tiles & Modular Sculpture

Unit Overview: We have built single forms, first structural sculptures, then altered vessels. Now we ask what happens when individual pieces are designed in relationship to one another. Working with ceramic tiles, we explore how repetition and pattern can generate something larger than any single piece could communicate alone. Each tile is its own design problem and part of a larger visual system at the same time. As we carve, texture, and glaze, we are also thinking about installation: how the work interacts with the wall, the room, and the viewer moving through the space. By the end of this unit, our individual tiles become a collaborative whole. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.IIa: Individually or collaboratively formulate new creative problems based on student’s existing artwork. VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept. VA:Cr2.2.IIIa: Demonstrate understanding of the importance of balancing freedom and responsibility in the use of images, materials, tools, and equipment in the creation and circulation of creative work. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision.

Transfer Goals ● ●

● ● ●

Understandings ● ● ● ●

Artists create modular forms so that multiple components function as a unified sculpture. Artists repeat shapes and patterns so that visual rhythm develops across an installation. Artists design with architectural space in mind so that sculpture interacts with its environment. Artists consider placement and

Essential Questions ● ● ●

How can multiple small forms create one large visual statement? How do repetition and pattern affect sculptural design? How does sculpture interact with the space around it?

600

Sculpture & Ceramics III: Unit 3 arrangement so that installations communicate a cohesive idea. Knowledge ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Modular sculpture design Repetition and rhythm in art Ceramic tile construction Relief carving techniques Installation planning Spatial composition strategies

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I can design ceramic forms that repeat as part of a larger installation. I can carve and texture tiles to create pattern and rhythm. I can arrange modular pieces to create a cohesive design. I can analyze how placement affects the impact of an installation.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: Compositional sketches of ideas for tiles Final Drawing: Detailed compositional drawing outline of 6 tile designs Final Sculpture: Collection of 6 tiles with cohesive theme and color scheme.

Planning Check-in: Review thumbnail and final drawing with students to plan tile collection Sculpture Check-in: Application of clay to slab to create depth Rubric Reflection: Self evaluation and Response to Process Questions Class Final Critique: evaluation and Response to peer artworks

STAGE 3: LEARNING PLAN First Topic: History of Aesthetic Design

Estimated # of Lessons: 1

Learning Targets: ● I can design ceramic forms that repeat as part of a larger installation.

Essential Questions: ● How can multiple small forms create one large visual statement? ● How do repetition and pattern affect sculptural design? ● How does sculpture interact with the space around it?

Learning Activities: ● Slide deck on Aesthetic Design and Ceramics ● Complete worksheet on artist techniques and styles in tile making ● Discussion on elements of designs based on different periods ● Students will choose a theme and draw out 10 ideas for their tiles. ● Students will choose 6 from the 10 and draw them with more detail.

601

Sculpture & Ceramics III: Unit 3 Second Topic: Handbuilding a Collection

Estimated # of Lessons: 4

Learning Targets: ● I can design ceramic forms that repeat as part of a larger installation. ● I can carve and texture tiles to create pattern and rhythm. ● I can arrange modular pieces to create a cohesive design. ● I can analyze how placement affects the impact of an installation.

Learning Activities: ● Demonstration of building equally sized slabworks that incorporate relief technique ● Students will build their 6 equally sized slab tile reliefs. ● Load and fire kiln. ● Glaze tile collections with uniform color scheme. ● Load and Fire kiln ● Class critique of finished pieces

602

Sculpture & Ceramics III: Unit 4 Course Name: Sculpture & Ceramics III Est. # of Lessons: 5

Unit 4 Title: Collaborative Paper-Maché Installation

Unit Overview: The tile installation showed us how individual work can combine into something collective. Now we take that principle further, building something that could not exist without everyone working together. We shift from ceramic to paper-maché, from small modular pieces to large-scale armature construction, and from individual design decisions to shared ones. Planning how a sculpture interacts with a specific space, dividing labor, and resolving structural problems as a team require us to think beyond our own piece. By the end of this unit, we have transformed part of our school environment, and the work is none of ours individually and all of ours together. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.1.IIIa: Visualize and hypothesize to generate plans for ideas and directions for creating art and design that can affect social change. VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept. VA:Cr2.3.Ia: Collaboratively develop a proposal for an installation, artwork, or space design that transforms the perception and experience of a particular place. VA:Cr3.1.IIIa: Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ●

●

Understandings ● ● ●

Artists collaborate so that large sculptural ideas can be achieved through shared effort. Artists build strong armatures so that large sculptures remain stable. Artists design installations intentionally so that viewers interact with the work and

Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens)

Essential Questions ● ● ●

How does collaboration influence artistic outcomes? What structural methods support large sculptural installations? How can sculpture transform a physical environment?

603

Sculpture & Ceramics III: Unit 4 ●

space. Artists solve structural challenges through experimentation and teamwork. Knowledge

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Skills (Framed as Learning Targets)

Collaborative design strategies Installation art concepts Armature construction methods Large scale sculpture planning Paper maché layering techniques Teamwork in artmaking

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I can contribute ideas to a collaborative design plan. I can build large scale armatures for sculpture. I can apply paper maché techniques to create strong forms. I can work with a team to solve structural challenges. I can incorporate a paper mache structure cohesively into a location.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Brainstorming Worksheet: Each group will work together to complete a brainstorming worksheet for sculpture topic ideas Two Sketches: Each group member will draw two sketches of the same topic. Final Sketch: Groups will work together to create a final sketch of their joint idea Paper Mache Form: Built three dimensional structure with paper mache techniques Painting and Ornamentation: Painted textures and shading effects to enhance a three dimensional form

Planning Check-in: Review of ideas and structural needs for a completed form. Paper Mache Progress Check-in: check in to evaluate structural needs of the form. Painting and Ornamentation Progress Check-in: to evaluate the structural needs of the form. Class Critique: Evaluation and sharing of ideas and opinions of final works Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Collaborating through Ideas

Estimated # of Lessons: 1

Learning Targets: ● I can contribute ideas to a collaborative design plan. ● I can work with a team to solve structural challenges.

Essential Questions: ● How does collaboration influence artistic outcomes? ● What structural methods support large sculptural installations? ● How can sculpture transform a physical environment?

Learning Activities: ● Slide deck of examples of collaborative works by famous artists through history ● Discussion of ideas

604

Sculpture & Ceramics III: Unit 4 ● ● ● ●

Break into groups of 3 to 4 students to work collaboratively Each group completes a brainstorming worksheet for idea generation Each group will choose one idea and have each student draw two variations. Students will then compare and redesign one final work.

Second Topic: Building on a Large Scale

Estimated # of Lessons: 4

Learning Targets: ● I can build large scale armatures for sculpture. ● I can apply paper maché techniques to create strong forms. ● I can work with a team to solve structural challenges. ● I can incorporate a paper mache structure cohesively into a location.

Essential Questions: ● How does collaboration influence artistic outcomes? ● How can sculpture transform a physical environment?

Learning Activities: ● Discussion on planning measurements of space, armature formation, and composition. ● Collaborative work of building of an armature with cardboard and wire elements ● Paper mache layers applied to structure ● Gesso surface, apply paint using techniques to create texture, lighting, and depth ● Install large sculpture in the location ● Class will walk to each location to critique the installation

605

Sculpture & Ceramics III: Unit 5 Course Name: Sculpture & Ceramics III Est. # of Lessons: 5

Unit 5 Title: Found Object Sculpture & Assemblage

Unit Overview: After working at large scale and in collaboration, we return to individual work, but with an expanded sense of what sculpture can be made of. Clay, paper-maché, and ceramic tile all asked us to build from raw material. Found object sculpture inverts that: we start with objects that already exist, already carry meaning, and ask what new meaning they make when placed together. We study how assemblage artists use history, symbolism, and surprise to say things that traditional sculpture cannot. By the end of this unit, we have made a sculpture from materials we did not fabricate, and discovered that selection and arrangement are their own form of craft. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.1.IIIa: Visualize and hypothesize to generate plans for ideas and directions for creating art and design that can affect social change. VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.3.IIIa: Demonstrate in works of art or design how visual and material culture defines, shapes, enhances, inhibits, and/or empowers people's lives. VA:Cr3.1.IIIa: Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision.

Transfer Goals ● ● ●

● ●

Understandings ● ● ●

Artists repurpose everyday objects so that familiar materials gain new meaning. Artists combine materials intentionally so that composition communicates a story or concept. Artists experiment with unconventional materials so that sculpture expands beyond

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ●

How have artists used found objects and assemblage to change the way we think about sculpture and materials?

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How can the size, texture, and placement of objects affect the composition of a sculpture?

606

Sculpture & Ceramics III: Unit 5 ●

traditional media. Artists consider context so that objects carry symbolic meaning within a composition.

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Knowledge ● ● ● ● ● ●

How can everyday materials become works of art? What stories can objects communicate when combined? How do artists use assemblage to express ideas?

Skills (Framed as Learning Targets)

Assemblage sculpture methods Material experimentation Found object symbolism Structural joining methods Mixed media composition Recycled material use in art

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I can select found objects that support a concept. I can combine materials to create a cohesive sculpture. I can use structural connections to secure materials. I can explain the meaning behind my assemblage. I can explain how artists have used found objects and assemblage in art history. I can experiment with different materials and object arrangements to create a balanced assemblage composition.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment ● ● ●

Formative Assessment

Brainstorming: Feelings and moods written out with related textures and colors Practice Piece: Small piece created with found objects to experiment with texture, depth, and form Final Assemblage Sculpture: A completed found object sculpture that demonstrates intentional material selection, structural integrity, and a clear concept or mood communicated through composition and arrangement.

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Small Piece Check-in: check in to evaluate compositional and texture layout Final Piece Progress Check-in: to evaluate the composition and mood as it relates to composition and texture Class Critique: Evaluation and sharing of ideas and opinions of final works Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Assemblage & the art of Found Object

Estimated # of Lessons: 1

Learning Targets: ● I can select found objects that support a concept. ● I can combine materials to create a

Essential Questions: ● How have artists used found objects and assemblage to change the way we think about sculpture and materials?

607

Sculpture & Ceramics III: Unit 5 ● ● ●

cohesive sculpture. I can use structural connections to secure materials. I can explain how artists have used found objects and assemblage in art history. I can experiment with different materials and object arrangements to create a balanced assemblage composition.

● ● ● ●

How can the size, texture, and placement of objects affect the composition of a sculpture? How can everyday materials become works of art? What stories can objects communicate when combined? How do artists use assemblage to express ideas?

Learning Activities: ● Slide deck about the history of assemblage and found object art as well as famous artworks ● Students will explore different materials to experiment with object size, composition, and texture to create a small practice piece. Second Topic: Creating an Assemblage with Meaning

Estimated # of Lessons: 4

Learning Targets: ● I can select found objects that support a concept. ● I can combine materials to create a cohesive sculpture. ● I can use structural connections to secure materials. ● I can explain the meaning behind my assemblage. ● I can experiment with different materials and object arrangements to create a balanced assemblage composition.

Essential Questions: ● How can the size, texture, and placement of objects affect the composition of a sculpture? ● How can everyday materials become works of art? ● What stories can objects communicate when combined? ● How do artists use assemblage to express ideas?

Learning Activities: ● Brainstorm in sketchbook different feelings and moods, colors which relate, textures that relate ● Students will build a large box to compose their assemblage with collected materials. ● Once completed, students will spray paint the box in one uniform color ● We will hold a class critique of all finished pieces.

608

Sculpture & Ceramics III: Unit 6 Course Name: Sculpture & Ceramics III Est. # of Lessons: 6

Unit 6 Title: Independent Advanced Sculpture Project

Unit Overview: We have engineered clay, thrown and altered vessels, built modular installations, collaborated at large scale, and transformed found objects into sculpture. Each unit expanded what we thought sculpture could be. This final project asks us to draw on all of it, not by combining every technique, but by making deliberate choices about what serves our concept and what doesn't. We develop an original idea, select materials and methods that support it, and work through the full process from planning sketches to finished piece to critique. By the end of this unit, we are presenting not just a sculpture, but a demonstration of how we think as artists. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.2.HSIII: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr3.1.HSIII: Reflect on, re-engage, revise, and refine works of art and design in response to personal artistic vision. VA:Pr4.1.IIIa: Critique, justify, and present choices in the process of analyzing, selecting, curating, and presenting artwork for a specific exhibit or event. VA:Re9.1.HSIII: Construct evaluations of a work of art or collection of works based on differing sets of criteria. VA:Cn10.1.IIa: Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking.

Transfer Goals ● ● ●

● ● ●

Understandings ● ● ●

Artists develop personal concepts first so that their artwork communicates a clear artistic voice. Artists plan construction methods carefully so that materials and structure support the artistic idea. Artists experiment and revise during the creative process so that the final work becomes stronger and more refined.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ●

How can we develop and refine an original concept that communicates a distinct artistic voice? What planning and problem-solving strategies support the successful execution of a complex final artwork? How does critical reflection on process and outcomes contribute to artistic growth and creative decision-making?

609

Sculpture & Ceramics III: Unit 6 ● ●

Artists select materials intentionally so that technique enhances meaning and visual impact. Artists reflect on their creative process so that growth and learning become visible through critique and analysis.

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Knowledge ● ● ● ● ● ● ● ● ● ●

What qualities make a portfolio cohesive, intentional, and representative of an artist’s development? In what ways can critique strengthen both the conceptual clarity and presentation of artwork? Skills (Framed as Learning Targets)

Independent concept development Material selection strategies Sculpture planning methods Construction problem solving Structural design considerations Revision and refinement processes Artistic intention and visual communication Critique participation Reflection and self evaluation Portfolio documentation methods

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I can develop and refine an original concept that communicates my personal artistic voice. I can create planning sketches and visual studies that guide the development of my final work. I can execute complex artwork from initial concept through completion using appropriate techniques and materials. I can critically evaluate my creative process and reflect on both successes and challenges to improve my work. I can curate, organize, and document my artwork in a cohesive and professional portfolio. I can participate in critique by analyzing feedback and applying it to strengthen my artwork and presentation.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Drawings: evaluation in the progress of planning Final Sculpture: piece completed using the techniques of the medium of their choice Artist Statement: Students will answer questions about creating their artwork.

STAGE 3: LEARNING PLAN First Topic: Final Piece

Estimated # of Lessons: 4

Learning Targets: ● I can develop and refine an original concept that communicates my personal artistic voice. ● I can create planning sketches and visual

Essential Questions: ● How can we develop and refine an original concept that communicates a distinct artistic voice? ● What planning and problem-solving strategies

610

Sculpture & Ceramics III: Unit 6

● ●

studies that guide the development of my final work. I can execute a complex artwork from initial concept through completion using appropriate techniques and materials. I can critically evaluate my creative process and reflect on both successes and challenges to improve my work.

support the successful execution of a complex final artwork?

Learning Activities: ● Review of independent planning process and medium selection. ● Students complete thumbnail sketches exploring concept, materials, and composition. ● Teacher demonstration and 1:1 coaching on structural planning for chosen medium. ● Students develop a final sketch with front, back, and side views. ● Students begin construction of final sculpture with periodic check-ins for structural and conceptual refinement. Second Topic: Creating a Portfolio

Estimated # of Lessons: 2

Learning Targets: ● I can critically evaluate my creative process and reflect on both successes and challenges to improve my work. ● I can curate, organize, and document my artwork in a cohesive and professional portfolio. ● I can participate in critique by analyzing feedback and applying it to strengthen my artwork and presentation

Essential Questions: ● How does critical reflection on process and outcomes contribute to artistic growth and creative decision-making? ● What qualities make a portfolio cohesive, intentional, and representative of an artist’s development? ● In what ways can critique strengthen both the conceptual clarity and presentation of artwork?

611

Painting II-Techniques, Color & Composition PAINTING II- Techniques, Color & Composition Course # WAN203

0.5 credit (FVA, HUM)

Prerequisite: WAN102 Art Foundation: Painting and Ceramics Painting Techniques II invites students to push their skills and creativity across watercolor, gouache, oil, and acrylic while learning how painters build powerful images from the ground up. Students experiment with bold color mixing, tints and shades, and intentional color relationships to create mood, harmony, and visual impact. They plan like designers, using thumbnail sketches and refined studies to shape strong focal points, clear visual hierarchy, and balanced compositions, before bringing ideas to life on the surface. Along the way, students explore expressive watercolor and gouache techniques (wet-on-wet, dry brush, layering), develop oil painting strategies such as underpainting and impasto through still life work, and use acrylic to combine multiple references and create convincing depth. Regular critique and revision help students develop a polished portfolio, culminating in an exemplar piece that showcases technical growth and an emerging personal style.

612

Painting Techniques II (Semester Course) Painting Techniques II invites students to push their skills and creativity across watercolor, gouache, oil, and acrylic while learning how painters build powerful images from the ground up. Students experiment with bold color mixing, tints and shades, and intentional color relationships to create mood, harmony, and visual impact. They plan like designers, using thumbnail sketches and refined studies to shape strong focal points, clear visual hierarchy, and balanced compositions, before bringing ideas to life on the surface. Along the way, students explore expressive watercolor and gouache techniques (weton-wet, dry brush, layering), develop oil painting strategies such as underpainting and impasto through still life work, and use acrylic to combine multiple references and create convincing depth. Regular critique and revision help students develop a polished portfolio, culminating in an exemplar piece that showcases technical growth and an emerging personal style. Unit 1: Color Theory & Foundational Skills 2-4 Days

Unit 2: Visual Planning 2-3 Days

Unit 3: Watercolor & Gouache 4-5 Days

In this unit, we deepen our understanding of how color works in painting. We learn to mix our own colors, paint with precision, and design a color wheel that showcases our knowledge of hue, tint, tone, and shade. We use this foundation to make stronger decisions about color in our work. We also explore how to use radial symmetry in our designs and how to apply color theory to future compositions.

Welcome to a unit all about planning like a pro! Before any artist picks up a brush or starts a final piece, they map out their ideas—and that's exactly what we do here. We learn how to use thumbnail sketches to experiment with layout, shape, and design. We practice creating strong focal points, organizing our ideas with visual hierarchy, and using reference images to make our compositions more dynamic and thoughtful. We also refine our ideas through sketchbook practice and peer feedback. By the end, we know how to take an idea from a tiny scribble to a fully developed, wellplanned work of art. Let's start sketching and bring our creative visions to life!

Get ready to explore the expressive power of water-based paint! In this unit, we dive into watercolor and gouache—two mediums that allow for bold textures, delicate layering, and vibrant washes of color. We practice techniques such as wet-on-wet, dry brush, and layering, using still-life and landscape references to guide our observational skills. We learn how to show value and texture in our paintings while experimenting with brush control and paint consistency. Whether we're capturing soft shadows or crisp edges, this unit is all about bringing our ideas to life with flow, transparency, and expression. 613

Painting Techniques II (continued) Unit 4: Oil 5-6 Days

Unit 5: Acrylic 4-5 Days

Unit 6: Independent Painting 6-7 Days

In this next unit, we learn how to handle oil paint like a pro—from laying down a foundation with underpainting to building up bold, textured layers with impasto. We set up our own still life compositions and plan our paintings using techniques artists have used for centuries. Along the way, we explore how to mix, layer, and apply oil paint to bring depth, form, and feeling into our artwork. Whether we're painting smooth shadows or thick highlights, this is our chance to experiment, take risks, and create pieces we're truly proud of.

We now step into the role of visual storytellers! We learn to take separate images—photos, drawings, and visual references—and combine them into a single striking acrylic painting that feels intentional and complete. From sketching thumbnail layouts to experimenting with color mixing and brushwork, we make creative choices that show our understanding of balance, depth, and design. We explore blending techniques and textures that make acrylic painting feel dynamic and alive. At the end, we each have a piece that doesn't just show skill but tells a visual story that's entirely our own.

Finally, we take everything we've learned—our favorite techniques, our best ideas, and our personal voices—and create original paintings that are entirely our own. We start by exploring themes and inspirations, sketching ideas, and planning our compositions. Then we choose the medium and style that best fit our vision. Along the way, we reflect on our process, write about our choices, and build a final artist statement. This is our moment to showcase our growth as artists and share work that truly represents who we are.

614

Painting Techniques II: Unit 1 Course Name: Painting Techniques II Est. # of Lessons: 2-4

Unit 1 Title: Color Theory & Foundational Skills

Unit Overview: In this unit, we deepen our understanding of how color works in painting. We learn to mix our own colors, paint with precision, and design a color wheel that showcases our knowledge of hue, tint, tone, and shade. We use this foundation to make stronger decisions about color in our work. We also explore how to use radial symmetry in our designs and how to apply color theory to future compositions. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision.

Transfer Goals ● ●

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Understandings ● ●

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Precise craftsmanship in foundational exercises builds the technical habits that carry into all future artwork. Understanding color relationships, hue, tint, tone, & shade, gives artists control over mood, unity, & visual impact in their work. Mixing colors from primary sources expands an artist's expressive range and reduces dependence on pre-mixed paint. Radial symmetry provides a structural framework that supports balanced, intentional design.

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How can I create a precise and accurate color wheel? How do I mix tints, tones, and shades from the primary colors? How do I design using radial symmetry? How can I use color schemes to enhance my artwork? How can I mix values of a hue without using black?

615

Painting Techniques II: Unit 1 Knowledge ● ● ●

Skills (Framed as Learning Targets)

How to mix primary, secondary, and tertiary colors, and their tints, tones, and shades. Understand radial symmetry in design. Learn precise brush control and measurement in layout.

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I can mix tints, tones, and shades using primary and secondary colors. I can create a symmetrical color wheel using radial layout. I can apply paint with precision and control. I can label and explain each color segment.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Color mixing worksheets: Identify and create colors of paint swatches Final Color Wheel Project: accuracy, symmetry, craftsmanship, value, and color mixing

In Progress Group Critique: Hue and Value One on One Check Ins: Layering hue and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Color in Art

Estimated # of Lessons: 1-2

Learning Targets: ● I can mix tints, tones, and shades using primary and secondary colors. ● I can apply paint with precision and control..

Essential Questions: ● How do I mix tints, tones, and shades from the primary colors? ● How can I use color schemes to enhance my artwork? ● How can I mix values of a hue without using black?

Learning Activities: Review of color wheel, color schemes, and uses of color in artwork. Complete color mixing worksheets Second Topic: Color Wheels

Estimated # of Lessons: 1-2

Learning Targets: ● I can mix tints, tones, and shades using primary and secondary colors. ● I can create a symmetrical color wheel using radial layout. ● I can apply paint with precision and control. ● I can label and explain each color segment.

Essential Questions: ● How can I create a precise and accurate color wheel? ● How do I mix tints, values, and shades from the primary colors? ● How do I design using radial symmetry? ● How can I use color schemes to enhance my artwork? ● How can I mix values of a hue without using black?

Learning Activities: Review radial symmetry and ruler measurements. Draw color wheels using radial symmetry. Mix and paint hues and values onto color wheels in correct locations

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Painting Techniques II: Unit 2 Course Name: Painting Techniques II Est. # of Lessons:2-3

Unit 2 Title: Visual Planning & Thumbnail Sketches

Unit Overview: Welcome to a unit all about planning like a pro! Before any artist picks up a brush or starts a final piece, they map out their ideas—and that's exactly what we do here. We learn how to use thumbnail sketches to experiment with layout, shape, and design. We practice creating strong focal points, organizing our ideas with visual hierarchy, and using reference images to make our compositions more dynamic and thoughtful. We also refine our ideas through sketchbook practice and peer feedback. By the end, we know how to take an idea from a tiny scribble to a fully developed, well-planned work of art. Let's start sketching and bring our creative visions to life! STAGE 1: DESIRED RESULTS Established Goals ● ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.1.IIa: Individually or collaboratively formulate new creative problems based on student’s existing artwork. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Re.7.2.IIa: Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences.

Transfer Goals ● ●

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Understandings ● ● ● ●

Thumbnail sketches allow artists to explore composition, proportion, and layout quickly before committing to a final design. Visual hierarchy guides the viewer's eye to the intended focal point. Reference images and multiple drafts improve clarity, accuracy, and creative possibilities. Feedback and self-reflection strengthen visual choices and artistic growth.

Essential Questions ● ● ● ●

Knowledge ● ● ●

Thumbnail sketching techniques Visual hierarchy principles How to establish and emphasize a focal

How do I use thumbnail sketches to organize my ideas visually? How can I design a layout that clearly communicates a focal point? What changes should I make to my sketch based on peer critique or self-assessment? How can I use reference images to improve the accuracy and creativity of my drawings?

Skills (Framed as Learning Targets) ● ●

I can create multiple thumbnail sketches to plan the layout of my artwork. I can design with a clear focal point and

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Painting Techniques II: Unit 2 ● ● ● ● ● ●

point Layout planning for balanced compositions Sketch refinement strategies Effective use of reference images Purpose and organization of a sketchbook Peer critique process and implementation Composition planning for future artworks

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organize visual elements to show hierarchy. I can revise and refine my sketches based on peer feedback and self-evaluation. I can track my creative process and improvements in my sketchbook. I can use principles of design—like balance, contrast, and unity—to improve my composition.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Practice Sketches: Compositional sketches of objects and landscapes Thumbnail Sketches: Compositional sketches of still life objects Final Contour Drawing: Completed drawing of still life objects

In Progress Group Critique: Balance and Composition One on One Check Ins: Layering hue and value Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Rules of Visual Planning

Estimated # of Lessons: 1

Learning Targets: ● I can create multiple thumbnail sketches to plan the layout of my artwork. ● I can design with a clear focal point and organize visual elements to show hierarchy. ● I can revise and refine my sketches based on peer feedback and self-evaluation. ● I can track my creative process and improvements in my sketchbook. ● I can use principles of design—like balance, contrast, and unity—to improve my composition.

Essential Questions: ● How do I use thumbnail sketches to organize my ideas visually? ● How can I design a layout that clearly communicates a focal point? ● What changes should I make to my sketch based on peer critique or self-assessment? ● How can I use reference images to improve the accuracy and creativity of my drawings?

Learning Activities: ● Review of rules to composition ● Cropping and creating emphasis and mood ● Use of reference images in art making ● Practice sketches of different compositions from imagination through objects and landscapes Second Topic: Compositional Design

Estimated # of Lessons: 1-2

Learning Targets: ● I can create multiple thumbnail sketches to plan the layout of my artwork.

Essential Questions: ● How do I use thumbnail sketches to organize my ideas visually?

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Painting Techniques II: Unit 2 ● ● ● ●

I can design with a clear focal point and organize visual elements to show hierarchy. I can revise and refine my sketches based on peer feedback and self-evaluation. I can track my creative process and improvements in my sketchbook. I can use principles of design—like balance, contrast, and unity—to improve my composition.

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How can I design a layout that clearly communicates a focal point? What changes should I make to my sketch based on peer critique or self-assessment?

Learning Activities: ● Create 5 thumbnail sketches of different compositions of a still life ● Create a final contour drawing of one of the thumbnail sketches

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Painting Techniques II: Unit 3 Course Name: Painting Techniques II Est. # of Lessons: 4-5

Unit 3 Title: Watercolor & Gouache Painting Techniques

Unit Overview: Get ready to explore the expressive power of water-based paint! In this unit, we dive into watercolor and gouache—two mediums that allow for bold textures, delicate layering, and vibrant washes of color. We practice techniques such as wet-on-wet, dry brush, and layering, using still-life and landscape references to guide our observational skills. We learn how to show value and texture in our paintings while experimenting with brush control and paint consistency. Whether we're capturing soft shadows or crisp edges, this unit is all about bringing our ideas to life with flow, transparency, and expression. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision. VA:Re.7.1.IIa: Recognize and describe personal aesthetic and empathetic responses to the natural world and constructed environments.

Transfer Goals ● ● ●

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Understandings ● ● ● ●

Artists layer transparent colors using weton-wet and dry brush to create value and texture in a painting. Artists observe real objects carefully to represent light, shadow, and form accurately with paint. Artists build complexity in watercolor and gouache paintings through intentional technique combinations and revisions. Thoughtful composition and focal point placement guide the viewer's experience of a painting.

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How do I use layering techniques to create realistic shadows and highlights? What steps do I take to plan a successful still life or landscape painting? How can I mix and apply watercolor and gouache to capture light, space, and texture? What makes a painting feel finished and expressive?

620

Painting Techniques II: Unit 3 Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Painting Techniques Layering methods Differences between watercolor and gouache Paint transparency and opacity Value creation with water-based paint Texture through brush movement Still life observation skills Landscape observation skills Light and shadow in watercolor Composition for still life painting Composition for landscape painting Brush control and paint consistency Series development in watercolor work

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I can use wet-on-wet and dry brush techniques to control texture and value. I can create depth and contrast by layering translucent and opaque colors. I can observe a still life or landscape and translate it into a sketch and final painting. I can apply watercolor and gouache techniques to express detail and mood. I can revise and refine a painting through layering and adjustment.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: compositional layouts for painting Final Drawing: Detailed contour drawing of compositional placement for painting Final Painting: Application of painting techniques to final drawing to create texture, emphasis and mood

Watercolor & Gouache Techniques page: Scumbling, Stippling, Tonal, wet on wet, dry brush, practice painting Painting Check-in: Application of techniques to a composition Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Watercolor & Gouache Painting Techniques

Estimated # of Lessons: 1

Learning Targets: ● I can use wet-on-wet and dry brush techniques to control texture and value. ● I can create depth and contrast by layering translucent and opaque colors.

Essential Questions: ● How do I use layering techniques to create realistic shadows and highlights? ● How can I mix and apply watercolor and gouache to capture light, space, and texture?

Learning Activities: ● Demonstration of painting techniques and brushes used for watercolor and gouache painting ● Demonstration of application of techniques to create texture, emphasis and mood on a painting. ● Differences between applications for landscape and still life painting. ● How to prep final drawing for painting

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Painting Techniques II: Unit 3 Second Topic: Watercolor & Gouache Painting

Estimated # of Lessons: 3-4

Learning Targets: ● I can use wet-on-wet and dry brush techniques to control texture and value. ● I can create depth and contrast by layering translucent and opaque colors. ● I can observe a still life or landscape and translate it into a sketch and final painting. ● I can apply watercolor and gouache techniques to express detail and mood. ● I can revise and refine a painting through layering and adjustment.

Essential Questions: ● How do I use layering techniques to create realistic shadows and highlights? ● What steps do I take to plan a successful still life or landscape painting? ● How can I mix and apply watercolor and gouache to capture light, space, and texture? ● What makes a painting feel finished and expressive?

Learning Activities: ● Thumbnail sketches of compositional layouts for final painting ● Final contour drawing for final painting ● Application of painting techniques to create texture, emphasis and mood on the final painting.

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Painting Techniques II: Unit 4 Course Name: Painting Techniques II

Unit 4 Title: Oil Painting Techniques

Est. # of Lessons: 5-6

Unit Overview: In this next unit, we learn how to handle oil paint like a pro—from laying down a foundation with underpainting to building up bold, textured layers with impasto. We set up our own still life compositions and plan our paintings using techniques artists have used for centuries. Along the way, we explore how to mix, layer, and apply oil paint to bring depth, form, and feeling into our artwork. Whether we're painting smooth shadows or thick highlights, this is our chance to experiment, take risks, and create pieces we're truly proud of. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.2.Ia: Explain how traditional and nontraditional materials may impact human health and the environment and demonstrate safe handling of materials, tools, and equipment. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision.

Transfer Goals ● ● ●

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Understandings ● ● ● ●

Artists create underpaintings first to establish value and structure before adding color and detail. Artists build form and texture by layering oil paint and using impasto techniques. Artists arrange still life compositions so that objects, light, and space guide the viewer’s eye. Artists use controlled brushwork and paint handling to create realistic surfaces and depth.

Essential Questions ● ● ● ●

How do I create an underpainting that helps guide my final oil painting? How can I use layering and impasto to show form, texture, and depth? How do I arrange a still life to create a strong composition? How can I improve my painting through critique and revision?

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Painting Techniques II: Unit 4 ●

Critique and reflection help artists see their work with fresh eyes and make stronger revisions. Knowledge

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Skills (Framed as Learning Targets)

Oil painting techniques Oil paint handling and safety Layering techniques Still life setup and lighting Value and form in oil painting Composition for still life Brush control with oil paint Drying time and paint thickness Critique and reflection process

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I can paint an underpainting that shows balance, space, and clear forms. I can create an underpainting that establishes value and structure. I can layer oil paint to build color, depth, and realism. I can use impasto to add texture and emphasis. I can control my brush and paint application to create clean edges and smooth blends. I can evaluate my painting and make changes based on critique and reflection.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Underpainting: Tonal sketch of value under the painting Final Painting: Application of painting techniques to underpainting in order to create texture, emphasis and mood

Oil Techniques page: Scumbling, Stippling, Tonal, wet on wet, dry brush, underpainting Underpainting Check-in: Create value of painting through mixture of paint and turpenoid Painting Check-in: Application of techniques to a composition Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Oil Painting Techniques and Materials

Estimated # of Lessons: 1

Learning Targets: ● I can layer oil paint to build color, depth, and realism. ● I can use impasto to add texture and emphasis. ● I can control my brush and paint application to create clean edges and smooth blends.

Essential Questions: ● How can I use layering and impasto to show form, texture, and depth?

Learning Activities: ● Review of oil painting techniques and still lifes from 1500s to present ● Demonstration of oil painting techniques

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Painting Techniques II: Unit 4 ●

Application of techniques on techniques page

Second Topic: Underpainting and Overpainting

Estimated # of Lessons: 4-5

Learning Targets: ● I can underpaint a still life that shows balance, space, and clear forms. ● I can create an underpainting that establishes value and structure. ● I can layer oil paint to build color, depth, and realism. ● I can use impasto to add texture and emphasis. ● I can control my brush and paint application to create clean edges and smooth blends. ● I can evaluate my painting and make changes based on critique and reflection

Essential Questions: ● How do I create an underpainting that helps guide my final oil painting? ● How can I use layering and impasto to show form, texture, and depth? ● How do I arrange a still life to create a strong composition? ● How can I improve my painting through critique and revision?

Learning Activities: ● Demonstration of Underpainting from Still life ● Students complete their own compositional underpainting ● Demonstration of Overpainting from Still life ● Students complete their own overpainting of value then add texture

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Painting Techniques II: Unit 5 Course Name:

Painting Techniques II

Unit 5 Title: Acrylic Painting

Est. # of Lessons: 4-5

Unit Overview: We now step into the role of visual storytellers! We learn to take separate images— photos, drawings, and visual references—and combine them into a single striking acrylic painting that feels intentional and complete. From sketching thumbnail layouts to experimenting with color mixing and brushwork, we make creative choices that show our understanding of balance, depth, and design. We explore blending techniques and textures that make acrylic painting feel dynamic and alive. At the end, we each have a piece that doesn't just show skill but tells a visual story that's entirely our own. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.2.Ia: Explain how traditional and nontraditional materials may impact human health and the environment and demonstrate safe handling of materials, tools, and equipment. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision.

Transfer Goals ● ● ●

Understandings ● ● ● ●

Artists study reference images carefully to gather visual information and inspiration for composition. Artists plan compositions by combining and manipulating different reference sources to create unity. Artists apply acrylic techniques in layers, building depth through contrast, color temperature, and value. Artists adjust color, proportion, and layout to maintain balance in complex compositions.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts)

Essential Questions ● ● ● ●

How can I blend multiple reference images into one unified composition? What acrylic painting techniques help me show depth, contrast, and visual interest? How do I decide what areas of my painting should have more emphasis or detail? What tools or strategies help me edit and refine a busy or complex composition?

626

Painting Techniques II: Unit 5 ●

Reflection on creative choices helps artists communicate ideas more effectively and strengthens their artistic voice. Knowledge

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Skills (Framed as Learning Targets)

Acrylic painting techniques Acrylic paint properties Layering and blending techniques Combining multiple reference images Creating spatial depth Foreground, middleground, background Composition balance Focal point development Color relationships in acrylic Image simplification and editing Process documentation and explanation

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I can combine multiple references to plan a unified composition. I can use thumbnails to explore layout and visual hierarchy. I can apply acrylic techniques like blending, dry brushing, and layering to create depth. I can identify and apply compositional principles like balance, emphasis, and contrast. I can explain my process and justify my choices in my final work.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: Compositional sketches of ideas for final painting Final Drawing: Compositional contour drawing of the final painting Final Painting: Application of painting techniques to underpainting in order to create texture, emphasis and mood

Acrylics Techniques page: Scumbling, Stippling, Tonal, wet on wet, dry brush Composition Drawing Check-in: Create emphasis and mood through compositional planning Painting Check-in: Application of techniques to a composition Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Acrylic Painting Techniques

Estimated # of Lessons: 1

Learning Targets: ● I can apply acrylic techniques like blending, dry brushing, and layering to create depth.

Essential Questions: ● What acrylic painting techniques help me show depth, contrast, and visual interest? ● How do I decide what areas of my painting should have more emphasis or detail? ● What tools or strategies help me edit and refine a busy or complex composition?

Learning Activities: ● Review of acrylic painting techniques and its differences from other mediums ● Demonstration of painting techniques ● Students will create their own painting techniques page

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Painting Techniques II: Unit 5 Second Topic: Acrylic Painting

Estimated # of Lessons: 3-4

Learning Targets: ● I can combine multiple references to plan a unified composition. ● I can use thumbnails to explore layout and visual hierarchy. ● I can apply acrylic techniques like blending, dry brushing, and layering to create depth. ● I can identify and apply compositional principles like balance, emphasis, and contrast. ● I can explain my process and justify my choices in my final work.

Essential Questions: ● How can I blend multiple reference images into one unified composition? ● What acrylic painting techniques help me show depth, contrast, and visual interest? ● How do I decide what areas of my painting should have more emphasis or detail? ● What tools or strategies help me edit and refine a busy or complex composition?

Learning Activities: ● Thumbnail Sketches ● Final Contour Drawing ● Final Painting

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Painting Techniques II: Unit 6 Course Name:

Painting Techniques II

Unit 6 Title: Independent Painting

Est. # of Lessons: 6-7

Unit Overview: Finally, we take everything we've learned—our favorite techniques, our best ideas, and our personal voices—and create original paintings that are entirely our own. We start by exploring themes and inspirations, sketching ideas, and planning our compositions. Then we choose the medium and style that best fit our vision. Along the way, we reflect on our process, write about our choices, and build a final artist statement. This is our moment to showcase our growth as artists and share work that truly represents who we are. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr2.2.Ia: Explain how traditional and nontraditional materials may impact human health and the environment and demonstrate safe handling of materials, tools, and equipment. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision.

Transfer Goals ● ● ●

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Understandings ● ● ●

Artists generate their own ideas through research, reflection, and inspiration from other artists or themes. Artists plan compositions intentionally so that each visual element contributes to the viewer’s experience. Artists select and apply techniques

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment in creative contributions in society. (VOG: Responsible Citizens) Essential Questions

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How do I choose a meaningful subject or theme for my final painting? What techniques or styles best help me communicate my message or idea? How do I revise and refine my work throughout the creative process? How can I reflect on my artistic choices and

629

Painting Techniques II: Unit 6

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talk about my growth as an artist?

intentionally to suit the subject matter, emotion, or story they want to tell. Artists write about their own work to clarify their thinking, track their growth, and communicate their artistic vision. Knowledge

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Skills (Framed as Learning Targets)

Concept development Subject and theme selection Technique selection Composition planning Independent work strategies Revision and refinement methods Written critique structure Artist statement components Portfolio organization Presentation of artwork Reflection on artistic growth

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I can brainstorm and develop an original concept for my final painting. I can plan and sketch a strong composition that supports my subject or message. I can apply a variety of painting techniques to create a finished work that demonstrates growth and craftsmanship. I can reflect on and revise my work through written critique and self-assessment. I can write an artist statement that clearly communicates my creative process and intent.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Brainstorm of Concepts: List of conceptual ideas for student’s to create personal art Thumbnail Sketches: Compositional sketches of ideas for final painting Final Drawing: Compositional contour drawing of the final painting Final Painting: Application of painting techniques to underpainting in order to create texture, emphasis and mood

Composition Drawing Check-in: Create emphasis and mood through compositional planning Painting Check-in: Application of techniques to a composition Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Generating an Idea

Estimated # of Lessons: 1

Learning Targets: ● I can brainstorm and develop an original concept for my final painting.

Essential Questions: ● How do I choose a meaningful subject or theme for my final painting? ● What techniques or styles best help me communicate my message or idea?

Learning Activities: ● Review of how artists get their ideas ● Sketchbook page of brainstorming for ideas based on interests and opinions

630

Painting Techniques II: Unit 6 Second Topic: Independent Process

Estimated # of Lessons: 4-5

Learning Targets: ● I can brainstorm and develop an original concept for my final painting. ● I can plan and sketch a strong composition that supports my subject or message. ● I can apply a variety of painting techniques to create a finished work that demonstrates growth and craftsmanship. ● I can reflect on and revise my work through written critique and selfassessment. ● I can write an artist statement that clearly communicates my creative process and intent.

Essential Questions: ● How do I choose a meaningful subject or theme for my final painting? ● What techniques or styles best help me communicate my message or idea? ● How do I revise and refine my work throughout the creative process? ● How can I reflect on my artistic choices and talk about my growth as an artist?

Learning Activities: ● Thumbnail sketches ● Final sketch/ underpainting ● Final Painting Third Topic: Artist Statement

Estimated # of Lessons: 1

Learning Targets: ● I can reflect on and revise my work through written critique and selfassessment. ● I can write an artist statement that clearly communicates my creative process and intent.

Essential Questions: ● How do I revise and refine my work throughout the creative process? ● How can I reflect on my artistic choices and talk about my growth as an artist?

Learning Activities: ● Artist Statement Questionnaire ● Create a slide of completed artist statement and photograph of artwork

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Painting Techniques III-Murals & Installations PAINTING TECHNIQUES III- Murals & Installations Course # WAN303

0.5 credit (FVA, HUM)

PREREQUISITE: WAN203 Painting Techniques II Painting Techniques III is an advanced art course designed for students who want to explore painting on a larger scale and in nontraditional spaces. In this class, you’ll study and create murals and painted art installations that interact with their environment and audience. You’ll learn advanced painting techniques, surface preparation, scaling and transferring images, collaborative planning, and site-specific design. Through individual and group projects, you’ll explore how murals and installations can communicate messages, transform spaces, and engage communities. This course emphasizes creative problem-solving, craftsmanship, and conceptual thinking while encouraging you to develop a strong personal style and artistic voice.

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Painting Techniques III — Murals and Installation (Semester Course) In this course, we explore what it means to make art that lives in the world. We move beyond the canvas to study, design, and create large-scale work that transforms real spaces and communicates ideas to real audiences. Across six units, we build the technical skills, conceptual thinking, and collaborative habits that public art demands — and we close by creating a mural or installation together that leaves a lasting mark on our school community. Unit 1: Intro to Murals and Installation 4 Lessons

Unit 2: Large Scale Painting 4 Lessons

Unit 3 Mural Design and Concept 4 Lessons

In our opening unit, we begin by asking a simple question: What happens when art leaves the canvas? We study murals and installations from around the world, exploring how artists use scale, location, and imagery to communicate ideas in public spaces. This unit builds the foundation for everything that follows — learning to see how art and environment work together, and beginning to imagine what we might want to say through large-scale work of our own.

Now that we understand how murals function, we turn to the practical challenge of making them. Painting at mural scale requires different tools, different planning, and different thinking than studio work. We practice transferring designs from small sketches to large surfaces and experiment with brushes, rollers, and coverage techniques. These are the hands-on skills we will rely on when we begin our collaborative mural later in the course.

With technical skills in hand, we shift to the harder question: what is our mural actually about? We explore how artists use imagery, symbolism, and composition to communicate ideas about culture, community, and identity. Through brainstorming, sketching, and peer critique, we develop and refine our own mural concepts into a design proposal — building the creative thinking we will bring to our collaborative work.

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Painting Techniques III — Murals and Installation (Semester Course) Unit 4: Site Specific Art and Installation 4 Lessons

Unit 5: Collaborative Art Making 3 Lessons

Unit 6: Collaborative Mural or Installation 11 Lessons

A mural is always in conversation with its location. In this unit, we explore that relationship more deeply by studying artists who design work specifically for the spaces where it will exist. We examine how architecture, light, and scale shape the viewer's experience, then develop our own installation concept for a real space. This unit expands our definition of what public art can be — and sharpens our instinct for designing with place in mind.

We have developed skills, ideas, and a sense of place. Now we learn to do all of that together. In this unit, we practice the specific work of collaboration — brainstorming collectively, making shared decisions, and organizing roles so a complex project can actually get done. Through group planning and critique, we build the trust and structure that a large-scale collaborative artwork requires. This unit is the bridge between everything we have learned and the final project ahead.

This is where it all comes together. Drawing on everything we have learned about public art, large-scale technique, concept development, site-specific thinking, and collaboration, we design and create a mural or installation that transforms a real space. We work as a team from final design through surface preparation, transfer, and execution. We close by reflecting on our process and writing an artist statement — leaving behind not just a finished artwork, but a record of how we made it and why it matters.

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Painting Techniques III: Unit 1 Course Name: Painting Techniques III - Murals and Installations Unit 1 Title: Intro to Murals and Installations

Est. # of Lessons: 4

Unit Overview: In our opening unit, we begin by asking a simple question: What happens when art leaves the canvas? We study murals and installations from around the world, exploring how artists use scale, location, and imagery to communicate ideas in public spaces. This unit builds the foundation for everything that follows — learning to see how art and environment work together, and beginning to imagine what we might want to say through large-scale work of our own. STAGE 1: DESIRED RESULTS Established Goals ●

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VA:Cr1.1.IIIa: Visualize and hypothesize to generate plans for ideas and directions for creating art and design that can affect social change. VA:Cr3.1.IIa: Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works of art and design in response to personal artistic vision. VA:Re.7.2.Ia: Analyze how one’s understanding of the world is affected by experiencing visual imagery. VA:Cn11.1.IIa: Compare uses of art in a variety of societal, cultural, and historical contexts and make connections to uses of art in contemporary and local contexts VA:Re7.1.IIIa: Recognize and describe aesthetic and empathetic responses to constructed environments

Transfer Goals ●

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Understandings ●

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When art leaves the canvas, it enters into a conversation with everyone who passes through that space — whether they choose to or not. Public art is never just decoration — it is always an argument about what a community values, remembers, or imagines for itself. Understanding how other artists have used space and scale is the first step toward knowing what we want to say with our own work. An artist statement doesn't just describe what we made — it tells the viewer why it

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and the artist's intent. (VOG: Critical Thinkers) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ●

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Painting Techniques III: Unit 1 matters and invites them into the thinking behind the work. Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

History of murals Installation art Site-specific art Public art Scale in painting Environmental interaction Contemporary mural artists Purpose of an artist statement Components of an artist statement Artistic inspiration Artistic intention Creative process Materials and techniques vocabulary Reflection on artistic decisions Revision and editing strategies Communication of artistic ideas to an audience

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I can explain how a specific artist's choices — material, placement, scale — change the meaning of a space. I can generate multiple mural concept sketches that explore different approaches to a theme. I can analyze how a specific mural or installation uses scale, location, and imagery to communicate an idea.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Planning: Mural concept sketch and written Assessment Criteria: ● ● ● ●

Development of an Artist Statement: prompted by questions related to their process and intent

Exploration of Ideas Use of Imagery and Symbolism Composition and Scale Awareness Craftsmanship and Clarity

Artist Statement: Explanation of artmaking ● ● ● ●

Communication of Intent Connection to Artistic Choices Reflection on Process Voice and Clarity STAGE 3: LEARNING PLAN

First Topic: Intro to Murals and Installation

Estimated # of Lessons: 2

Learning Targets:

Essential Questions:

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Painting Techniques III: Unit 1 ● ● ●

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What is the purpose of murals and installation art? How can art transform a space? How do artists design artwork for a specific environment? How do artists communicate the meaning of their work to an audience? How do artists communicate the meaning of their work through writing? What ideas and experiences influence the artwork we create? How can writing help viewers understand our artistic choices? How do artists describe their process, materials, and inspiration? Why is reflection important in the creative process?

Learning Activities: ● Study famous muralists and installation artists ● Analyze how murals change public spaces ● Class discussion about public art in communities ● Students sketch mural concept ideas Second Topic: Formulating an Artist Statement

Estimated # of Lessons: 2

Learning Targets: ● I can explain how a specific artist's choices — material, placement, scale — change the meaning of a space. ● I can generate multiple mural concept sketches that explore different approaches to a theme. ● I can analyze how a specific mural or installation uses scale, location, and imagery to communicate an idea.

Essential Questions: ● What is the purpose of murals and installation art? ● How can art transform a space? ● How do artists design artwork for a specific environment? ● How do artists communicate the meaning of their work to an audience?

Learning Activities: ● Teacher-led class discussion on how to formulate an Artist Statement. Review of question prompts that help students develop their Artist Statement.

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Painting Techniques III: Unit 2 Course Name: Painting Techniques III - Murals and Installation Unit 2 Title: Large Scale Painting

Est. # of Lessons: 4

Unit Overview: Now that we understand how murals function, we turn to the practical challenge of making them. Painting at mural scale requires different tools, different planning, and different thinking than studio work. We practice transferring designs from small sketches to large surfaces and experiment with brushes, rollers, and coverage techniques. These are the hands-on skills we will rely on when we begin our collaborative mural later in the course. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.IIIa: Demonstrate in works of art how visual and material culture shapes people's lives VA:Cr1.2.Ia: Choose from a range of materials and methods to plan works of art VA:Re8.1.IIIa: Analyze working methods of artists and apply those methods to define and solve a problem

Transfer Goals ● ●

Understandings ●

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Scale changes everything — not just the tools we use, but the decisions we make and the way a viewer experiences the work. Technical fluency at large scale isn't just a practical skill — it's what makes ambitious ideas possible to execute. Planning at mural scale is itself a creative act, not just preparation for one.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

Grid method Projection methods Mural tools Large brush techniques Paint coverage

How do artists paint on a large scale? How do artists transfer images to large surfaces? How do artists enlarge images accurately? How does scale influence meaning?

Skills (Framed as Learning Targets) ● ● ● ●

I can scale a design from a small sketch to a large surface using a grid or projection method. I can select and use painting tools appropriate for large-scale work. I can apply paint to create consistent coverage across a large surface. I can maintain proportion and composition when working at mural scale.

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Painting Techniques III: Unit 2 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Scale Painting and Mural Scaling Study

Technique Practice Conversation: check-ins with the teacher

Assessment Criteria: ● ● ● ●

Scaling and Enlargement Accuracy Proportion and Composition at Large Scale Use of Tools and Materials for Large-Scale Painting Paint Application and Surface Coverage STAGE 3: LEARNING PLAN

First Topic: Scaling and Gridding

Estimated # of Lessons: 2

Learning Targets : Essential Questions: ● I can scale a design from a small sketch to a ● How do artists transfer images to large large surface using a grid or projection surfaces? method. ● How do artists enlarge images accurately? ● I can maintain proportion and composition when working at mural scale. Learning Activities: ● Practice scaling sketches ● Grid enlargement exercise Second Topic: Large-scale Painting

Estimated # of Lessons: 2

Learning Targets: ● I can select and use painting tools appropriate for large-scale work. ● I can apply paint to create consistent coverage across a large surface.

Essential Questions: ● How do artists paint on a large scale? ● How does scale influence meaning?

Learning Activities: ● Large-scale painting studies

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Painting Techniques III: Unit 3 Course Name: Painting Techniques lll -Murals and Installation Unit 3 Title: Mural Design and Concept Development

Est. # of Lessons: 4

Unit Overview: With technical skills in hand, we shift to the harder question: what is our mural actually about? We explore how artists use imagery, symbolism, and composition to communicate ideas about culture, community, and identity. Through brainstorming, sketching, and peer critique, we develop and refine our own mural concepts into a design proposal — building the creative thinking we will bring to our collaborative work. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.1.IIIa: Visualize and hypothesize to generate plans for art that can affect social change VA:Cr1.2.Ia: Choose from a range of approaches to plan works of art VA:Cn11.1.IIa: Compare uses of art in societal, cultural, and historical contexts (fits the community/public message focus) VA:Re7.2.Ia: Analyze how experiencing visual imagery affects one's understanding of the world

Transfer Goals ● ● ●

Understandings ●

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Public art shapes how communities understand themselves and their stories — which means the choices we make in design carry real responsibility. A mural concept isn't finished until it considers who will see it, where it will live, and what it asks of the community around it. Symbolism and imagery are not decoration — they are the argument the mural is making.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

Visual symbolism Mural composition Concept development Design planning Site analysis

Create original artworks to develop creativity, competence, and confidence. (VOG: Creative Problem Solvers) Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can art transform a space? How does the environment influence art? How do artists design murals that communicate ideas? How can imagery tell a story in public art?

Skills (Framed as Learning Targets) ● ● ● ●

I can create mural sketches that explore different concepts and imagery. I can use symbols and imagery to communicate a specific idea or message. I can give and receive constructive feedback on mural designs. I can develop a mural design proposal that includes concept, imagery, and composition.

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Painting Techniques III: Unit 3 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Mural Design Proposal Assessment Criteria: ● ● ● ● ● ●

Concept Development Use of Imagery and Symbolism Composition and Visual Organization Site Awareness Response to Feedback Presentation and Clarity

Planning: Concept sketches Teacher Conference: Conversations about artmaking process Critique: Peer discussion

STAGE 3: LEARNING PLAN First Topic: Create Mural sketches

Estimated # of Lessons: 2

Learning Targets: ● I can create a mural design based on a concept. ● I can use imagery and symbols to communicate ideas. ● I can create mural sketches that explore different concepts and imagery. ● I can use symbols and imagery to communicate a specific idea or message.

Essential Questions: ● How can art transform a space? ● How does the environment influence art? ● How do artists design murals that communicate ideas? ● How can imagery tell a story in public art?

Learning Activities: ● Brainstorm themes ● Create multiple mural sketches Second Topic: Mural Proposals

Estimated # of Lessons: 2

Learning Targets: ● I can develop a mural design proposal ● I can give and receive constructive feedback on mural designs. ● I can develop a mural design proposal that includes concept, imagery, and composition.

Essential Questions: How can art transform a space? How does the environment influence art? How do artists design murals that communicate ideas? How can imagery tell a story in public art?

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Painting Techniques III: Unit 4 Course Name: Painting Techniques III - Murals and Installation Unit 4 Title: Collaborative Mural or Installation

Est. # of Lessons: 11

Unit Overview: This is where it all comes together. Drawing on everything we have learned about public art, large-scale technique, concept development, site-specific thinking, and collaboration, we design and create a mural or installation that transforms a real space. We work as a team from final design through surface preparation, transfer, and execution. We close by reflecting on our process and writing an artist statement — leaving behind not just a finished artwork, but a record of how we made it and why it matters. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

VA:Cr2.1.IIIa: Demonstrate in works of art how visual and material culture defines and shapes people's lives VA:Cr2.3.Ia: Collaboratively develop a proposal for an installation that transforms a space VA:Cr3.1.IIa: Engage in critique, reflect, revise, and refine VA:Cn10.1.Ia: Document the process of developing ideas VA:Pr6.1.Ia: Analyze and describe the impact that an exhibition has on awareness of social and environmental issues

Transfer Goals ● ●

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Understandings ●

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Completing a large-scale collaborative artwork requires balancing individual contribution with shared vision — and knowing when to hold your idea and when to let it go. A finished mural or installation isn't just evidence of technical skill — it is a statement about what this group of people cared about and chose to say together. An artist statement doesn't just explain the work — it completes it, giving future viewers a way into what we made and why it matters.

Create original artworks to develop creativity, competence, and confidence. (VOG: Creative Problem Solvers) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment to creative contributions in society. (VOG: Responsible Citizens) Essential Questions

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How can art transform a space? How do artists work together to create largescale artwork? How can murals communicate ideas to a community?

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Painting Techniques III: Unit 4 Knowledge ● ● ● ● ●

Mural execution Collaborative design Project planning Large-scale painting techniques Installation assembly

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ● ●

I can collaborate to design and create a mural or installation. I can apply painting techniques to large-scale artwork. I can contribute ideas that strengthen a collaborative project. I can collaborate with my team to finalize a mural or installation design. I can prepare a surface and transfer a design accurately. I can apply large-scale painting or construction techniques with craftsmanship. I can work responsibly within my role throughout a long-term project. I can reflect on my contribution to a collaborative artwork. I can write an artist statement that communicates what we made and why it matters.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Final Collaborative Mural Or Installation

Formative Assessment Teacher Conferences: Team progress checks

Assessment Criteria: Observation: Teacher observation of artmaking • Collaborative Design and Concept Critique: Peer feedback • Large-Scale Technique and Craftsmanship • Individual Contribution & Role Responsibility • Site and Space Relationship Artist Statement: • Communicates the concept behind the work, the decisions made during the process, and the significance of the finished piece to its community audience • Invites viewers into the thinking behind the work rather than simply describing what it looks like. Group Process and Reflection • Articulate their individual contribution to the collaborative process, ● Identify at least one moment of creative problem-solving or adjustment, and reflect

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Painting Techniques III: Unit 4 honestly on what they learned from working at this scale and with this team STAGE 3: LEARNING PLAN First Topic: Design and Transfer

Estimated # of Lessons: 2

Learning Targets: ● I can collaborate to design and create a mural or installation and apply painting techniques to large-scale artwork. ● I can contribute ideas that strengthen a collaborative project & collaborate with my team to finalize a mural or installation design. ● I can prepare a surface and transfer a design accurately.

Essential Questions: ● How can art transform a space? ● How do artists work together to create largescale artwork? ● How can murals communicate ideas to a community?

Learning Activities: ● Students will finalize the mural design ● Students will prepare the wall surface or secure a hanging mechanism for installation ● Students will transfer the design to the wall Second Topic: Painting Collaboratively

Estimated # of Lessons: 9

Learning Targets: ● I can collaborate to design and create a mural or installation and apply painting techniques to large-scale artwork. ● I can contribute ideas that strengthen a collaborative project and apply large-scale painting or construction techniques with craftsmanship. ● I can work responsibly within my role throughout a long-term project and reflect on my contribution to a collaborative artwork. ● I can write an artist statement that communicates what we made and why it matters.

Essential Questions: ● How can art transform a space? ● How do artists work together to create largescale artwork? ● How can murals communicate ideas to a community?

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Painting Techniques III: Unit 5 Course Name: Painting Techniques III - Murals and Installation Unit 5 Title: Collaborative Art Making

Est. # of Lessons: 3

Unit Overview: We have developed skills, ideas, and a sense of place. Now we learn to do all of that together. In this unit, we practice the specific work of collaboration — brainstorming collectively, making shared decisions, and organizing roles so a complex project can actually get done. Through group planning and critique, we build the trust and structure that a large-scale collaborative artwork requires. This unit is the bridge between everything we have learned and the final project ahead. STAGE 1: DESIRED RESULTS Established Goals ● ●

VA:Cr2.3.Ia:Collaboratively develop a proposal for an installation or artwork VA:Cr3.1.IIa: Engage in constructive critique, then revise and refine work

Transfer Goals ●

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Understandings ●

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Collaboration expands what any individual artist could create alone — but only if everyone's contribution is genuinely valued and clearly organized. Shared creative vision doesn't happen automatically — it requires the same deliberate work as any other design decision. The hardest part of collaborative art isn't the making — it's building enough trust and structure to make something together that none of you could have made separately.

Essential Questions ● ● ●

Knowledge ● ● ● ●

Collaboration strategies Group design planning Project management Shared artistic vision

Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners) Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Cultivate resilience and adaptability in collaboration to allow for commitment to creative contributions in society. (VOG: Responsible Citizens)

How do artists collaborate on large artworks? What makes collaborative artwork successful? How do roles and responsibilities help artists complete complex collaborative projects?

Skills (Framed as Learning Targets) ● ● ●

I can contribute ideas to a collaborative artwork. I can work with others to create a unified design. I can identify the different roles needed to complete a collaborative mural project.

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Painting Techniques III: Unit 5 ● ● ● ● ●

I can work responsibly within my assigned role. I can organize materials and tools needed for mural production. I can collaborate with classmates to prepare for a large-scale artwork. I can contribute to the planning process for a collaborative mural. I can choose and commit to a role that supports the success of the team.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Group Concept Proposal: Collaborate to develop a clear idea for their mural including theme or message, inspiration, intended location, and audience or community impact.

Teacher Conferences: Discussions on the planning process, problem-solving, craftsmanship of the design, and thoughtful design decisions.

STAGE 3: LEARNING PLAN First Topic: Mural Design and Planning

Estimated # of Lessons: 2

Learning Targets: ● I can contribute ideas to a collaborative artwork. ● I can work with others to create a unified design. ● I can work with others to develop a unified design.

Essential Questions: ● How do artists collaborate on large artworks?

Learning Activities: ● Students will work as a group to brainstorm mural design ideas ● Students will work as a team to plan a mural ● Students will have a group design review and create a proposal for the mural ● Students develop a clear idea for their mural. Includes: theme or message; inspiration; intended location; audience or community impact Second Topic: Preparing to Create a Collaborative Mural

Estimated # of Lessons: 1

Learning Targets: ● I can identify the different roles needed to complete a collaborative mural project. ● I can choose a role that supports the success of the mural team.

Essential Questions: ● What makes collaborative artwork successful? ● How do artists collaborate effectively to plan and create large-scale artworks?

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Painting Techniques III: Unit 5 ● ● ● ●

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How do roles and responsibilities help artists complete complex collaborative projects?

Learning Activities: ● The teacher will introduce students to a list of roles/positions that are needed to execute the collaborative mural ● Students will choose their mural production role/position assignments ● Students will collect all materials and tools that will be needed to create the mural

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Painting Techniques III: Unit 6 Course Name: Painting Techniques III - Murals and Installation Unit 6 Title: Collaborative Mural or Installation

Est. # of Lessons: 11

Unit Overview: This is where it all comes together. Drawing on everything we have learned about public art, large-scale technique, concept development, site-specific thinking, & collaboration, we design & create a mural or installation that transforms a real space. We work as a team from final design through surface preparation, transfer, and execution. We close by reflecting on our process and writing an artist statement — leaving behind not just a finished artwork, but a record of how we made it and why it matters. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ● ●

Transfer Goals ● ●

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Understandings ●

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How can art transform a space? How do artists work together to create largescale artwork? How can murals communicate ideas to a community?

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Painting Techniques III: Unit 6 Knowledge ● ● ● ● ●

Mural execution Collaborative design Project planning Large-scale painting techniques Installation assembly

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ● ●

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Collaborative Mural Or Installation

Teacher Conferences: Team progress checks

Assessment Criteria:

Observation: Teacher observation of artmaking

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Collaborative Design and Concept Large-Scale Technique and Craftsmanship Individual Contribution and Role Responsibility Site and Space Relationship

Critique: Peer feedback

Artist Statement ●

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Communicates the concept behind the work, the decisions made during the process, and the significance of the finished piece to its community audience Invites viewers into the thinking behind the work rather than simply describing what it looks like.

Group Process and Reflection

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Painting Techniques III: Unit 6 ● ●

Articulate their individual contribution to the collaborative process, Identify at least one moment of creative problem-solving or adjustment, and reflect honestly on what they learned from working at this scale and with this team STAGE 3: LEARNING PLAN

First Topic: Design and Transfer

Estimated # of Lessons: 2

Learning Targets: ● I can collaborate to design and create a mural or installation and apply painting techniques to large-scale artwork. ● I can contribute ideas that strengthen a collaborative project and collaborate with my team to finalize a mural or installation design. ● I can prepare a surface and transfer a design accurately.

Essential Questions: ● How can art transform a space? ● How do artists work together to create largescale artwork? ● How can murals communicate ideas to a community?

Estimated # of Lessons: 9

Learning Targets: ● I can collaborate to design and create a mural or installation and apply painting techniques to large-scale artwork. ● I can contribute ideas that strengthen a collaborative project and apply large-scale painting or construction techniques with craftsmanship. ● I can work responsibly within my role throughout a long-term project. ● I can reflect on my contribution to a collaborative artwork and write an artist statement that communicates what we made and why it matters.

Essential Questions: ● How can art transform a space? ● How do artists work together to create largescale artwork? ● How can murals communicate ideas to a community?

650

AP 2D Art & Design AP 2D ART & DESIGN Course #: WAH402

1 credit (FVA, HUM)

PREREQUISITE: WAN301 Drawing Techniques III, WAN303 Painting Techniques III, WAN205 Digital Design II: Photoshop, WAN206 Digital Design II: Illustrator, WAN207 Digital Design II: Animation, WAN304 Photography III In AP 2D Art and Design, we use the skills we develop in the course — and our own ideas — to create original, visually compelling works of art and design. Throughout the course, we develop an inquiry that guides our artmaking through practice, experimentation, and revision of materials, processes, and ideas while demonstrating 2D design skills through photography, graphic design, collage, digital art, illustration, printmaking, painting, mixed media, and more. Along the way, we explore how choices in composition, color, value, texture, space, and typography can communicate meaning and strengthen our personal voice.

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AP 2D Art and Design (Full Year Course) In AP 2D Art and Design, we use the skills we develop in the course — and our own ideas — to create original, visually compelling works of art and design. Throughout the course, we develop an inquiry that guides our artmaking through practice, experimentation, and revision of materials, processes, and ideas while demonstrating 2D design skills through photography, graphic design, collage, digital art, illustration, printmaking, painting, mixed media, and more. Along the way, we explore how choices in composition, color, value, texture, space, and typography can communicate meaning and strengthen our personal voice. Unit 1:Investigate Materials, Processes, & Ideas 7-10 Days

Unit 2: Experimentation & Revision 16-24 Days

Unit 3: Present Art & Design 4-7 Days

Unit 4: Refine & Digital Submission 10-19 Days

We complete the final stage of We shift from making to curating. our portfolio process. We We select and sequence our photograph our work carefully, strongest pieces, write artist edit and format images to meet statements that explain our College Board standards, and inquiry and process, and prepare upload our Sustained Investigation our work for AP scoring and and Selected Works to the AP exhibition. We develop the Digital Portfolio. We review and language to talk about our own art revise our written evidence, clearly and professionally, revising confirm our submission is based on feedback until our complete, and reflect on how our portfolio tells a coherent and work and thinking have developed compelling story. across the course.

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AP 2D Art & Design: Unit 1 Course Name: AP 2D Art and Design Unit 1 Title: Investigate Materials, Processes, & Ideas Est. # of Lessons: 7-10 Unit Overview: We begin by building the foundation of our AP portfolio. Our sketchbooks become laboratories for experimentation, research, and reflection — places to mind-map, sketch, journal, and study artists who connect to our developing ideas. Rather than moving straight to finished pieces, we build our inquiry slowly and deliberately, so that the sustained investigation we develop is genuinely our own. STAGE 1: DESIRED RESULTS Established Goals ●

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Transfer Goals ● ● ●

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Understandings ●

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Essential Questions ● ● ● ● ●

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AP 2D Art & Design: Unit 1 ● ● ●

Artists study other artists and artworks so that historical and contemporary ideas inform their creative choices. Artists develop sustained investigations so that a series of artworks can communicate a deeper concept or question. Artists document experimentation and reflection so that their creative process becomes visible and intentional.

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Knowledge ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

How can documenting the creative process improve artistic growth?

Skills (Framed as Learning Targets) ● ● ● ● ● ●

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

654

AP 2D Art & Design: Unit 1 a contemporary artist to decipher their concepts and ideas through visual references Written Evidence 2 Week Check Ins: Write about the artistic process through sustained investigation. Present written evidence about the process and next steps needed to complete to work. First Independent Piece: Independently create a piece based on sustained investigation STAGE 3: LEARNING PLAN First Topic: What is AP Art

Estimated # of Lessons: 1

Learning Targets: ● I can explain the expectations and structure of the AP Art and Design portfolio. ● I can analyze examples of AP portfolios to understand successful artistic investigations.

Essential Questions : ● How do artists generate ideas that can sustain a body of work over time? ● How can composition, gesture, and value strengthen visual storytelling in drawing? ● In what ways does experimenting with different media expand artistic possibilities? ● How do artists use research and visual analysis to influence their creative direction? ● What makes a sustained investigation meaningful and visually compelling? ● How can documenting the creative process improve artistic growth?

Estimated # of Lessons: 3-4

Learning Targets: ● I can apply compositional drawing strategies to effectively organize visual elements. ● I can use gesture drawing and timed studies to strengthen observational skills.

Essential Questions: ● How can composition, gesture, and value strengthen visual storytelling in drawing?

655

AP 2D Art & Design: Unit 1 ●

“Gallery Walk” to look at our peers works

Third Topic: Sustained Investigation

Estimated # of Lessons: 3-5

656

AP 2D Art & Design: Unit 2 Course Name: AP 2D Art & Design

Unit 2 Title: Experimentation & Revision

Est. # of Lessons: 16-24

●

Transfer Goals ● ● ●

● ●

Understandings ● ● ●

Essential Questions ● ● ● ●

657

AP 2D Art & Design: Unit 2 Knowledge ● ● ● ● ● ●

Media manipulation Experimentation strategies Revision techniques Series development Reflective writing Critique utilization

Skills (Framed as Learning Targets) ● ● ● ● ● ● ● ●

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Video Homework: Guided notetaking while watching videos from CollegeBoard Oil Color Study: Displaying combinations of colors to create unique tones and hues Oil painting: Paint using colors created in color study to create a realistic artwork Charcoal Value Chart: Shows values from dark to light based on charcoal type, pressure amount, and technique Gouache Color Schemes: 4 color schemes with the progression of value in 7 different ranges per hue Gouache Painting: Painting broken into 4 quadrants, each one using the hues and values from previous color schemes Acrylic Color Studies: Combinations of colors to create unique tones and hues found in an object Acrylic Painting: Drawing using colors create in color study to create a realistic artwork Written Evidence 2 Week Check Ins: Write about the artistic process through sustained investigation. Present written evidence about the process and next steps needed to complete to work.

Oil Paint Check-in: Color studies and small art piece displaying oil painting techniques Charcoal Check-in: Value studies and small art piece displaying charcoal techniques Gouache Check-in: Color schemes and small art piece displaying gouache techniques Acrylic Check-in: Color studies and small art piece displaying acrylic techniques Group Critique: techniques, and composition review One on One Check Ins: Refining works Sustained Investigation: Inquiry into independent piece in our sketchbook Rubric Reflection: Self evaluation and Response to Process Questions

658

AP 2D Art & Design: Unit 2 Second Independent Piece: Independently create a piece based on sustained investigation STAGE 3: LEARNING PLAN First Topic: Exploring Materials

Estimated # of Lessons: 16-24

Learning Targets: ● I can apply compositional drawing strategies to effectively organize visual elements. ● I can experiment with different materials such as graphite, oil, gouache, and other media. ● I can create color studies and value charts to explore how materials affect visual outcomes.

Essential Questions: ● In what ways does experimenting with different media expand artistic possibilities? ● How do artists use research and visual analysis to influence their creative direction? ● How can documenting the creative process improve artistic growth? ● How can revision improve clarity and impact in my work? ● How can documenting the creative process improve artistic growth?

Learning Activities: ● Demonstrations of colored pencil, charcoal, graphite, gouache, acrylic, oil, digital, and photography ● Slide deck on color theory ● Demonstration of matching values across hues ● Students will create a color study and small piece in oil. ● Students will create a value chart and small piece in charcoal. ● Students will create a color study and small piece in acrylic. ● Students will create a value chart and 4 section color scheme piece of a still life in gouache ● Class critique of finished pieces

659

AP 2D Art & Design: Unit 3 Course Name:

AP 2D Art & Design

Unit 3 Title: Present Art & Design

Est. # of Lessons: 4-7

●

● ●

●

Transfer Goals ●

●

Understandings ● ●

●

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ● ●

660

AP 2D Art & Design: Unit 3 ●

● ●

both artwork and presentation?

Knowledge ● ● ● ● ● ● ● ●

Portfolio curation strategies Sequencing artworks for visual flow Written evidence structure Written evidence requirements for AP portfolios Describing materials processes and ideas in writing Documenting practice experimentation and revision Critique strategies for presentation improvement Visual communication through portfolio layout

Skills (Framed as Learning Targets) ● ● ● ●

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

661

AP 2D Art & Design: Unit 3 STAGE 3: LEARNING PLAN First Topic: Written Evidence

Estimated # of Lessons: 4-7

662

AP 2D Art & Design: Unit 4 Course Name: AP 2D Art & Design

Unit 4 Title: Refine & Digital Submission Est. # of Lessons: 10-19

Unit Overview:This is our final step before submission. We’ll learn how to create digital images that accurately represent our artwork, edit and format files correctly, and upload our Sustained Investigation and Selected Works to the AP Digital Portfolio. This unit is about polishing and presenting the work we’ve devoted our time and energy to, making sure our portfolio truly reflects our artistic growth and thinking. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Pr4.1.Ia: Analyze, select, and curate artifacts and/or artworks for presentation and preservation. VA:Pr6.1.Ia: Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ●

● ●

Understandings ● ● ● ● ● ●

Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ● ● ● ●

663

AP 2D Art & Design: Unit 4 Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Photographing artwork with proper lighting Staging artwork for photography Camera composition and framing techniques Editing photographs for clarity and accuracy Digital file naming and organization Preparing images for AP portfolio submission Selecting artworks for sustained investigation

● ● ● ● ● ● ●

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

AP Portfolio: Written to highlight our art making based on the parameters set by CollegeBoard Portfolio Presentations: presenting our finished portfolios to the class

One on One Check Ins: Assist while photographing artworks and writing ourwritten evidence Progress Checkin: Writing a draft of our portfolio

STAGE 3: LEARNING PLAN First Topic: Photographing Artworks

Estimated # of Lessons: 2-5

Learning Activities: ● Slide deck on photographing artworks, how to stage, what to look for, how to adjust settings

664

AP 2D Art & Design: Unit 4 ● ● ●

Second Topic: Final Portfolio

Estimated # of Lessons: 8-14

Learning Targets: ● I can select artworks that best represent my sustained investigation and artistic growth. ● I can write and revise captions that describe my materials, processes, and ideas. ● I can compile and submit a complete digital portfolio that represents my artistic development

665

Contemporary Crafts CONTEMPORARY CRAFTS Course # WAN003

0.5 credit (FVA, HUM)

In this introductory course, students will explore creative design, imagery and expression in functional art pieces. Art forms from various cultures using a variety of media such as paper, textile, fibers/fabric, wood, mosaic and multimedia design will be studied. Emphasis will be placed on craftsmanship, creativity and design concepts involved in producing artwork using a variety of media. Sketchbooks will be utilized for exploring ideas and planning compositions. The Elements of Art and Principles of Design will be introduced, learned and used with each project. All students will be required to do self evaluations of artwork as part of the process of creating artwork.

666

Contemporary Crafts (Semester Course) In this course, we get our hands on materials most art classes never touch: sheet metal, wood, fabric, ink, and fire. Across seven craft units, we design and build artist books, create textured metal relief sculptures, explore fiber arts traditions, decorate ceramic plates with underglaze techniques, layer imagery through decoupage, pull our own screenprints, and burn designs into wood using pyrography. Each unit introduces new tools, techniques, and traditions, and each one challenges us to plan carefully, work with craftsmanship, and make creative decisions about how form, function, and meaning come together. We wrap up the semester by choosing our strongest piece, writing an artist statement, and presenting our work. Unit 1: Bookmaking 6-7 Days

Unit 2: Metals 4 Days

Unit 3: Fiber Arts 4 Days

Unit 4: Decorative Pottery 4 Days

We start by designing and building two kinds of artist books: a traditional case-bound hardcover and a mixed-media accordion visual journal. We learn how book structures work from the inside out, folding pages into signatures, sewing them into a text block, reinforcing the spine, and constructing precise hard covers. Then we shift into visual storytelling, planning a narrative and layering images and materials to compose pages that read like a miniature exhibition in book form.

We shift from hard metal to soft fiber, surveying four fiber arts traditions. We turn thin sheet metal into richly textured relief artworks. We explore how texture communicates mood, how foreground and background depth guides the eye, and how metal tooling techniques, repoussé, chasing, and detailing, bring a design to life. We sketch a strong composition, transfer it to metal foil, raise forms from the reverse, refine from the front, and build a vocabulary of textures. Finally, we apply patina to deepen the recesses, polish the highlights, and seal the surface — revealing crisp depth and tactile drama.

We survey four fiber arts traditions — quilting, embroidery, cross-stitch, and yarn painting — and explore how contemporary artists have pushed these forms in new directions. We ground our study in quilt history and artists who have expanded the field's visual language, then sample stitches, surfaces, and composition strategies across media. We finish by planning and creating a final artwork in a fiber medium that showcases both technique and personal concept.

From fabric and thread, we move to clay. We become surface designers, using underglaze to turn a simple bisque-fired plate into a personal piece of ceramic art. We learn to sketch and plan a design that fits the shape of the plate, then explore underglaze techniques like sgraffito, brushing, and trailing to add bold lines, textures, and layers. With a focus on precision and creativity, we see how color, line, and surface come together in ceramics — finishing with a glazed plate that's both decorative and expressive.

667

Contemporary Crafts (continued) Unit 5: Decoupage 1 Day

Unit 6: Screenprinting 4 Days

Unit 7: Pyrography 4 Days

Unit 8: Artist Statement 2 Days

We return to paper, but this time as a layering and storytelling tool. We layer images, text, and patterns to tell visual stories on everyday surfaces. Through decoupage, we learn how paper, scissors, glue, and thoughtful composition can transform an ordinary object into a meaningful work of art. We plan our designs using principles like balance and contrast, apply paper cleanly, and finish with craftsmanship and polish. The result is a unique, layered piece that reflects our personal style or message.

We've been working one piece at a time, now we learn to create multiples. We enter the bold, graphic world of screenprinting, learning to create repeatable prints using stencils, ink, and mesh screens. We explore the history of this process, from fine art to band tees, and practice building strong compositions with text and image. We design our own stencils, learn to apply ink with control, and experiment with layering colors for sharp, striking results. By the end, we have our own custom-printed works and a deeper understanding of how art and design collide.

For our final craft medium, we pick up a tool unlike any other, a heated pen. We learn pyrography, the art of drawing with fire, using a heated pen to burn lines and tones into wood. We start with the history and tools of the craft, then practice mark-making, shading, stippling, texturing, and negative burning, applying safe, controlled heat to build depth, contrast, and believable surfaces. By the end, we design and complete a finished wood-burned artwork that demonstrates both technical control and a personal idea.

We've spent the semester working across seven different craft forms, now we tell the story behind our strongest work. We pick our favorite piece, snap a great photo of it, and share the what, why, and how in our own voice, like we're talking to a friend. We describe the spark that started it, the choices we made along the way, and the surprises we discovered. When our story feels clear and confident, we bring it to life on a clean slide with our photo and caption, so our art and words shine together.

668

Contemporary Crafts: Unit 1 Course Name:

Contemporary Crafts

Unit 1 Title: Bookmaking

Est. # of Lessons: 6-7

Unit Overview: We start by designing & building two kinds of artist books: a traditional case-bound hardcover & a mixed-media accordion visual journal. We learn how book structures work from the inside out, folding pages into signatures, sewing them into a text block, reinforcing the spine, & constructing precise hard covers. Then we shift into visual storytelling, planning a narrative & layering images & materials to compose pages that read like a miniature exhibition in book form. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, & persistence, demonstrate acquisition of skills & knowledge in a chosen art form. VA:Cr3.1.Ia: Apply relevant criteria from traditional & contemporary cultural contexts to examine, reflect on, & plan revisions for works of art & design in progress. VA:Cn11.1.Ia: Describe how knowledge of culture, traditions, and history may influence personal responses to art.

Transfer Goals ● ● ●

Understandings ●

●

The internal structure of a handmade object, how it's measured, assembled, and reinforced, determines both its durability and its quality. Visual storytelling requires planning how sequence, layering, and composition guide a viewer through a narrative across pages or spreads. When decorative choices also serve structural purposes, form and function strengthen each other.

Essential Questions ●

● ● ●

Knowledge ● ● ● ● ● ●

Signature folding and alignment Kettle stitch sewing technique Text block assembly and spine gluing Use of mull, endbands, and ribbons for reinforcement Decorative and functional endpaper application Case binding structure and layout

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How does the internal structure of a book influence its durability and use and what decisions in measuring, cutting, & casing-in make a hardcover look professionally? How can an accordion journal communicate a clear story through layers, sequence, & composition? When do decorative elements enhance structure as well as aesthetics? How do design choices like balance, leading lines, & color scheme guide a viewer through a page or spread? Skills (Framed as Learning Targets)

● ● ●

I can calculate cover & spine dimensions from my text block & lay out accurate margins and gaps for a clean case. I can mark, punch, & kettle-stitch signatures to form a square, even text block. I can attach endpapers, apply PVA correctly, reinforce the spine with mull, and add optional ribbon/endbands. 669

Contemporary Crafts: Unit 1 ● ● ● ● ●

Measuring and cutting chipboard covers Attaching text block to hardcover Marbled paper use for aesthetic and function Bone folder and clamp techniques for finishing Adhesive handling and drying methods

● ● ●

I can wrap and turn book cloth neatly, then glue the text block into the case with proper borders and pressure. I can plan a storyline and build at least five cohesive layers using imagery, paint, and collage in an accordion journal. I can apply balance, leading lines, color schemes, and depth cues (foreground/middle ground/background) to guide the viewer.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Visual Journal: Combination of construction/ collage techniques to tell a story through an accordion folded book Marbled Paper: creation of cover using marbling techniques Sewn Book Block: Book block of 6 signatures, folded, sewn, with endpapers attached Finished Book: Attachment of all pieces in order to create a completed book

Marbling Techniques page: Experimentation with pattern, line, and direction In Progress Check-in: To be conducted during marbling, book block, and construction of book Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: What is Bookmaking?

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can plan a storyline and build at least five • How can an accordion journal communicate a cohesive layers using imagery, paint, and clear story through layers, sequence, & collage in an accordion journal. composition? ● I can apply balance, leading lines, color • When do decorative elements enhance schemes, and depth cues structure as well as aesthetics? (foreground/middle ground/background) to • How do design choices like balance, leading guide the viewer lines, & color scheme guide a viewer through a page or spread? Learning Activities: ● Slide deck on history of bookmaking and on Visual Journals ● Demonstration of Collage and Construction and Creation of Visual Journal Second Topic: Marbling

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can apply balance, leading lines, color • When do decorative elements enhance schemes, and depth cues structure as well as aesthetics? (foreground/middle ground/background) to • How do design choices like balance, leading guide the viewer lines, and color scheme guide a viewer through a page or spread?

670

Contemporary Crafts: Unit 1 Learning Activities: ● Demonstration of Techniques ● Practice page of marbling techniques ● Marble cover of book Third Topic: Creating the Book Block

Estimated # of Lessons: 2

Learning Targets: ● I can mark, punch, & kettle-stitch signatures to form a square, even text block & attach endpapers, apply PVA correctly, reinforce the spine with mull, & add optional ribbon/endbands. ● I can wrap and turn book cloth neatly, then glue the text block into the case with proper borders and pressure.

Essential Questions: • How does the internal structure of a book (signatures, sewing, spine reinforcement) influence its durability and use? • When do decorative elements enhance structure as well as aesthetics?

Learning Activities: ● Demonstration of Folding and Sewing Techniques ● Demonstration of Attachment of Signatures to Each Other ● Students fold 6 signatures of 5 pieces of paper ● Students sew each signature together ● Students sew signatures together creating a book block ● Students attach end papers to their book block Fourth Topic: Constructing the Book

Estimated # of Lessons: 1-2

Learning Targets: Essential Questions: ● I can calculate cover and spine dimensions • How does the internal structure of a book from my text block and lay out accurate (signatures, sewing, spine reinforcement) margins and gaps for a clean case. influence its durability and use? ● I can attach endpapers, apply PVA • What decisions in measuring, cutting, & casingcorrectly, reinforce the spine with mull, and in make a hardcover look & function add optional ribbon/endbands. professionally & when do decorative elements ● I can wrap and turn book cloth neatly, then enhance structure as well as aesthetics? glue the text block into the case with • How do design choices like balance, leading proper borders and pressure. lines, & color scheme guide a viewer through a page or spread? Learning Activities: ● Demonstration of Construction Techniques ● Students clamp their book block & apply 3 layers of PVA glue, create & attach headbands & optional ribbon, and mull. Students measure, mark, and glue marbled paper and chipboard to create cover. Students glue and attach book block to cover

671

Contemporary Crafts: Unit 2 Course Name: Contemporary Crafts

Unit 2 Title:

Metals

Est. # of Lessons: 4

Unit Overview: We shift from hard metal to soft fiber, surveying four fiber arts traditions. We turn thin sheet metal into richly textured relief artworks. We explore how texture communicates mood, how foreground and background depth guides the eye, and how metal tooling techniques, repoussé, chasing, and detailing, bring a design to life. We sketch a strong composition, transfer it to metal foil, raise forms from the reverse, refine from the front, and build a vocabulary of textures. Finally, we apply patina to deepen the recesses, polish the highlights, and seal the surface — revealing crisp depth and tactile drama. STAGE 1: DESIRED RESULTS Established Goals ●

● ●

●

VA:Cr2.1.IIa:Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr1.1.IIa: Individually or collaboratively formulate new creative problems based on student’s existing artwork. VA:Re.7.2.IIa: Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences. VA:Cn11.1.Ia: Describe how knowledge of culture, traditions, and history may influence personal responses to art.

Transfer Goals ● ● ● ●

Understandings ●

● ●

Artists create the illusion of depth in relief work by coordinating raised and recessed forms, texture density, and value contrast to establish clear foreground and background. Texture in art is not decoration, it's a descriptive language that communicates material, light, mood, and emphasis. Surface treatments like patina reveal and enhance the forms underneath, turning technical work into expressive artwork.

Essential Questions ● ● ●

Knowledge ● ● ● ●

Metal tooling vocabulary: repoussé, chasing, detailing How to plan a composition with clear figure/ground relationships Image transfer techniques for metal surfaces Texture vocabulary, at least five distinct textures and their visual effects

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How do raised and recessed forms, along with texture, create convincing depth in relief artwork? How can texture function as a visual language, describing surfaces, directing attention, and communicating mood? What choices in design, tooling, and finishing elevate a piece from craft exercise to compelling artwork?

Skills (Framed as Learning Targets) ● ● ●

I can plan a composition that separates foreground, midground, and background to guide the viewer's eye. I can transfer my drawing to metal accurately without scoring too deeply or stretching thin areas. I can use repoussé and chasing techniques to raise forms and refine details. 672

Contemporary Crafts: Unit 2 ● ● ● ● ●

How relief height and texture scale create atmospheric depth Patina application, how it settles into recesses and enhances contrast Sealing and finishing techniques for metal surfaces Measuring, cutting, and constructing a mat board frame Mounting and presentation techniques

● ● ● ●

I can create at least five distinct textures and use them intentionally to differentiate surfaces and value areas. I can apply patina and polish selectively to amplify contrast and reveal form. I can measure, cut, and construct a frame and mount my work for professional presentation. I can evaluate my work using design vocabulary and make targeted revisions.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Drawings: evaluation in the progress of designing their ideas and compositions Final Drawing: Drawn to the scale of the metal tooling with finished lines and composition. Patina: Application of patina to enhance surface embellishments Frame: Measuring, cutting, and mounting

Metal Tooling Techniques sheet: lines and Texture Metal Tooling Check-in: Use of lines, pressure, and positive and negative space to create a balanced metal tooling Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Intro to Metals

Estimated # of Lessons: 2

Learning Targets: ● I can plan a composition that separates foreground, midground, and background to guide the viewer's eye. ● I can transfer my drawing to metal accurately without scoring too deeply or stretching thin areas. ● I can use repoussé and chasing techniques to raise forms and refine details. ● I can create at least five distinct textures and use them intentionally to differentiate surfaces and value areas. ● I can evaluate my work using design vocabulary and make targeted revisions.

Essential Questions: ● How do raised and recessed forms, along with texture, create convincing depth in relief artwork? ● How can texture function as a visual language, describing surfaces, directing attention, and communicating mood? ● What choices in design, tooling, and finishing elevate a piece from craft exercise to compelling artwork?

Learning Activities: ● Slidedeck of metalworking ● Demonstration of Techniques and How to Transfer Image to Metal Sheets ● Drawing thumbnail sketches of ideas ● Creation of Metal tooling Second Topic: Applying Patina to Metals

Estimated # of Lessons: 1

Learning Targets: ● I can apply patina and polish selectively to amplify contrast and reveal form.

Essential Questions: ● What choices in design, tooling, and finishing elevate a piece from craft exercise to 673

Contemporary Crafts: Unit 2 ● ●

I can measure, cut, and construct a frame and mount my work for professional presentation. I can evaluate my work using design vocabulary and make targeted revisions.

compelling artwork?

Learning Activities: ● Demonstration of Patinas on Metals ● Students apply patina to their finished metal tooling Third Topic: Constructing and Mounting in Frame

Estimated # of Lessons: 1

Learning Targets: ● I can use a ruler to measure and construct a frame that overlaps with the size of my metal tooling. ● I can attach my metal tooling to my frame so it is balanced proportionately in the opening. ● I can evaluate my work using design vocabulary (contrast, rhythm, balance) and make targeted revisions.

Essential Questions: ● How can I measure and draw my lines to create 90 degree angles? ● How can I use my xacto knife and metal ruler to cut neat lines into my mat board?

Learning Activities: ● Demonstration of measuring and cutting frames ● Students use metallic paint pens to embellish their frames ● Students attach their metal tooling to their frames

674

Contemporary Crafts: Unit 3 Course Name:

Contemporary Crafts

Unit 3 Title:

Fiber Arts

Est. # of Lessons: 4

Unit Overview: We survey four fiber arts traditions — quilting, embroidery, cross-stitch, and yarn painting — and explore how contemporary artists have pushed these forms in new directions. We ground our study in quilt history and artists who have expanded the field's visual language, then sample stitches, surfaces, and composition strategies across media. We finish by planning and creating a final artwork in a fiber medium that showcases both technique and personal concept. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

● ●

●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.2.IIa: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan works of art and design. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Pr6.1.IIa: Make, explain, and justify connections between artists or artwork and social, cultural, and political history. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Re.7.2.IIa: Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences. VA:Cn11.1.Ia: Describe how knowledge of culture, traditions, and history may influence personal responses to art.

Transfer Goals ● ● ●

● ●

Understandings ●

●

Craft traditions carry cultural meaning and contemporary artists honor those traditions while pushing materials, imagery, and process in new directions. Fiber materials, fabric, thread, yarn, function as a visual vocabulary, communicating identity, culture, and story through color, texture, and pattern. Choosing a medium is a creative decision where different fiber techniques change not just how a piece looks but what it

Essential Questions ● ● ● ● ●

How do fiber techniques communicate story and identity in contemporary practice? In what ways do contemporary artists honor traditions while innovating materials, imagery, or process? How does texture shape emphasis and readability in an artwork? How can choices of fabric, thread, and color function like a visual vocabulary to convey culture, place, and time? What criteria distinguish a successful final 675

Contemporary Crafts: Unit 3 means.

piece across different fiber media (craftsmanship, design clarity, and conceptual coherence)? Knowledge

● ● ●

● ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

History and cultural significance of fiber arts across various regions and traditions Basic textile structures: woven, knitted, felted, stitched, and mixed-media Key techniques in fiber arts such as: ○ Embroidery (basic and decorative stitches) ○ Quilting ○ Yarn Painting How to design a fiber piece using pattern, repetition, and texture Techniques for planning and sketching textile designs Safe use and care of tools like needles, looms, embroidery hoops, and dye materials Color theory applied to textiles How to combine materials and stitches for visual interest and narrative The role of craftsmanship and time in creating textile-based artwork The connection between fiber arts and personal or cultural storytelling Contemporary and historical artists who use fiber as a fine art medium

● ● ● ●

I can compare a traditional method to a contemporary adaptation and explain how the change affects meaning and aesthetics. I can plan a clear focal point and organize background/foreground using color contrast, scale, and stitch density. I can build texture intentionally—layering seams, stitch types, and/or yarn to differentiate forms and create visual rhythm. I can use artist examples to critique my work and iterate toward stronger concept and craft.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Drawings: evaluation in the progress of designing their ideas and compositions Final Drawing: Drawn to the scale of the yarn painting with finished lines and composition. Final Piece: Application of fiber to create contour, value, and texture of a composition

Contemporary Fiber Artists Research Questions: Answer questions based on traditional practices of fiber arts in contemporary works In progress Check-in: One on one check in with student Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Fiber Arts: Quilting

Estimated # of Lessons: 2

Learning Targets: ● I can compare a traditional method to a contemporary adaptation and explain how

Essential Questions: ● How do fiber techniques communicate story and identity in contemporary practice? 676

Contemporary Crafts: Unit 3 ●

the change affects meaning and aesthetics. I can plan a clear focal point and organize background/foreground using color contrast, scale, and stitch density.

● ● ● ●

In what ways do contemporary artists honor traditions while innovating materials, imagery, or process? How does texture shape emphasis and readability in an artwork? How can choices of fabric, thread, and color function like a visual vocabulary to convey culture, place, and time? What criteria distinguish a successful final piece across different fiber media (craftsmanship, design clarity, and conceptual coherence)?

Learning Activities: ● Slidedeck on Traditional Quilting and its Contemporary Uses ● Contemporary Fiber Artist Research Questions Second Topic: Fiber Arts: Contemporary Application

Estimated # of Lessons: 4

Learning Targets: ● I can compare a traditional method to a contemporary adaptation and explain how the change affects meaning and aesthetics. ● I can plan a clear focal point and organize background/foreground using color contrast, scale, and stitch density. ● I can build texture intentionally—layering seams, stitch types, and/or yarn to differentiate forms and create visual rhythm. ● I can use artist examples to critique my work and iterate toward stronger concept and craft.

Essential Questions: ● How do fiber techniques communicate story and identity in contemporary practice? ● In what ways do contemporary artists honor traditions while innovating materials, imagery, or process? ● How does texture shape emphasis and readability in an artwork? ● How can choices of fabric, thread, and color function like a visual vocabulary to convey culture, place, and time? ● What criteria distinguish a successful final piece across different fiber media (craftsmanship, design clarity, and conceptual coherence)?

Learning Activities: ● Slidedeck on traditional yarn painting and contemporary adaptation by artist Victoria Villasana ● Thumbnail sketches of personal design ● Final sketch of personal design ● Finished Piece

677

Contemporary Crafts: Unit 4 Course Name: Contemporary Crafts

Unit 4 Title: Decorative Pottery

Est. # of Lessons: 4

Unit Overview: From fabric and thread, we move to clay. We become surface designers, using underglaze to turn a simple bisque-fired plate into a personal piece of ceramic art. We learn to sketch and plan a design that fits the shape of the plate, then explore underglaze techniques like sgraffito, brushing, and trailing to add bold lines, textures, and layers. With a focus on precision and creativity, we see how color, line, and surface come together in ceramics — finishing with a glazed plate that's both decorative and expressive. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

●

VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Re.7.2.Ia: Analyze how one’s understanding of the world is affected by experiencing visual imagery. VA:Re.7.2.IIa: Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences. VA:Re8.1.Ia: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form

Transfer Goals ● ● ●

● ●

Understandings ●

●

Surface decoration isn't separate from a ceramic object, it interacts with the form's shape, creating a relationship between design and function. Different underglaze techniques like sgraffito, brushing, trailing will each produce distinct visual effects, and choosing among them is a creative decision. Craftsmanship and patience in application directly affect whether a design reads as intentional and polished or accidental and rough.

Essential Questions ● ● ●

Knowledge ●

What underglaze is and how it differs from

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Analyze personal and professional artistic works to synthesize and reflect on visual language, techniques, and artist intent. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How does surface design interact with the shape of a three-dimensional form? What are the strengths and challenges of different underglaze techniques, and how do we choose among them? How do color, line, and texture come together on a ceramic surface to communicate an idea?

Skills (Framed as Learning Targets) ●

I can identify the meaning in the pottery 678

Contemporary Crafts: Unit 4 ● ● ● ● ● ● ● ● ●

glaze How to plan a surface design for a circular ceramic form Sgraffito technique: carving through underglaze to reveal contrast Brushing techniques for smooth, even color application Trailing method: applying lines of underglaze with a bulb or bottle for raised effects The order of operations for applying underglaze to bisque ware How to use tools like loop tools, rubber tips, brushes, and applicators Color theory basics as they relate to ceramics Importance of clean lines and intentional spacing in ceramic design Drying, handling, and preparing pieces for clear glaze and kiln firing

● ● ● ● ● ●

designs. I can identify different techniques used to glaze pottery. I can plan a surface design that fits the shape and space of a bisque plate. I can use underglaze brushing to apply smooth and even color to ceramic surfaces. I can create fine-line textures and contrast using sgraffito tools. I can apply trailing techniques to add raised line designs with control. I can evaluate and refine my work through sketching, testing, and reflecting on my results.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Drawings: evaluation in the progress of designing their ideas and compositions Final Drawing: Drawn to the scale of the plate with finished lines and composition. Underglaze: Application of underglaze to enhance design

In progress Check-in: Use of composition, color, and imagery to create a complete design Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Pottery: How it’s made and Decorated

Estimated # of Lessons: 1

Learning Targets: ● I can identify the meaning in the pottery designs. ● I can identify different techniques used to glaze pottery.

Essential Questions: ● How does surface design interact with the shape of a three-dimensional form? ● What are the strengths and challenges of different underglaze techniques, and how do we choose among them?

Learning Activities: ● Slidedeck on Decorative Pottery ● Historical use of Illustrations on Pottery Second Topic: Underglazing and Glazing

Estimated # of Lessons: 3

Learning Targets: ● I can plan a surface design that fits the

Essential Questions: ● How does surface design interact with the 679

Contemporary Crafts: Unit 4 ● ● ● ●

shape and space of a bisque plate. I can use underglaze brushing to apply smooth and even color to ceramic surfaces. I can create fine-line textures and contrast using sgraffito tools. I can apply trailing techniques to add raised line designs with control. I can evaluate and refine my work through sketching, testing, and reflecting on my results.

● ●

shape of a three-dimensional form? What are the strengths and challenges of different underglaze techniques, and how do we choose among them? How do color, line, and texture come together on a ceramic surface to communicate an idea?

Learning Activities: ● Demonstration of Underglaze Techniques ● Thumbnail Sketches ● Final Sketch ● Glazed Pottery

680

Contemporary Crafts: Unit 5 Course Name:

Contemporary Crafts

Unit 5 Title:

Decoupage

Est. # of Lessons: 1

Unit Overview: We return to paper, but this time as a layering and storytelling tool. We layer images, text, and patterns to tell visual stories on everyday surfaces. Through decoupage, we learn how paper, scissors, glue, and thoughtful composition can transform an ordinary object into a meaningful work of art. We plan our designs using principles like balance and contrast, apply paper cleanly, and finish with craftsmanship and polish. The result is a unique, layered piece that reflects our personal style or message. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form.

Transfer Goals ● ● ● ●

Understandings ●

● ●

Layering found imagery is a form of visual storytelling where the images artists select, arrange, & combine create meaning that didn't exist in any single source. Composition principles like balance, contrast, & unity apply whether an artist is painting on canvas or gluing paper to a box. Craftsmanship, how cleanly materials are cut, applied, and sealed, directly affects whether a finished piece reads as intentional art or casual collage.

Essential Questions ● ● ● ●

Knowledge ● ● ● ●

History and cultural background of decoupage as a decorative art form Understanding of the elements and principles of design (balance, unity, contrast, emphasis) How to create a strong visual composition using layered imagery Differences between 2D and 3D surface

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How can I tell a story or express a theme using layered imagery? What techniques help me apply paper cleanly and smoothly to a surface? How do I choose and organize visual elements to make a strong composition? What role does craftsmanship play in making decorative work successful and meaningful?

Skills (Framed as Learning Targets) ● ● ● ●

I can plan a decoupage design using found images, text, and collage techniques. I can apply glue and sealant evenly to avoid air bubbles and wrinkles. I can use principles like balance, contrast, and unity to organize my composition. I can evaluate how well my design communicates my chosen theme or idea. 681

Contemporary Crafts: Unit 5 ● ● ●

● ● ●

application techniques How to select and cut paper imagery with precision and intent Appropriate use of adhesives and how they affect paper materials Steps for prepping surfaces before application & techniques for applying paper smoothly & minimizing air bubbles or wrinkles How to layer & seal artwork for durability and finish Role of symbolism & storytelling in visual collage and how to plan for positive & negative space within a design Importance of craftsmanship and attention to detail in decorative work

●

I can finish my project with attention to detail and craftsmanship.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Piece: Finished piece of layered imagery

In progress Check-in: Use of composition, color, and imagery to create a complete design Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Decoupage

Estimated # of Lessons: 1

Learning Targets: Essential Questions: ● I can plan a decoupage design using found ● How can I tell a story or express a theme images, text, and collage techniques. using layered imagery? ● I can apply glue and sealant evenly to avoid ● What techniques help me apply paper cleanly air bubbles and wrinkles. and smoothly to a surface? ● I can use principles like balance, contrast, ● How do I choose and organize visual and unity to organize my composition. elements to make a strong composition? ● I can evaluate how well my design ● What role does craftsmanship play in making communicates my chosen theme or idea. decorative work successful and meaningful? ● I can finish my project with attention to detail and craftsmanship. Learning Activities: ● Traditional and Contemporary Uses of Decoupage ● Create a decoupaged piece of art

682

Contemporary Crafts: Unit 6 Course Name:

Contemporary Crafts

Unit 6 Title:

Screen-printing

Est. # of Lessons: 4

Unit Overview: We've been working one piece at a time, now we learn to create multiples. We enter the bold, graphic world of screen printing, learning to create repeatable prints using stencils, ink, and mesh screens. We explore the history of this process, from fine art to band tees, and practice building strong compositions with text and image. We design our own stencils, learn to apply ink with control, and experiment with layering colors for sharp, striking results. By the end, we have our own custom-printed works and a deeper understanding of how art and design collide. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form.

Transfer Goals ● ● ● ●

Understandings ● ●

●

Artists use screenprinting to create multiples of an image, often in layers of color, texture, and shape. Artists use careful planning and technical control with each step of the screenprinting process such as designing, prepping a screen, and printing. Artists utilize essential techniques such as color separation, registration, and layering that impact the visual clarity and message of a print. Artists use screenprinting both as a fine art and a commercial process to express identity, protest, humor, or storytelling.

Essential Questions ● ● ● ●

Knowledge ● ●

History of screenprinting, from fine art (Warhol) to commercial applications How screen printing works: stencils, mesh screens, ink transfer

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do I create a design that can be separated into print-ready layers? What tools and steps are needed to turn a hand-drawn image into a screenprint? How do I use registration marks to align multiple layers to make a clean, consistent image? What creative effects can I achieve through design or ink color choices?

Skills (Framed as Learning Targets) ● ●

I can create a design for screenprinting using bold lines, shapes, or simplified forms. I can separate my design into color layers and transfer it to a screen. 683

Contemporary Crafts: Unit 6 ● ● ● ● ●

Design principles for print-ready imagery: bold lines, simplified forms, color separation Drawing fluid and screen filler, how positive and negative space function on a screen Registration marks and alignment techniques for multi-layer prints Ink types, squeegee technique, and pressure control Printing on different surfaces (paper, fabric)

● ● ●

I can use printing tools (squeegee, screen, ink) with control and consistency. I can align my layers through registration marks to create a clear final image. I can reflect on my process and make improvements based on test prints and feedback.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: 3 design sketches of ideas Final Sketch: Final drawing in scale with print. Finished Screen: Prepared screen includes design drawn out with drawing fluid and negative space filled in with screen filler Final Prints: Includes 3 good quality paper prints and 1 fabric print

In progress Check-in: Application of drawing fluid on the screen and use of filler to block out areas where ink should not transfer through Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: What is Screen-printing?

Estimated # of Lessons: 1

Learning Targets : ● I can create a design for screen-printing using bold lines, shapes, or simplified forms. ● I can separate my design into color layers and transfer it to a screen. ● I can use printing tools (squeegee, screen, ink) with control and consistency. ● I can align my layers through registration marks to create a clear final image. ● I can reflect on my process and make improvements based on test prints and feedback.

Essential Questions: ● How do I create a design that can be separated into print-ready layers? ● What tools and steps are needed to turn a hand-drawn image into a screenprint? ● How do I use registration marks to align multiple layers to make a clean, consistent image? ● What creative effects can I achieve through design or ink color choices?

Learning Activities: ● Slidedeck on “What is Screen printing?” and artist Andy Warhol ● Demonstration on how to screenprint ● Thumbnail Sketches ● Final Drawing Second Topic: Prepping the Screen

Estimated # of Lessons: 2

Learning Targets:

Essential Questions: 684

Contemporary Crafts: Unit 6 ● ● ● ● ●

I can create a design for screenprinting using bold lines, shapes, or simplified forms. I can separate my design into color layers and transfer it to a screen. I can use printing tools (squeegee, screen, ink) with control and consistency. I can align my layers through registration marks to create a clear final image. I can reflect on my process and make improvements based on test prints and feedback.

● ● ● ●

Learning Activities: ● Demonstration of Drawing fluid, Screen Filler ● Demonstration on How to prep screen before printing/ after screen filler ● Transfer design with drawing fluid and tape off excess area ● Paint screen filler into negative space Third Topic: Printing

Estimated # of Lessons: 2

Learning Targets: ● I can create a design for screenprinting using bold lines, shapes, or simplified forms. ● I can separate my design into color layers and transfer it to a screen. ● I can use printing tools (squeegee, screen, ink) with control and consistency. ● I can align my layers through registration marks to create a clear final image. ● I can reflect on my process and make improvements based on test prints and feedback.

Learning Activities: ● Introduction to tools ● Demonstration on pulling ink through screen onto a surface ● Print 3 clean prints on paper ● Print on fabric surface ● Clean emulsion from screens

685

Contemporary Crafts: Unit 7 Course Name: Contemporary Crafts

Unit 7 Title:

Pyrography

Est. # of Lessons: 4

Unit Overview: For our final craft medium, we pick up a tool unlike any other, a heated pen. We learn pyrography, the art of drawing with fire, using a heated pen to burn lines/tones into wood. We start with the history & tools of the craft, then practice mark-making, shading, stippling, texturing, & negative burning, applying safe, controlled heat to build depth, contrast, & believable surfaces. By the end, we design & complete a finished wood-burned artwork that demonstrates technical control & a personal idea. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form.

Transfer Goals ● ● ●

Understandings ●

●

In pyrography, the artist's primary variables are heat, pressure, speed, and tip selection, mastering the relationships among these creates the full range of line, value, and texture. Texture in wood burning is a descriptive system, patterns of dots, strokes, and directional marks communicate specific materials and guide the viewer's eye. Working with an unforgiving medium requires staged planning, testing on scrap, starting light, and building gradually, so that the final result is clean and intentional.

Essential Questions ● ● ● ●

Knowledge ● ● ● ● ●

History and cultural traditions of pyrography Pyrography tools: pen types, tip shapes, temperature settings Safety procedures: ventilation, handling heated tools, working on scrap Mark-making techniques: line work, shading, stippling, texturing, negative burning How wood grain and surface preparation

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners)

How do heat setting, speed, and pressure work together to control line quality and value in pyrography? How can stipple, texture patterns, and negative burning create contrast, depth, and focal points? What design and safety choices lead from sketch transfer to a clean, finished burn? How do contemporary pyrography artists use subject matter, technique, and even mixed media to tell stories?

Skills (Framed as Learning Targets) ● ● ● ●

I can set temperature, adjust pressure, and vary speed to produce consistent lines and smooth shading gradients. I can stipple and texture with appropriate tips to describe materials like fur, bark, feathers, or scales. I can use negative burning to surround a motif and make the subject read as light against a dark field. I can prep and sand the surface and transfer a 686

Contemporary Crafts: Unit 7

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affect the burn Image transfer methods (graphite, carbon paper) How contemporary pyrography artists use the medium for realism, texture, and mixed media

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design with graphite or light pencil lines that won’t compromise the burn. I can practice on scrap, work slowly, and maintain ventilation to protect health and achieve clean results. I can analyze how professional pyrographers approach realism, texture, and mixed media to inform my own decisions.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Drawings: evaluation in the progress of designing their ideas and compositions Final Drawing: Drawn to the scale of the board Final Work: Application of woodburning techniques to create contour, value, and texture of a composition

In progress Check-in: Woodburning techniques and safety procedures Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: What is Pyrography?

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can prep and sand the surface and ● How do contemporary pyrography artists use transfer a design with carbon or light pencil subject matter, technique, and even mixed lines that won’t compromise the burn. media to tell stories? ● I can analyze how professional pyrographers approach realism, texture, and mixed media to inform my own decisions. Learning Activities: ● Slidedeck on history of pyrography and its contemporary uses ● Draw 3 thumbnail sketches ● Draw 1 final drawing to scale of board ● Transfer drawing to board using carbon paper Second Topic: How to Burn Wood

Estimated # of Lessons: 2

Learning Targets: ● I can set temperature, adjust pressure, and vary speed to produce consistent lines and smooth shading gradients. ● I can stipple and texture with appropriate tips to describe materials like fur, bark, feathers, or scales. ● I can use negative burning to surround a motif and make the subject read as light against a dark field. ● I can practice on scrap, work slowly, and

Essential Questions: ● How do heat setting, speed, and pressure work together to control line quality and value in pyrography? ● How can stipple, texture patterns, and negative burning create contrast, depth, and focal points? ● What design and safety choices lead from sketch transfer to a clean, finished burn? ● How do contemporary pyrography artists use subject matter, technique, and even mixed 687

Contemporary Crafts: Unit 7 maintain ventilation to protect health and achieve clean results.

media to tell stories?

Learning Activities: ● Demonstration of woodburning techniques and safety procedures ● Students create a practice ornament ● Students create a final piece based on their final drawing

688

Contemporary Crafts: Unit 8 Course Name: Contemporary Crafts

Unit 8 Title:

Artist Statement

Est. # of Lessons: 3

Unit Overview: We've spent the semester working across seven different craft forms, now we tell the story behind our strongest work. We pick our favorite piece, snap a great photo of it, & share the what, why, & how in our own voice, like we're talking to a friend. We describe the spark that started it, the choices we made along the way, & the surprises we discovered. When our story feels clear and confident, we bring it to life on a clean slide with our photo and caption, so our art and words shine together. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

VA:Pr4.1.IIa: Analyze, select, and critique personal artwork for a collection or portfolio presentation. VA:Pr4.1.Ia: Analyze, select, and curate artifacts and/or artworks for presentation and preservation. VA:Re.7.1.Ia: Hypothesize ways in which art influences perception and understanding of human experiences. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ●

●

Understandings ● ● ●

Reflecting on artistic choices, what worked, what surprised us, & why, deepens our understanding of our own creative process. An artist statement makes the invisible visible, helping viewers understand the intention, decisions, & discoveries behind a finished work. Presenting work professionally, with a strong image, clear writing, & thoughtful design, shapes how an audience experiences & values the art.

Essential Questions ● ● ●

Knowledge ● ● ● ●

What an artist statement is and why artists write them Art vocabulary for describing visual elements, techniques, and compositional choices How to photograph artwork clearly and effectively Caption conventions (name, title, medium, date)

What do we discover about our own work when we stop to reflect on the choices we made? How do we tell the story behind an artwork so a viewer understands not just what they see, but why it matters? What makes a presentation of artwork feel professional and complete?

Skills (Framed as Learning Targets) ● ● ●

I can select my strongest work from the semester and explain why I chose it. I can write an artist statement in my own voice that describes my intention, process, and discoveries. I can photograph my artwork clearly and present it on a slide with a correct caption. 689

Contemporary Crafts: Unit 8 ● ●

Basic principles of slide design Strategies for giving and receiving constructive critique

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I can participate in a critique by sharing thoughtful observations about my own and others' work. I can revise my writing for clarity, grammar, and readability using a scoring guide.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Final Slide Presentation: Students will combine the answers from their Artist Statement worksheet to create a paragraph detailing their work and thought process that went into creating their artwork. The slide will include a photograph of the finished art piece.

Artist Statement Worksheet: Students will answer questions about creating their artwork and then put the sentences together in one paragraph on a slide with a photo of their artwork to present to the class.

STAGE 3: LEARNING PLAN First Topic: Artist Statement

Estimated # of Lessons: 1

Learning Targets: ● I can select my strongest work from the semester and explain why I chose it. ● I can write an artist statement in my own voice that describes my intention, process, and discoveries. ● I can photograph my artwork clearly and present it on a slide with a correct caption. ● I can revise my writing for clarity, grammar, and readability using a scoring guide.

Essential Questions: ● What do we discover about our own work when we stop to reflect on the choices we made? ● How do we tell the story behind an artwork so a viewer understands not just what they see, but why it matters? ● What makes a presentation of artwork feel professional and complete?

Learning Activities: ● Slide deck on artist statements and their uses as well as how to compose an artist statement slide ● Artist statement worksheet ● Create a slide for presentation with completed artist statement and photograph of artwork Second Topic: Final Critique

Estimated # of Lessons: 1

Learning Targets: ● I can select my strongest work from the semester and explain why I chose it. ● I can participate in a critique by sharing thoughtful observations about my own and others' work..

Learning Activities: ● Present and critique peer artworks and artist statements

690

Alternative Sketchbooks ALTERNATIVE SKETCHBOOKS Course # WAN004

0.5 credit (FVA, HUM)

In this introductory course, students will explore creative design, imagery and expression. Students will begin the course by constructing, binding and embellishing a one of a kind book to be used as their visual journal throughout this course. A wide variety of concepts, exercises, and methods will be introduced to fill the pages of this book while learning about possible two and three dimensional techniques to be used to create a theme based altered book. This class is designed for the creative thinker who enjoys experimentation with media and materials as well as thinking “outside the box”. The Elements of Art and Principles of Design will be introduced and woven into the pages of the books. All students will be required to do self-evaluations of artwork as part of the process of creating artwork.

691

Alternative Sketchbooks (Semester Course) In this introductory course, students will explore creative design, imagery and expression. Students will create a one of a kind book to be used as their visual journal throughout this course. From there, we explore the Elements of Art and Principles of Design through a wide range of projects and media, from zentangles and paper cutouts to collage, illustration, and mixed media drawing. Every page is a chance to experiment, take creative risks, and push our thinking. Along the way, we learn to plan with thumbnails, work across media, and reflect on our choices, building the habits that help artists grow. The course wraps up with an artist statement where we tell the story behind our strongest work. Unit 1: Elements of Art and Art Basics 11-14 Days

Unit 2: Symbolic Sketchbook Cover 5 Days

Unit 3: Illustrating a Recipe 5 Days

We start with the building blocks, the Elements of Art that help every artist create strong, intentional work. Through a series of hands-on projects, we explore line by designing detailed zentangles, space through bold notan paper cutouts, and color and composition through shape drawings and expressive animal collages. We practice realistic shading with a graphite drawing of a mylar balloon, learning how value, form, and texture work together to make a drawing feel three-dimensional. By the end of this unit, we don't just know the elements, we know how to use them.

Now that we have the elements in our toolkit, we put them to work on something personal. We design a symbolic cover for our sketchbooks, one that wraps the front, back, and binding into a single unified artwork. We start by brainstorming what matters to us and sketching ideas that turn personal identity into visual symbols. From there, we refine a composition, gesso our covers to create a strong base, and bring the design to life using a mixed-media approach with acrylic paint and collage. The result is a cover that's personal, durable, and sets the tone for everything inside.

With our covers complete, we open our sketchbooks and take on a new challenge, combining words and images on a single page. We illustrate a favorite recipe from start to finish, planning how text and pictures share the space, experimenting with lettering styles, and giving every ingredient a clear place in the composition. We build our drawings in stages, thumbnails for text layout, thumbnails for each ingredient, then create a clean final illustration using liner pens for line work and alcohol markers for color and value. The finished piece is a balanced page that reads as both a recipe and a work of art.

692

Alternative Sketchbooks (continued) Unit 4: Mixed Media Drawing 4 Days

We've worked with collage, marker, and ink, now we bring multiple drawing media together in one image. We create a mixed-media drawing that combines charcoal, pen, and colored pencil on a single sketchbook page. We prepare a collage-style surface by attaching two different papers while leaving part of the original page visible, giving us three distinct sections to draw on. The challenge: design one image that flows across all three. We finish with confident line, value, and color so the page reads as a single unified artwork.

Unit 5: Artist Statement 2 Days

We've filled our sketchbooks, now we tell the story behind the work. We pick our favorite piece from the semester and snap a great photo of it. Then we share the what, why, and how in our own voice, like we're talking to a friend. We describe the spark that started it, the choices we made along the way, and the surprises we discovered. When our story feels clear and confident, we bring it to life on a clean slide with our photo and caption, so our art and words shine together.

693

Alternative Sketchbook: Unit 1 Course Name: Alternative Sketchbook Unit 1 Title: Elements of Art and Art Basics Est. # of Lessons: 11-14 Unit Overview: We start with the building blocks, the Elements of Art that help every artist create strong, intentional work. Through a series of hands-on projects, we explore line by designing detailed zentangles, space through bold notan paper cutouts, and color and composition through shape drawings and expressive animal collages. We practice realistic shading with a graphite drawing of a mylar balloon, learning how value, form, and texture work together to make a drawing feel three-dimensional. By the end of this unit, we don't just know the elements, we know how to use them. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.Ia: Engage in making a work of art or design without having a preconceived plan. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

Transfer Goals ● ● ● ●

Understandings ● ● ● ● ● ●

Artists use the Elements of Art as building blocks so that their compositions communicate ideas clearly and effectively. Artists use line intentionally to organize space, suggest movement, and create patterns that guide the viewer’s eye. Artists arrange positive and negative space thoughtfully so that balance, contrast, and visual clarity develop within a composition. Artists organize shapes and placement carefully so that the viewer’s eye moves through the artwork in a purposeful way. Artists layer and combine colors intentionally so that visual harmony and mood are communicated. Artists observe how light creates shadow, form, and texture so that flat drawings appear three dimensional and realistic.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Essential Questions

● ● ● ● ●

How can I use different kinds of lines to make an expressive design? How do I balance positive and negative space in my arrangement? How can I use color, contrast, and placement to build a bold, eye-catching work of art? What techniques help me shade a drawing so it looks three-dimensional and realistic? How do I arrange shapes to create an interesting and balanced composition?

694

Alternative Sketchbook: Unit 1 Knowledge ● ● ● ● ● ● ●

Skills (Framed as Learning Targets)

Zentangle drawing techniques Collage techniques Color theory Compositional layout of an art piece Drawing media techniques to create shape, value, and form. Use of positive and negative space in an art piece Paper cutting and gluing techniques

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I can draw expressive lines using patterns and repetition. I can create an artwork using both positive and negative space. I can plan and build up my artwork using color and/or value to demonstrate contrast, balance, and harmony. I can use shading techniques like blending, layering, and highlights to create the illusion of texture and form. I can arrange shapes to make a strong composition that shows movement and balance.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail sketches: 3 sketches of composition layout for animal collage, 3 sketches of positive and negative space for notan Final Drawings: Zentangle page, manikin drawing page, composition of shapes page Completed Artworks: Zentangle title page, Compositional Shapes page, Manikin Still Life page, Notan page, Animal Collage page, Mylar Balloon page

Drawing Techniques page: Demonstration of value, form and texture using graphite Art Check-in: In progress check in as working on their artwork. Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Zentangle Drawing

Estimated # of Lessons: 2

Learning Targets: ● I can draw expressive lines using patterns and repetition. ● I can create an artwork using both positive and negative space. ● I can plan and build up my artwork using color and/or value to demonstrate contrast, balance, and harmony. ● I can arrange shapes to make a strong composition that shows movement and balance.

Essential Questions: ● How can I use different kinds of lines to make an expressive design? ● How do I balance positive and negative space in my arrangement? ● How do I arrange shapes to create an interesting and balanced composition?

Learning Activities: ● Line types - organic, geometric ● Zentangle title page

695

Alternative Sketchbook: Unit 1 Second Topic: Manikin Stilllife Drawing

Estimated # of Lessons: 1

Learning Targets: ● I can draw expressive lines using patterns and repetition. ● I can create an artwork using both positive and negative space. ● I can plan and build up my artwork using color and/or value to demonstrate contrast, balance, and harmony. ● I can use shading techniques like blending, layering, and highlights to create the illusion of texture and form. ● I can arrange shapes to make a strong composition that shows movement and balance.

Essential Questions: ● How can I use different kinds of lines to make an expressive design? ● How do I balance positive and negative space in my arrangement? ● How can I use color, contrast, and placement to build a bold, eye-catching work of art? ● What techniques help me shade a drawing so it looks three-dimensional and realistic? ● How do I arrange shapes to create an interesting and balanced composition?

Learning Activities: ● Illustrate a drawing manikin from life and create a scene from our imagination around it Third Topic: Composing Shapes

Estimated # of Lessons: 1

Learning Targets: ● I can create an artwork using both positive and negative space. ● I can plan and build up my artwork using color and/or value to demonstrate contrast, balance, and harmony. ● I can arrange shapes to make a strong composition that shows movement and balance.

Essential Questions: ● How can I use different kinds of lines to make an expressive design? ● How do I balance positive and negative space in my arrangement? ● How can I use color, contrast, and placement to build a bold, eye-catching work of art? ● How do I arrange shapes to create an interesting and balanced composition?

Learning Activities: ● Trace block shapes onto a page to generate a composition that utilizes balance and color Fourth Topic: Notan

Estimated # of Lessons: 2-3

Learning Targets: ● I can create an artwork using both positive and negative space. ● I can use shading techniques like blending, layering, and highlights to create the illusion of texture and form. ● I can arrange shapes to make a strong composition that shows movement and balance.

Essential Questions: ● How do I balance positive and negative space in my arrangement? ● How can I use color, contrast, and placement to build a bold, eye-catching work of art? ● How do I arrange shapes to create an interesting and balanced composition?

Learning Activities: ● Thumbnail sketches that indicate positive and negative space 696

Alternative Sketchbook: Unit 1 ●

Create a notan from cut paper

Fifth Topic: Animal Collage

Estimated # of Lessons: 3-4

Learning Activities: ● Thumbnail sketches of different animals and layout compositions ● Final collage of animal of your choice Sixth Topic: Mylar Balloon Drawing

Estimated # of Lessons: 2-3

Learning Targets: ● I can create an artwork using both positive and negative space. ● I can plan and build up my artwork using color and/or value to demonstrate contrast, balance, and harmony. ● I can use shading techniques like blending, layering, and highlights to create the illusion of texture and form. ● I can arrange shapes to make a strong composition that shows movement and balance.

Learning Activities: ● Graphite Drawing techniques ● Mylar Balloon Drawing that demonstrates value, form, and texture.

697

Alternative Sketchbook: Unit 2 Course Name: Alternative Sketchbook

Unit 2 Title: Symbolic Sketchbook Cover

Est. # of Lessons: 5

Unit Overview: Now that we have the elements in our toolkit, we put them to work on something personal. We design a symbolic cover for our sketchbooks, one that wraps the front, back, and binding into a single unified artwork. We start by brainstorming what matters to us and sketching ideas that turn personal identity into visual symbols. From there, we refine a composition, gesso our covers to create a strong base, and bring the design to life using a mixed-media approach with acrylic paint and collage. The result is a cover that's personal, durable, and sets the tone for everything inside. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present day life using a contemporary practice of art or design. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ● ● ● ●

Understandings ●

●

Artists communicate identity through visual symbols so that imagery and words work together to express personal meaning. Artists plan designs that wrap across multiple surfaces so that color, composition, and imagery remain unified from every angle. Artists follow a clear design process of brainstorming, thumbnailing, and refinement so that personal ideas become clear and polished compositions. Artists use mixed-media techniques intentionally so that collage materials are securely attached and protected for longterm display. Artists apply paint carefully and maintain consistent color mixtures so that the

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Essential Questions

● ●

●

How can I turn who I am into symbols that make sense together on one cover? What materials and processes such as acrylic, collage, gesso, and sealing help a mixedmedia cover look unified and durable for daily use? How does planning with brainstorming, thumbnails, and color studies improve clarity, balance, and flow across the front, back, and binding? How do our choices during painting and collaging create a professional finish?

698

Alternative Sketchbook: Unit 2 artwork remains cohesive and visually clear across the entire surface. Knowledge ● ● ● ● ●

Skills (Framed as Learning Targets)

Conceptualization of design Applying mixed media practices Acrylic paint techniques Collaging techniques Layout and measurement

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I can generate symbols about my identity and arrange them into a meaningful composition. I can produce multiple thumbnails and develop the strongest idea into a refined composition. I can plan out the elements of my design in preparation for creating it. I can maintain consistent mixed colors across the front, back, and binding, and paint cleanly.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: 3 sketches of ideas Final Sketch: Final sketch with proportional and architectural layout on book covers and spine. Final Drawing: Object drawing that utilizes color to create an expressive drawing.

Identity Brainstorming Worksheet Sketchbook Cover Art Check-in: In progress check in as working on the artwork of their covers Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Identity and Symbolism

Estimated # of Lessons: 1

Learning Targets: ● I can complete generate symbols about my identity. ● I can plan out the elements of my design in preparation for creating it.

Essential Questions: ● How can I turn who I am into symbols that make sense together on one cover? ● How does planning with brainstorming, thumbnails, and color studies improve clarity, balance, and flow across the front, back, and binding?

Learning Activities: ● Identity Brainstorming worksheet ● Symbol sketches Second Topic: Sketchbook Cover Art

Estimated # of Lessons: 4

Learning Targets: ● I can complete generate symbols about my identity. ● I can produce multiple thumbnails and develop the strongest idea into a refined composition. ● I can plan out the elements of my design in preparation for creating it. ● I can maintain consistent mixed colors

Essential Questions: ● How can I turn who I am into symbols that make sense together on one cover? ● What materials and processes such as acrylic, collage, gesso, and sealing help a mixedmedia cover look unified and durable for daily use? ● How does planning with brainstorming, thumbnails, and color studies improve clarity, 699

Alternative Sketchbook: Unit 2 across the front, back, and binding, and paint cleanly

●

balance, and flow across the front, back, and binding? How do our choices during painting and collaging create a professional finish?

Learning Activities: ● Acrylic painting techniques ● Planning: thumbnail sketches and final layout sketch ● Creating cover artwork: sketching, painting, and/or collage

700

Alternative Sketchbook: Unit 3 Course Name: Alternative Sketchbook

Unit 3 Title:

Illustrating a Recipe

Est. # of Lessons: 5

Unit Overview: With our covers complete, we open our sketchbooks and take on a new challenge, combining words and images on a single page. We illustrate a favorite recipe from start to finish, planning how text and pictures share the space, experimenting with lettering styles, and giving every ingredient a clear place in the composition. We build our drawings in stages, thumbnails for text layout, thumbnails for each ingredient, then create a clean final illustration using liner pens for line work and alcohol markers for color and value. The finished piece is a balanced page that reads as both a recipe and a work of art. STAGE 1: DESIRED RESULTS Established Goals ● ●

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VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.IIIa: Reflect on, reengage, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision. VA:Cn10.1.Ia: Document the process of developing ideas from early stages to fully elaborated ideas.

Transfer Goals ● ● ● ● ●

Understandings ●

● ● ●

Artists plan how words and images share space so that the composition communicates clearly and guides the viewer’s eye. Artists arrange text and illustrations intentionally so that each element has a purposeful place within the design. Artists use thumbnails to test layout, scale, and placement quickly so that the final composition is stronger and less crowded. Artists combine precise line work with layered color so that illustrations achieve unity, clarity, and visual appeal.

Essential Questions ● ● ●

Knowledge ● ●

Alcohol marker techniques Conceptualization of design

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Build visual literacy skills through interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

How do we design a page where words and images work together instead of competing for space? How do thumbnails help us make better decisions before we commit to a final piece? How do line and color work together to make an illustration feel clean, unified, and alive?

Skills (Framed as Learning Targets) ●

I can plan the layout of my recipe text and choose lettering that supports the mood 701

Alternative Sketchbook: Unit 3 ● ● ●

Planning elements of design separately Combining font and imagery Creation of a finished piece from concept art

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while staying readable. I can draw three text thumbnails to test placement scale and spacing on the page. I can assign space for every ingredient so that the composition feels organized and clear. I can draw two thumbnails for each ingredient to solve form proportion and pose before I commit to the final. I can ink with steady line weight and vary outlines interior details and textures using liner pens. I can layer alcohol markers to create smooth gradients cast shadows and color harmony. I can combine text and illustration so the viewer can follow the steps and understand the ingredients at a glance.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Compositional Thumbnail sketches: 3 sketches of compositional layouts Ingredient Thumbnail sketches: 2 sketches per ingredient Final Drawing: All elements of planning are combined to create a final illustrated recipe.

Marker Technique Page: Demonstrate opacity and color mixing using alcohol markers Illustrated Recipe Art Check-in: In progress check in as working on the artwork and layouts of their recipes Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Designing Layout and Elements of Illustration

Estimated # of Lessons: 3

Learning Targets: ● I can plan the layout of my recipe text and choose lettering that supports the mood while staying readable. ● I can draw three text thumbnails to test placement scale and spacing on the page. ● I can assign space for every ingredient so that the composition feels organized and clear. ● I can draw two thumbnails for each ingredient to solve form proportion and pose before I commit to the final. ● I can combine text and illustration so the viewer can follow the steps and understand the ingredients at a glance

Essential Questions: ● How do we design a page where words and images work together instead of competing for space? ● How do thumbnails help us make better decisions before we commit to a final piece? ● How do line and color work together to make an illustration feel clean, unified, and alive?

Learning Activities: ● 3 compositional thumbnail sketches 702

Alternative Sketchbook: Unit 3 ● ●

2 thumbnail sketches per each ingredient Final drawing

Second Topic: Adding Color with Alcohol Markers

Estimated # of Lessons: 2

Learning Targets: ● I can ink with steady line weight and vary outlines interior details and textures using liner pens. ● I can layer alcohol markers to create smooth gradients cast shadows and color harmony. ● I can combine text and illustration so the viewer can follow the steps and understand the ingredients at a glance.

Essential Questions: ● How do line and color work together to make an illustration feel clean, unified, and alive?

● ● ●

Learning Activities: Marker Technique Page Adding color to the final illustration

703

Alternative Sketchbook: Unit 4 Course Name:

Alternative Sketchbook

Unit 4 Title:

Mixed Media Drawing

Est. # of Lessons: 4

Unit Overview: We've worked with collage, marker, and ink, now we bring multiple drawing media together in one image. We create a mixed-media drawing that combines charcoal, pen, and colored pencil on a single sketchbook page. We prepare a collage-style surface by attaching two different papers while leaving part of the original page visible, giving us three distinct sections to draw on. The challenge: design one image that flows across all three. We finish with confident line, value, and color so the page reads as a single unified artwork. STAGE 1: DESIRED RESULTS Established Goals ● ●

●

VA:Cr1.1.Ia: Use multiple approaches to begin creative endeavors. VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form. VA:Cr3.1.Ia: Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

Transfer Goals ● ● ● ●

Understandings ● ●

●

Artists plan with thumbnails and references to make informed decisions and to avoid guesswork during the final drawing. Artists prepare the surface with varied papers in order to invite different kinds of marks and to create visual interest before drawing begins. Artists assign media with intention so each section of the page uses a different tool and the combined strengths of pen charcoal and colored pencil create depth variety and unity. Artists create unity in a composition by repeating outlines, values, and edges so separate sections visually connect into a single artwork.

Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects approaching challenges with adaptability and resourcefulness. (VOG: Self-Directed Learners) Present work professionally by making informed aesthetic decisions, and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators)

Essential Questions ● ● ● ●

How can I design a composition that connects across three sections and still feels like one image? How do pen charcoal and colored pencil each contribute unique strengths to my subject? How does page preparation with glued papers influence my choices for line value and color? How do thumbnails and a reference photo improve accuracy clarity and visual impact?

704

Alternative Sketchbook: Unit 4 Knowledge ● ● ● ● ●

Skills (Framed as Learning Targets)

Charcoal drawing techniques Colored pencil texture drawing Color theory with colored pencils Pen & ink drawing techniques Preparing a surface for artmaking

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I can create five thumbnails that test composition, cropping, and placement before I begin my final drawing. I can demonstrate control of my mediums to create value, tone, and texture. I can utilize a reference photo to improve proportion and detail in my drawing. I can draw one continuous outline that travels across all sections to keep my subject connected. I can balance contrast and color so the eye moves through the page and the work feels unified. I can use three different mediums to create texture, value, and form on my artwork

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Thumbnail Sketches: 3 sketches of ideas Final Drawing: Object drawing that overlaps each entire page of sketchbook. Completed Artwork: Demonstrates techniques in charcoal, colored pencil, and pen & ink drawing.

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Medium Technique Drawing page: full page of texture drawing, value scales, and color mixing techniques in charcoal, colored pencil, and pen & ink. Art Check-in: In progress check in as working on their artwork. Rubric Reflection: Self evaluation and Response to Process Questions

STAGE 3: LEARNING PLAN First Topic: Medium Techniques Review (Colored Pencil, Pen & Ink, Charcoal)

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can demonstrate control of my mediums ● How do pen charcoal and colored pencil each to create value, tone, and texture. contribute unique strengths to my subject? ● I can balance contrast and color so the eye moves through the page and the work feels unified. ● I can use three different mediums to create texture, value, and form on my artwork Learning Activities: ● Colored Pencil Techniques page ● Pen & Ink Techniques page ● Charcoal Techniques page

705

Alternative Sketchbook: Unit 4 Second Topic: Mixed Media Art

Estimated # of Lessons: 2

Learning Targets: Essential Questions: ● I can create five thumbnails that test ● How can I design a composition that composition, cropping, and placement connects across three sections and still feels before I begin my final drawing. like one image? ● I can utilize a reference photo to improve ● How do pen charcoal and colored pencil each proportion and detail in my drawing. contribute unique strengths to my subject? ● I can demonstrate control of my mediums ● How does page preparation with glued to create value, tone, and texture. papers influence my choices for line value ● I can draw one continuous outline that and color? travels across all sections to keep my ● How do thumbnails and a reference photo subject connected. improve accuracy clarity and visual impact? ● I can balance contrast and color so the eye moves through the page and the work feels unified. ● I can use three different mediums to create texture, value, and form on my artwork Learning Activities: ● Preparing the sketchbook page by gluing down 2 different types of paper, leaving 3 sections visible on the page ● Draw 5 thumbnail sketches ● Draw final outline on top of the prepared page ● Apply only one medium to each prepared paper section.

706

Alternative Sketchbook: Unit 5 Course Name: Alternative Sketchbook

Unit Title: Artist Statement

Est. # of Lessons: 2

Unit Overview: We've filled our sketchbooks, now we tell the story behind the work. We pick our favorite piece from the semester and snap a great photo of it. Then we share the what, why, and how in our own voice, like we're talking to a friend. We describe the spark that started it, the choices we made along the way, and the surprises we discovered. When our story feels clear and confident, we bring it to life on a clean slide with our photo and caption, so our art and words shine together. STAGE 1: DESIRED RESULTS Established Goals ● ● ● ●

Transfer Goals ● ●

● ●

Understandings ● ●

●

Reflecting on artistic choices, what worked, what surprised us, and why, deepens our understanding of our own creative process. An artist statement makes the invisible visible, helping viewers understand the intention, decisions, and discoveries behind a finished work. Presenting work professionally, with a strong image, clear writing, and thoughtful design, shapes how an audience experiences and values the art.

Essential Questions ● ● ●

Knowledge ● ● ●

Use of art vocabulary to describe visual dynamics of an art piece Write a grammatically correct sentence Present personal opinions to a group

Skills (Framed as Learning Targets) ● ● ●

Alternative Sketchbook: Unit 5 ● ●

I can participate in a critique by sharing thoughtful observations about my own and others' work. I can revise my writing for clarity, grammar, and readability using a scoring guide.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

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STAGE 3: LEARNING PLAN First Topic: Artist Statement

Estimated # of Lessons: 1

Learning Activities: ● Artist statement worksheet ● Create a slide for presentation with completed artist statement and photograph of artwork Second Topic: Final Critique

Estimated # of Lessons: 1

Learning Targets: ● I can select my strongest work from the semester and explain why I chose it. ● I can photograph my artwork clearly and present it on a slide with a correct caption. ● I can participate in a critique by sharing thoughtful observations about my own and others' work.

Learning Activities: ● Present and critique peer artworks and artist statements 708

Alternative Processes ALTERNATIVE PROCESSES Course # WAN200

0.5 credit (FVA, HUM)

PREREQUISITE: At least one Foundation course: WAN101, WAN102, or WAN103 Alternative Processes is a hands-on art course for students who love to experiment, explore, and push beyond traditional art materials. In this class, you’ll investigate nontraditional and mixed-media art processes such as collage, printmaking, assemblage, fiber arts, found-object sculpture, handmade books, image transfers, and experimental photography techniques. You’ll learn how artists use unconventional materials and methods to express ideas, tell stories, and challenge expectations of what art can be. Through guided projects and independent exploration, you’ll develop problem-solving skills, take creative risks, and embrace mistakes as part of the artistic process. This course encourages curiosity, play, and personal voice while strengthening your ability to think creatively and work conceptually.

709

Alternative Process: Printmaking, Collage, and Painting (Semester Course) Alternative Process is a course about what happens when you put down the expected tool and pick up something else entirely. We work with materials that most people overlook — found objects, fiber, printed textures, transferred images, cardboard, string — and discover what they can do in the hands of an artist paying close attention. Each unit introduces a different set of processes and a different set of questions. By the end of the course, we bring everything together in a single handmade artist book that combines the techniques we've explored into one cohesive personal narrative. This is a course about creative risk-taking, material thinking, and learning to see possibility in the unexpected. Unit 1: Experimental Mark-Making and Surface Exploration 4 Lessons

Unit 2: Collage as Storytelling 4 Lessons

Unit 3: Alternative Printmaking and Image Transfers 6 Lessons

We begin before we know what we're making. In this unit, we set aside brushes and pencils and pick up cardboard edges, sponges, string, sticks, and found objects — anything that might leave a mark. The goal isn't a finished artwork; it's a collection of discoveries. We learn that accidents aren't failures, that unexpected results are information, and that the habit of experimenting freely is itself a creative skill worth developing. Everything we try in this unit becomes raw material — literally and conceptually — for the work ahead.

Now we start making meaning. In this unit, we work with found images — magazine photographs, printed textures, personal photographs, and painted papers — and discover how cutting, layering, and rearranging imagery can create new ideas that none of the original images contained alone. Collage is not just a technique; it's a way of thinking about how meaning is constructed. We explore themes connected to identity, memory, and personal experience, and we learn that the space between two images — the juxtaposition — is where the story lives.

Printmaking gives us something that drawing and collage don't — repetition. In this unit, we explore monoprinting, texture printing, and image transfer as ways of building layered compositions that combine photography, drawing, and print. We discover what happens when an image is separated from its original surface and placed somewhere new, and we learn how layering prints creates visual complexity that a single mark never could. This unit is about the creative possibilities that open up when we think about images as transferable, repeatable, and combinable.

710

Alternative Process: Printmaking, Collage, and Painting (Semester Course) Unit 4: Found Object Sculpture and Assemblage 6 Lessons

Unit 5: Fiber Arts and Soft Sculpture 6 Lessons

Unit 6: Handmade Artist Books and Personal Narrative 6 Lessons

We leave two dimensions behind. In this unit, we collect everyday objects — packaging, hardware, discarded materials, small household items — and transform them into sculptural compositions. Assemblage asks us to look at ordinary things differently: not for what they are, but for what they could mean. We discover how the relationship between objects — how they are arranged, combined, and placed in conversation with each other — creates meaning that no single object carries alone. This unit is about the creative power of selection and arrangement.

Not all sculpture is hard. In this unit, we work with yarn, fabric, thread, and textile materials to create forms that explore texture, movement, and structure in ways that rigid materials never could. Fiber arts have deep roots in cultural traditions around the world — traditions that are also, increasingly, at the center of contemporary art practice. We learn stitching, wrapping, and weaving not as craft skills but as artistic tools, and we discover what soft materials can express that hard ones cannot.

This is where everything we've learned becomes one thing. In this final unit, we design and construct handmade artist books that draw on every process explored throughout the course — markmaking, collage, printmaking, assemblage elements, fiber, mixed media — and sequence them into a visual narrative that is distinctly ours. The artist book is one of the most personal formats in contemporary art: small enough to hold, intimate enough to whisper, and powerful enough to say exactly what we mean. We close the course by making something that tells our story in our own visual language.

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Alternative Process: Unit 1 Course Name: Alternative Process: Printmaking, Collage, and Painting Unit 1 Title: Experimental Mark-Making and Surface Exploration

Est. # of Lessons: 4

Unit Overview: We begin before we know what we're making. In this unit, we set aside brushes/pencils & pick up cardboard edges, sponges, string, sticks, & found objects that might leave a mark. The goal isn't a finished artwork; it's a collection of discoveries. We learn that accidents aren't failures, that unexpected results are information, & that the habit of experimenting freely is a creative skill worth developing. Everything we try in this unit becomes raw material, literally & conceptually, for the work ahead. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.1.HSII: Generate and conceptualize artistic ideas and work VA:Cr2.1.HSII: Experiment with materials, techniques, and processes VA:Cr3.1.HSII: Reflect on and refine artwork

Transfer Goals ● ●

Understandings ● ● ●

Not knowing what you're making yet is not a problem — it is the most open creative condition there is. An accident in artmaking is never just a mistake — it is information about what the material wants to do. The habit of experimenting freely is a creative skill, not just a warm-up for real work.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Experimental mark making Texture and pattern Surface development Layering techniques Risk-taking in artmaking

How can experimentation lead to creative discoveries? What happens when we use materials in unexpected ways? How do artists turn accidents into creative opportunities?

Skills (Framed as Learning Targets) ● ●

I can create a surface that demonstrates at least three distinct mark-making techniques using non-traditional tools. I can layer two or more materials to create a surface with varied texture and visual complexity. I can identify an unexpected result in my work and describe what it suggests about the material.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Sample Board: Students create an experimental texture sample board that demonstrates multiple mark-making techniques and includes a written reflection.

Formative Assessment Observation: Teacher observation during experimentation Techniques Page: Sketchbook documentation of 712

Alternative Process: Unit 1 techniques

Assessment Criteria: ● ● ● ● ●

Range of Mark-Making Techniques Layering and Surface Complexity Experimentation and Risk-Taking Response to Unexpected Results Craftsmanship and Care

Critique: Class discussion and reflection

Written Reflection Prompts: ● Which texture or mark surprised you the most and why? ● What tool or technique created the most interesting result? ● What does one of your textures suggest or inspire for a future artwork? STAGE 3: LEARNING PLAN First Topic: Mark-Making Tools and Marks

Estimated # of Lessons: 1

Learning Targets : ● I can create a surface that demonstrates at least three distinct mark-making techniques using non-traditional tools. ● I can layer two or more materials to create a surface with varied texture and visual complexity.

Essential Questions: ● How can experimentation lead to creative discoveries? ● What happens when we use materials in unexpected ways? ● How do artists turn accidents into creative opportunities?

Learning Activities: ● Teacher demonstration of experimental mark-making tools ● Students rotate through experimentation stations ● Students create a mark-making sample sheet using different materials Second Topic: Mark-Making Discoveries

Estimated # of Lessons: 1

Learning Targets: ● I can create a surface that demonstrates at least three distinct mark-making techniques using non-traditional tools. ● I can layer two or more materials to create a surface with varied texture and visual complexity. ● I can identify an unexpected result in my work and describe what it suggests about the material.

Essential Questions: How can experimentation lead to creative discoveries? What happens when we use materials in unexpected ways? How do artists turn accidents into creative opportunities?

Learning Activities: ● Students rotate through experimentation stations ● Students create a second mark-making sample sheet using different materials ● Sketchbook reflection on discoveries ● Group discussion about successful textures and techniques 713

Alternative Process: Unit 2 Course Name: Alternative Process: Printmaking, Collage, and Painting Unit 2 Title: Collage as Storytelling

Est. # of Lessons: 4

Unit Overview: Now we start making meaning. In this unit, we work with found images — magazine photographs, printed textures, personal photographs, and painted papers — and discover how cutting, layering, and rearranging imagery can create new ideas that none of the original images contained alone. Collage is not just a technique; it's a way of thinking about how meaning is constructed. We explore themes connected to identity, memory, and personal experience, and we learn that the space between two images — the juxtaposition — is where the story lives. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.2.HSII: Shape artistic investigations VA:Cr2.3.HSII: Demonstrate understanding of visual organization VA:Re7.1.HSII: Interpret artwork

Transfer Goals ● ●

Understandings ● ● ●

Collage is not just a technique — it is a way of thinking about how meaning is constructed from fragments. The space between two images — the juxtaposition — is where the story lives. Found imagery carries meaning from its original context; collage artists use that baggage deliberately.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Collage techniques Layering and composition Visual storytelling symbolism in imagery Juxtaposition of images

How can combining images create new meaning? How can collage communicate a personal story? How do artists guide the viewer’s eye through composition?

Skills (Framed as Learning Targets) ● ● ● ●

I can select and arrange images so that their relationship — not just their individual content — communicates a specific idea. I can layer materials to create visual depth and a clear focal point. I can arrange images to guide the viewer's eye through a composition. I can explain the meaning behind my collage and describe how my arrangement choices support it.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Conceptual Collage: communicates a personal theme or story.

Formative Assessment Thumbnail Sketches: composition sketches Teacher conference: feedback during planning Critique: Peer discussion of visual ideas 714

Alternative Process: Unit 2 Assessment Criteria: ● ● ● ● ●

Concept and Personal Meaning Use of Juxtaposition and Imagery Composition and Visual Organization Layering and Depth Craftsmanship

Reflection Page: The student can clearly explain the meaning behind their collage, describe how specific arrangement choices support that meaning, and identify at least one decision that changed or strengthened the concept during the making process. STAGE 3: LEARNING PLAN First Topic: Introduction and Planning

Estimated # of Lessons: 1

Learning Targets : ● I can select and arrange images so that their relationship — not just their individual content — communicates a specific idea.

Essential Questions: ● How can combining images create new meaning? ● How can collage communicate a personal story? ● How do artists guide the viewer’s eye through composition?

Learning Activities: ● Teacher introduction to historical collage examples ● Thumbnail sketch planning Second Topic: Exploration and Construction

Estimated # of Lessons: 3

Learning Targets: ● I can select and arrange images so that their relationship — not just their individual content — communicates a specific idea. ● I can layer materials to create visual depth and a clear focal point. ● I can arrange images to guide the viewer's eye through a composition. ● I can explain the meaning behind my collage and describe how my arrangement choices support it.

Essential Questions: How can combining images create new meaning? How can collage communicate a personal story? How do artists guide the viewer’s eye through composition?

Learning Activities: ● Material exploration with printed images and textures ● Construction of a layered collage composition ● Peer feedback discussion

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Alternative Process: Unit 3 Course Name: Alternative Process: Printmaking, Collage, and Painting Unit 3 Title: Alternative Printmaking and Image Transfers

Est. # of Lessons: 6

Unit Overview: Printmaking gives us something that drawing and collage don't — repetition. In this unit, we explore monoprinting, texture printing, and image transfer as ways of building layered compositions that combine photography, drawing, and print. We discover what happens when an image is separated from its original surface and placed somewhere new, and we learn how layering prints creates visual complexity that a single mark never could. This unit is about the creative possibilities that open up when we think about images as transferable, repeatable, and combinable. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.HSII: Experiment with materials and techniques VA:Cr2.2.HSII: Demonstrate awareness of safe artmaking practices VA:Cr3.1.HSII: Reflect and revise artistic work

Transfer Goals ● ●

Understandings ● ● ●

Repetition isn't just a technical feature of printmaking — it changes the meaning of an image by multiplying and displacing it. When an image is transferred to a new surface, it carries its history with it — and gains a new one. Layering prints creates complexity that no single mark could — the meaning lives in the accumulation.

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ● ●

Monoprint techniques Image transfer processes Positive and negative space Layering techniques Texture printing

How can layered prints create complex imagery? What makes alternative printmaking different from traditional printmaking? How can image transfers transform photographs into artwork? What happens to an image when it is separated from its original surface and placed somewhere new? How does repetition change what an image means? Skills (Framed as Learning Targets)

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I can produce prints using at least two alternative methods and identify what is visually distinctive about each. I can layer prints to create a composition in which the accumulated marks create meaning that no single print could. I can transfer an image onto a new surface and describe how the transfer changes what the image communicates. I can select my strongest prints and explain why they work as a cohesive set.

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Alternative Process: Unit 3 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Printmaking Pieces: A series of layered experimental prints that incorporate at least two alternative printmaking methods.

Practice Sheets: Practice print sheets

Assessment Criteria:

Critique: Student reflection on successful techniques

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Use of Alternative Methods Layering and Compositional Complexity Image Transfer Selection and Cohesion Craftsmanship and Process

Teacher Conferences: with students during printing

Artist Reflection explain the creative decisions made throughout the printmaking process, describe what each technique contributed to the final series, and identify at least one unexpected result that influenced the direction of their work. STAGE 3: LEARNING PLAN First Topic: Monoprinting and Transferring

Estimated # of Lessons: 2

Learning Targets: ● I can produce prints using at least two alternative methods and identify what is visually distinctive about each. ● I can layer prints to create a composition in which the accumulated marks create meaning that no single print could. ● I can transfer an image onto a new surface and describe how the transfer changes what the image communicates.

Essential Questions: ● How can layered prints create complex imagery? ● What makes alternative printmaking different from traditional printmaking? ● How can image transfers transform photographs into artwork? ● What happens to an image when it is separated from its original surface and placed somewhere new? ● How does repetition change what an image means?

Learning Activities: ● Teacher demonstration of monoprint and transfer techniques ● Students experiment with printing textures and patterns ● Image transfer practice Second Topic: Alternative Techniques and Composition

Estimated # of Lessons: 4

Learning Targets: ● I can experiment with alternative I can produce prints using at least two alternative methods and identify what is visually

Essential Questions: ● How can layered prints create complex imagery? ● What makes alternative printmaking 717

Alternative Process: Unit 3 ● ● ●

distinctive about each. I can layer prints to create a composition in which the accumulated marks create meaning that no single print could. I can transfer an image onto a new surface and describe how the transfer changes what the image communicates. I can select my strongest prints and explain why they work as a cohesive set.

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different from traditional printmaking? How can image transfers transform photographs into artwork? What happens to an image when it is separated from its original surface and placed somewhere new? How does repetition change what an image means?

Learning Activities: ● Layered print composition development ● Group critique of experimental prints

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Alternative Process: Unit 4 Course Name: Alternative Process: Printmaking, Collage, and Painting Unit 4 Title: Found Object Sculpture and Assemblage

Est. # of Lessons: 6

Unit Overview: We leave two dimensions behind. In this unit, we collect everyday objects — packaging, hardware, discarded materials, small household items — and transform them into sculptural compositions. Assemblage asks us to look at ordinary things differently: not for what they are, but for what they could mean. We discover how the relationship between objects — how they are arranged, combined, and placed in conversation with each other — creates meaning that no single object carries alone. This unit is about the creative power of selection and arrangement. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.1.HSII: Generate artistic ideas VA:Cr2.1.HSII: Experiment with materials and construction methods VA:Pr5.1.HSII: Develop presentation strategies

Transfer Goals ● ●

Understandings ● ●

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Everyday objects carry meaning from the lives they've lived — assemblage artists use that meaning as their material. The relationship between objects — how they are placed in conversation with each other — creates meaning that no single object carries alone. Selection is itself a creative act: choosing what belongs together is the beginning of making an argument.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Assemblage sculpture Found object art Structural stability Balance and composition Symbolism in objects

How can everyday objects become art? What stories can objects communicate? How does assembling objects change their meaning?

Skills (Framed as Learning Targets) ●

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I can select objects whose individual histories and associations support my concept and construct a stable sculptural composition in which the arrangement of objects creates meaning beyond what any single object communicates alone. I can explain how the materials and relationships in my assemblage communicate a specific idea or theme.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment Assemblage Sculpture: using found objects that

Formative Assessment Concept Sketches 719

Alternative Process: Unit 4 communicates a clear theme, idea, or narrative. The conceptual focus of this project is how objects interact, contrast, and relate to one another to build meaning.

Teacher Conferences: Feedback during construction Critique: Peer discussion

Assessment Criteria: • Concept and Theme • Relationships Between Objects • Object Selection and Symbolic Use • Composition and Spatial Organization • Craftsmanship and Construction • Artist Reflection: Students explain the idea behind their assemblage and the relationships between objects. • Describing how the chosen objects work together to communicate the theme • Explaining symbolic meanings/associations • Reflecting on how arranging objects changed or strengthened the idea STAGE 3: LEARNING PLAN First Topic: Collection and Brainstorming

Estimated # of Lessons: 2

Learning Targets: ● I can select objects whose individual histories and associations support my concept.

Essential Questions: ● How can everyday objects become art? ● What stories can objects communicate? ● How does assembling objects change their meaning?

Learning Activities: ● Discussion of assemblage artists and examples ● Object collection and brainstorming ● Concept sketches Second Topic: Construction and Assemblage

Estimated # of Lessons: 4

Learning Targets: ● I can select objects whose individual histories and associations support my concept and construct a stable sculptural composition in which the arrangement of objects creates meaning beyond what any single object communicates alone. ● I can explain how the materials and relationships in my assemblage communicate a specific idea or theme.

Essential Questions: ● How can everyday objects become art? ● What stories can objects communicate? ● How does assembling objects change their meaning?

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Alternative Process: Unit 5 Course Name: Alternative Process: Printmaking, Collage, and Painting Unit 5 Title: Fiber Arts and Soft Sculpture

Est. # of Lessons: 6

Unit Overview: Not all sculpture is hard. In this unit, we work with yarn, fabric, thread, and textile materials to create forms that explore texture, movement, and structure in ways that rigid materials never could. Fiber arts have deep roots in cultural traditions around the world — traditions that are also, increasingly, at the center of contemporary art practice. We learn stitching, wrapping, and weaving not as craft skills but as artistic tools, and we discover what soft materials can express that hard ones cannot. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr2.1.HSII: Experiment with materials VA:Cr2.3.HSII: Apply design principles VA:Cn10.1.HSII: Connect art to cultural traditions

Transfer Goals ● ●

Understandings ● ●

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Soft materials can do things rigid materials cannot — they move, they invite touch, they collapse and reform. Fiber arts have been treated as craft rather than art for most of Western art history — and artists working in fiber today are making an argument about what that distinction was really about. What a material feels like is part of what it means — texture is never just decoration.

Essential Questions ● ● ●

Knowledge ● ● ● ● ●

Fiber art techniques Stitching and weaving basics Texture and tactile qualities Cultural fiber traditions Soft sculpture construction

Build visual literacy skills through the interpretation, analysis, and communication of ideas. (VOG: Information Analysts) Explore, develop, and refine artistic skills across diverse media and techniques. (VOG: Effective Communicators)

How can fiber materials become sculpture? How does texture affect how we experience artwork? How do fiber traditions influence contemporary art?

Skills (Framed as Learning Targets) ● ● ● ●

I can construct a fiber-based form using at least one structural technique — stitching, wrapping, or weaving. I can use stitching or weaving to construct a form that has structural integrity and intentional shape. I can combine fabrics and textures to create a surface that communicates a specific tactile or visual quality. I can explain how texture contributes to the meaning of my artwork and why I made the material choices I did.

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Alternative Process: Unit 5 STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Fiber Art Sculpture: sculptural artwork that explores texture and form. Assessment Criteria: ●

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The artwork demonstrates intentional use of fiber materials to create varied and purposeful textures that contribute to the overall visual impact of the sculpture. The sculpture shows thoughtful development of form and structure, with textures that enhance the three-dimensional qualities of the piece. The selection and use of materials reflects intentional artistic decision-making, showing that the student chose fibers, techniques, or processes that support the concept of the work. The student can clearly explain how texture contributes to the meaning of the artwork and why specific materials or techniques were chosen.

Practice Work: Practice fiber samples Teacher Conferences: with individual students Critique: Peer feedback

STAGE 3: LEARNING PLAN First Topic: Fiber Techniques

Estimated # of Lessons: 2

Learning Targets : ● I can construct a fiber-based form using at least one structural technique — stitching, wrapping, or weaving. ● I can use stitching or weaving to construct a form that has structural integrity and intentional shape. ● I can combine fabrics and textures to create a surface that communicates a specific tactile or visual quality.

Essential Questions: ● How can fiber materials become sculpture? ● How does texture affect how we experience artwork? ● How do fiber traditions influence contemporary art?

Learning Activities: ● Teacher demonstration of fiber techniques ● Students practice stitching and weaving samples ● Design planning sketches Second Topic: Construction and Reflection

Estimated # of Lessons: 4

Learning Targets: ● I can construct a fiber-based form using at

Essential Questions: ● How can fiber materials become sculpture? 722

Alternative Process: Unit 5

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least one structural technique — stitching, wrapping, or weaving. I can use stitching or weaving to construct a form that has structural integrity and intentional shape. I can combine fabrics and textures to create a surface that communicates a specific tactile or visual quality. I can explain how texture contributes to the meaning of my artwork and why I made the material choices I did.

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How does texture affect how we experience artwork? How do fiber traditions influence contemporary art?

Learning Activities: ● Construction of fiber sculpture ● Reflection discussion on texture and materials

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Alternative Process: Unit 6 Course Name: Alternative Process: Printmaking, Collage, and Painting Unit 6 Title: Handmade Artist Books and Personal Narrative

Est. # of Lessons: 6

Unit Overview: This is where everything we've learned becomes one thing. In this final unit, we design and construct handmade artist books that draw on every process explored throughout the course — markmaking, collage, printmaking, assemblage elements, fiber, mixed media — and sequence them into a visual narrative that is distinctly ours. The artist book is one of the most personal formats in contemporary art: small enough to hold, intimate enough to whisper, and powerful enough to say exactly what we mean. We close the course by making something that tells our story in our own visual language. STAGE 1: DESIRED RESULTS Established Goals ● ● ●

VA:Cr1.2.HSII: Shape artistic investigations VA:Cr3.1.HSII: Refine and complete artwork VA:Pr6.1.HSI:I Present and analyze artwork

Transfer Goals ●

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Understandings ●

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The artist book is one of the most intimate formats in contemporary art — it asks the viewer to hold the work, turn its pages, and move through it in time. Sequencing is an act of interpretation: the order in which images appear changes what each one means. Bringing everything together into a single cohesive object requires not just skill but a point of view — knowing what your story is and trusting it enough to commit.

Essential Questions ● ● ● ● ●

Knowledge ● ● ● ● ●

Bookbinding techniques Visual storytelling Sequencing images Combining mixed media Narrative structure

Present work professionally by making informed aesthetic decisions and articulating artistic choices effectively to target audiences. (VOG: Effective Communicators) Create original artworks to develop creativity, competence, and confidence. (VOG: Information Analysts) Initiate and follow through on artistic projects, approaching challenges with adaptability and resourcefulness. (VOG: SelfDirected Learners)

How can a book format communicate ideas and stories? How can combining media strengthen an artwork? How does sequencing change how viewers experience art? What does it mean to sequence your experiences into a story someone else can hold? How do you know when everything belongs together — and when something needs to go? Skills (Framed as Learning Targets)

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I can design a book structure whose form — size, shape, binding, page sequence — supports the narrative I am telling. I can select techniques from earlier in the course and explain why each one serves my book's narrative rather than including them for variety alone. I can sequence images across pages so that 724

Alternative Process: Unit 6

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their order creates meaning that a single image could not carry alone. I can present and explain the artistic choices behind my book to an audience.

STAGE 2: DETERMINE ACCEPTABLE EVIDENCE Summative Assessment

Formative Assessment

Artist Book: incorporates multiple alternative processes explored during the semester.

Book Walk: Students observe peer work after completion

Artist Reflection: ● Narrative and Personal Meaning ● Artistic Processes and Materials ● Conceptual Cohesion (how pages work together) ● Craftsmanship and Presentation

Conversation: Class discussion about what makes a strong book with reflection prompts Planning: Storyboard planning Teacher Conferences: progress check-in while creating Critique: Peer critique discussions

STAGE 3: LEARNING PLAN First Topic: Examination, Planning, and Experimentation

Estimated # of Lessons: 2

Learning Targets: ● I can sequence images across pages so that their order creates meaning that a single image could not carry alone.

Essential Questions: ● How can a book format communicate ideas and stories? ● How can combining media strengthen an artwork? ● How does sequencing change how viewers experience art?

Learning Activities: ●

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Teacher will set up artist book examples around the room (printed photos, real books, or slides on stations). Students rotate and answer quick prompts: ● What story or idea do you think this book is telling? ● How do the images and text work together? ● What materials or processes do you notice? ● What makes this book interesting to hold or look through? Following the book walk, the teacher guides a discussion about what makes a strong book. A strong artist book usually includes: Clear Narrative or Theme; Intentional Visual Choices; Thoughtful Page Sequence; Craftsmanship and Structure Binding, folding, cutting, and assembly support the experience of the book. Teacher demonstration of bookbinding techniques Storyboard planning pages Mixed media experimentation 725

Alternative Process: Unit 6 Second Topic: Experimentation and Construction

Estimated # of Lessons: 4

Learning Targets: ● I can design a book structure whose form — size, shape, binding, page sequence — supports the narrative I am telling. ● I can select techniques from earlier in the course and explain why each one serves my book's narrative rather than including them for variety alone. ● I can sequence images across pages so that their order creates meaning that a single image could not carry alone. ● I can present and explain the artistic choices behind my book to an audience.

Essential Questions: ● How can a book format communicate ideas and stories? ● How can combining media strengthen an artwork? ● How does sequencing change how viewers experience art? ● What does it mean to sequence your experiences into a story someone else can hold? ● How do you know when everything belongs together — and when something needs to go?

Learning Activities: ● Mixed media experimentation ● Construction of a handmade book ● Final class critique and reflection

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