EdTPA 7th Grade Art Lesson

EXTENDED LESSON PLAN DRAFT 1.3 Student Teacher: Caitlin Hazelton Lesson Title: Environmental Self Portrait Embellished Cyanotype Mural Grade Level: 7th Grade Number of Students: 7 Students Time available for this lesson: (6) 40 minute sessions Central Focus (Big Idea): Identity By combining the cyanotype process, using the environment (sunlight) to create silhouette self portraits and found materials from their visual culture, family heritage and local environment, students will learn that art can be used to express their identities and values, which are partially shaped by the world around them, and they have a connection to others within their community and throughout the world.

Social Issues / Concepts of the Lesson: The social issue in this lesson deals with how the environment, specifically our visual culture, family heritage and physical environment shapes our identities and values. It also concerns how although unique, there are commonalities that exist throughout our communities and beyond. Students will reflect on their personal experiences and research into their history to connect with their values, beliefs, ideas and to those of others in their class.

Essential Questions: • What is identity?

• Why do we create self-portraits?

• How can we create portraits that are universal?

• How can we use symbolism to represent our identity?

• How does visual culture, environment and heritage shape our identity?

• How can we use silhouettes and symbolism with cyanotype and embellishment to portray identity to communicate a unique and universal narrative that promotes a sense of community?

Illinois Arts Learning Standards: Standard # Anchor Standard 2: Organize and develop artistic ideas and work. Enduring Understanding: People create and interact with objects, places, and design that define, shape, enhance, and empower their lives.

Section VA:Cr2.3.7 – Apply visual organizational strategies to design and produce a work of art, design, or media that clearly communicates information or ideas.

In this lesson: Students will meet this standard by carefully researching and planning the layout of their artwork. They will begin by brainstorming about objects from their visual culture and physical environment, as well as their family heritage and history, and connect this to their current values. Then, students will come up with symbolic visual representations of these values based on their ideas, and sketch out their designs on worksheets that will be a plan for their final art pieces.

Standard # Anchor Standard 8: Construct meaningful interpretations of artistic work.

Enduring Understanding: People gain insights into meanings of artworks by engaging in the process of art criticism.

Section VA:Re8.1.7 – Interpret art and generate meanings through describing and analyzing feelings, subject matter, formal characteristics, art-making approaches, and contextual information and identify key concepts.

In this lesson: Students will meet this standard by examining works of art that deal with symbolic self portraiture. Viewing the artwork of artists such as Frida Kahlo, Kara Walker and Cindy Sherman, students will discuss the symbolic elements of the imagery and how they were used to convey feelings, values, and identity characteristics. Students will also discuss how the different techniques by the artists effect the impact the artwork has on the viewer.

1. Objectives: 1.1 Conceptual/Cognitive Objectives: OBJECTIVE I – Given examples of artists and brainstorm sheets, students will critically research elements of their self that connect to their identity, including family heritage, visual culture and environment.

OBJECTIVE II – Given examples of cyanotypes and environmental art, students will clearly describe ways in which objects and elements of the environment can be used to create meaningful artwork.

OBJECTIVE III – Given examples of symbolic self portraiture, students will effectively portray ways in which identity can be represented by objects and elements outside of the body through symbolic representation.

1.2 Artistic Skill Objectives:

State Goal Codes VA:Cr1.1.7,VA:Cr1.2.7, VA:Cr2.3.7 VA:Cr3.1.7, VA:Re7.1.7, VA:Re7.2.7, VA:Re8.1.7

VA:Cr3.1.7, VA:Re7.1.7, VA:Re7.2.7, VA:Re8.1.7

VA:Cr2.1.7, VA:Cr2.3.7

OBJECTIVE IV – Given information and demonstration on the cyanotype process, and materials to create cyanotypes, students will accurately create a silhouette image on muslin that displays strong contrast and sharpness.

OBJECTIVE V – Given paint and various objects, students will skillfully embellish their cyanotypes in a meaningful way using the elements and principles of design.

OBJECTIVE VI – Given sewing materials, students will work collaboratively to skillfully attach their finished artwork to another students, creating a mural that conveys the message of connectedness throughout the community.

VA:Cr2.1.7, VA:Cr2.3.7

VA:Cr2.1.7, VA:Cr2.3.7, VA:Cr4.1.7, VA:Cn10.1.7

2. Assessment Criteria: OBJECTIVE I – Student has critically researched elements of their self that connect to their identity, including family heritage, visual culture and environment.

OBJECTIVE II – Student has clearly described ways in which objects and elements of the environment can be used to create meaningful artwork.

OBJECTIVE III – Student has effectively portrayed ways in which identity can be represented by objects and elements outside of the body through symbolic representation.

OBJECTIVE IV – Student has accurately created a silhouette image on muslin that displays strong contrast and sharpness.

OBJECTIVE V – Student has skillfully embellished their cyanotypes in a meaningful way using the elements and principles of design.

OBJECTIVE VI – Student has worked collaboratively to skillfully attach their finished artwork to another students, creating a mural that conveys the message of connectedness throughout the community.

3. Learner Characteristics: 3.1 Developmental Rationale Content – This lesson is appropriate for students in seventh grade because of their developmental stage that they are in at ages 12-13. In Creative and Mental Growth by Viktor Lowenfeld, he describes the ages of 9 years to 12 years as the “gang age”, where children start to develop artistically as well as emotionally and socially. They become more aware of their environment and each other, and live in …”a world that is filled with emotions, but emotions that are hidden from adults…a real world that belongs only to them” (Lowenfeld, 1987, p. 308). This increasing independence and identity discovery are coupled with a new stage in creative growth that incorporates more detailed representations that include horizon and overlapping objects. Their subject matter

becomes more personal, and they begin to focus on more symbolic or abstract concepts rather than concrete (Lowenfeld, 1987). This stage of development is also a time of great emotional changes, as they become more of aware of sexuality, gender roles and begin to question their world around them. “Children are becoming increasingly critical of others and of themselves, and some will begin to hide their drawings from an inquisitive adult or else make some disparaging remark about their efforts” (Lowenfeld, 1987, p.

321). This lesson deals with identity discovery through outside influences, such as their family/cultural heritage, visual culture and their interactions with their environment.

This allows a critical analysis of not only who they are as individuals but who they are within a bigger group or society. It also emphasizes the idea that art is a way to universally communicate cross culturally. In Yardsticks by Chip Wood, he describes 12 year olds as “self-aware” and “insightful” (p. 138) and they have a “high interest in current events, politics, social justice…pop culture [and] materialism” (p. 139). This project combines both a social awareness with their visual culture and individual influences, and combines the imagery into one unified mural, demonstrating that they are part of a larger community.

Materials – Wood describes 12 year olds as having “increased fine motor ability,” are able to concentrate longer and have an interest in “more complicated visual motor tasks,” as well as an increasing interest in gross motor abilities such as performance and sports, emphasizing their interests in a variety of materials and ways to use them (p. 140). For this project, I combined a kind of performance art (using their whole bodies as their silhouette templates) with several types of image making, including cyanotypes – which combines scientific aspects with artistic medium, paint, collage, sewing, and using non traditional materials like muslin to create a larger piece of collaborative art.

3.2 Students with special needs Students with special needs may have difficulty with any of the aspects of the lesson, depending on their developmental stage, their physical abilities and their social or cognitive abilities. For students that a physical disability, they may opt to use their actual bodies while creating their cyanotype, rather than try to trace and cut out a template. Using help from their peers, they would be able to lay on the muslin material.

They could also use objects to create silhouettes through the cyanotype process, instead of trying to paint or draw on the canvases or adhere actual 3 dimensional materials for the embellishments. For students with sensory processing disorders, the interaction with wet materials or glue may create some physical aversions, which can be alleviated by using the provided gloves and protective gear at all times. For students with emotional or social issues, the collaborative aspect may cause some issues. For these students, I would have them work independently or with an aide to create their works so that they feel comfortable being part of the group without making them participate in too much group activity.

4. Literature and References 4.1 Rationale of this lesson For this lesson, I wanted to focus on identity, and how it is formed from outside influences. In seventh grade, “the primary developmental struggle is the confusing struggle for identity” (Wood, 1994, p. 133). Students at the middle school age go through many changes and discoveries about themselves and the world around them, and I wanted them to realize and critically reflect on how their family lives, their environment and their visual culture help to shape who they are. In this way, I wanted them to discover both the strengths of their unique identities and also the similarities they have with others in order to form a sense of community and reconnecting with the outside world that has influenced them. The students were also given the opportunity to see the benefits of planning and research when it comes to making an art project, in order to incorporate deeper meaning. Investigating their outside influences, thinking of them symbolically and carefully choosing the most important aspects of their research in order to apply it and communicate it visually are all part of what they achieved in this lesson, and are skill they can continue to apply to their artwork and other school and life experiences into the future.

Beginning the lesson with a strong foundation of content leads to a more successful and meaningful application of art skills into their final artwork. The lesson builds upon knowledge that the students already have, and introduces new concepts, ideas and skills as it goes on, allowing students to take their learned knowledge and apply it in the context of the new material.

The educational philosopher, John Dewey (1916), believed that the most effective education allows children opportunities to take previous experience and knowledge and apply it to current lessons. In that way, they can make sense of new material by referencing the knowledge they already have, which not only helps synthesize new material, but also gives them confidence in both their existing knowledge and what they will learn in the future. Confidence helps in forming identity as well, which is important at this age since “feelings of worthlessness, incompetence, ugliness, anger, guilt and complicity interfere with the development of student’s positive self-concepts” (Wachowiak, 1965, p.116).

In order to create their artwork, I introduced a new technique, cyanotype, which is a photographic process that was invented in the 19th century. It uses chemistry, that produces a deep blue tone when exposed to sunlight. I chose this process for this project because I wanted the students to explore media outside of the traditional ones that are typically given to this age group. At this age, students are continuing to develop drawing skills and strive to have representations that lean towards realism. However, a lack of this skill combined with the lack of confidence in themselves, can lead to abandoning art at this age. Providing an opportunity to experiment with printmaking and other forms of artmaking that do not involve exact copies of reality and allow room for risk taking can give students more confidence in their ability to be artists. Cyanotype also introduces an interdisciplinary context, using scientific processes to create imagery. The process also utilizes the environment to create the image, which is part of

the symbolic elements the students are asked to research as well. It provides them the opportunity to be aware of their place in the world, both physically and metaphorically.

Seventh graders are starting to develop a natural awareness of the world around them, and “at this age it is vital to stimulate children’s thinking and provide them with opportunities to discover the natural beauty of materials that are found…within our environment” (Brittain & Lowenfeld, 1987, p. 319). This deepens their appreciation for what they see every day and creates a realization that art can be made in any form, and in any space.

With the use of a cyanotype, the students created a silhouette of themselves as a way of creating a “self-portrait.” Traditionally, self-portraits involve creating an image of one’s own face or likeness in some detail. For this project, I wanted the students to have an opportunity to represent themselves symbolically and universally, and the use of a silhouette of their body that was not just an outline of them but displayed some position that represented an aspect of their personality. For example, if a student was more energetic, they could be shown with arms and legs outstretched, or the silhouette could be changed to represent their personality traits more symbolically, such as having an animal head or wearing certain types of clothing. I wanted to make sure that the silhouettes were not specifically detailed, however, so that they students understood they were meant to represent them universally as a seventh grader, to some degree. In that way, the self-portraits could tell the story of both the artist that created it and the story of those around them that connect to their stories and identities as fellow members of a community. According to Wachowiak (1965): “adolescent’s ability to think abstractly and to reason about ideas increases dramatically at this time…and they can discuss symbolism, deeper meanings, and double meanings” (p. 117). This also applied to their embellishments to their cyanotypes.

For the final step, I had the students apply symbolic elements using acrylic paint and threedimensional embellishments. This not only allowed them to represent the three aspects of visual culture, environment and family heritage to represent their identity, but also gave them the opportunity to apply more technical artistic skills, such as layering, scumbling, and the elements and principles of design such as balance, unity, emphasis and space. Seventh graders are “less inhibited than upper-elementary-grade children…[and] are more willing to tackle new processes and new materials” (Wachowiak, 1965, p. 112). Pushing them to try new things and learn new concepts was important to me as a confidence builder and and to provide a “stimulating, exciting place, where natural drives of children are not only accepted but utilized to develop stimulating education that is meaningful for the students” (Brittain & Lowenfeld, 1987, p. 329).

4.2 Background of the topic The cyanotype process was discovered in 1842 by Sir John Herschel, who was a scientist and astronomer, and meant it to be a simple form of printmaking in order to reproduce notes and diagrams, such as blueprints for buildings. However, the artist Anna Atkins, a friend of Herschel, took the form to create artistic representations of nature, elevating it to a more

photographic art form that it is today. Creating images using light, or photography, has been one of the most major transitions in how art is created and viewed. Although there are many forms of it, the simplicity of its process and the ability to recreate “realistic” forms almost instantly without hours of painstaking marks of a pencil or strokes of a brush, has pushed the conceptual aspects of art into the forefront. In my opinion, this has been helpful for art as a subject in schools, in order to be viewed as a meaningful, powerful and universal way to communicate ideas and change the world.

At the same time of the invention of photography, symbolism in art became prevalent. In the late 19th century, a movement of artistic representations away from naturalism and realism occurred. Symbolism was used to express ideas metaphorically, evoking imagination and a more critical or idealized perspective of the world around us. Whether used as fantasy or commentary, symbolism has been used in art to convey a message that expresses one’s thoughts, feelings and narratives about the world, rather than a direct copy of what we see.

Artists such as Cindy Sherman have used both photography and symbolism to convey narratives of both the people she is representing in her art and how she feels about the treatment of these individuals, whether it is a commentary on the elite or on the downtrodden.

Her documentary, portraiture style evokes the sense that we are viewing a reality, but putting herself into the scene and utilizing symbolic clothing, color, lighting, space and composition conveys a meaning that goes beyond what is seen on the surface. Kara Walker’s use of silhouettes is another way to incorporate her narrative with historical representation. She is at once telling the story of her ancestors and the story of her experience in the modern world by juxtaposing metaphorical imagery with perceived “accurate likeness.”

Using lessons that incorporate techniques that inform the meaning behind the art can teach students to look critically at the choices they make, both in and out of the art classroom.

Combining their experiences with new knowledge and giving them the opportunity to explore both traditional and new media echoes the multiple perspectives that art can have when both created and viewed. “Foundations of educational change come from new academic histories of the visual arts, which help to frame discussions of diversity and social meaning, but also come from outside of academic structures to personal stories and visual culture in daily life” (Freedman, 2003, p. 62). As the world becomes more connected, and art becomes more varied in both technique, skill and meaning, as art educators we must make sure we are guiding our students to make informed, confident and important decisions in art and in life.

4.3 Information about related artists, styles, movement or cultures • Anna Atkins (cyanotypes): https://en.wikipedia.org/wiki/Anna_Atkins Anna Atkins was born in England in 1799. She was an English photographer, and also had an interest in the science of botany (plants). She is often considered the first person to publish a book illustrated with photographic images. Some sources claim that she was the first woman to create a photograph. Sir John Herschel, who invented the cyanotype

process in 1842 was a friend of hers and led Anna to using the process in her work. She published three volumes of cyanotype books entitled “Photographs of British Algae: Cyanotype Impressions”. These books are still available to view in libraries and museums across the world.

• Frida Kahlo (symbolic portraiture): https://en.wikipedia.org/wiki/Frida_Kahlo Frida Kahlo de Rivera was born in 1907. She was a Mexican artist who painted many portraits, self-portraits, and works inspired by the nature and artifacts of Mexico. Inspired by the country's popular culture, she employed a naïve folk art style to explore questions of identity, postcolonialism, gender, class, and race in Mexican society. Her paintings often had strong autobiographical elements and mixed realism with fantasy.

• Barbara Kasten (cyanotypes): https://art21.org/watch/extended-play/barbara-kastenbeauty-was-a-problem-short/ Barbara Kasten was born in Chicago in 1936. She makes photographs and video projections in her studio that evoke an experience of movement through modernist architecture. While abstract, her work is subversively political, asking viewers to fundamentally question their perceptions. Trained as a sculptor, Kasten began to investigate photography through cyanotypes of fabrics and photograms of objects placed directly on the paper. Barbara Kasten attended California College of Arts and Crafts (MFA, 1970) and University of Arizona, Tucson (BFA, 1959). She has had several major exhibitions locally and throughout the world. Barbara Kasten lives and works in Chicago.

• Hannah Lamb (cyanotypes, self-portraits): http://hannahlamb.co.uk/Profile.html Hannah Lamb is a contemporary British artist, who received her BA in Embroidery and MA in Textiles from Manchester Metropolitan University. Her artwork primarily deals with her personal experiences within her environment and her identity. She uses several different media, including cyanotype print, photography, and stitchwork. She has exhibited internationally, and is currently a lecturer at Bradford School of Art. • Pablo Picasso (Blue/monochromatic art.): https://en.wikipedia.org/wiki/Pablo_Picasso and https://www.pablopicasso.org/blue-period.jsp Pablo Picasso was born in 1881 and was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the coinvention of collage, and for the wide variety of styles that he helped develop and explore.

The Blue Period of Picasso is the period between 1900 and 1904, when he painted essentially monochromatic paintings in shades of blue and blue-green, only occasionally

warmed by other colors. These somber works, inspired by Spain but painted in Paris, are now some of his most popular works. It is said that Picasso painted in this style and color scheme during a time of his life when he was very depressed or sad.

• Cindy Sherman (symbolic portraiture): https://en.wikipedia.org/wiki/Cindy_Sherman Cindy Sherman was born in 1954, and is an American photographer. She has also been a director of film, but is best known for her conceptual and symbolic portrait work, featuring herself in costume or as different characters. Her series “Complete Untitled Film Stills,” was a series of black and white photographs she took of herself as a means to subvert the stereotype of how women are represented in popular culture. She is the recipient of many awards and her works in on display in galleries and museums across the country.

• Kara Walker (silhouettes, narratives): https://art21.org/artist/karawalker/?gclid=Cj0KCQjwidPcBRCGARIsALM-ePKrqk927cX4j4uxxQSeQQbl5u1b54FiUnfb4sMOWEyGU58rAP5PMkaAqc9EALw_wcB Kara Walker was born in Stockton, California, in 1969. She received a BFA from the Atlanta College of Art in 1991, and an MFA from the Rhode Island School of Design in 1994. The artist is best known for her silhouetted figures which explore the narratives of race, gender, and sexuality. Walker juxtaposes the Victorian tradition with stories of violence and oppression. She combines history with her own perspective and narrative.

Her work has been exhibited at museums around the world, and she currently lives in New York, teaching at Columbia University.

4.4 Art Terms/Vocabulary/Higher Level Thinking Verbs Language Function.

During the lesson, I used the verb emphasize repeatedly, while describing, interpreting and creating the student’s artwork. During the initial art history discussion and brainstorm stage, I explained how different artists use scale and other elements and principles of design to emphasize certain symbols in their artwork, such as the enlarged caterpillar Frida Kahlo used in her Self Portrait with Thorn Necklace to emphasize her metaphor for change. I encouraged the students to use emphasis with their own symbols, and remember how scale, color, composition and texture would impact which elements would be emphasized. During a critique of my example artwork, I asked the students to use the word emphasis to describe which parts of my art were emphasized, and why, or which parts of my work needed more emphasis, and how I could accomplish that. While creating their artwork, I worked with the students to choose three-dimensional element they could use in order to emphasize one of their symbols on their artwork. Throughout the student reflection on their own artwork, they described how emphasis was used in each of their pieces.

4.5 Description of visual examples Frida Kahlo Self Portrait with Thorn Necklace 1940

Frida Kahlo Self Portrait with Monkey and Parrot 1942

Frida Kahlo Self-portrait on the Border Between Mexico and the United States of America 1932

Cindy Sherman Untitled (Self-Portrait with Sun Tan) 2003

Cindy Sherman Untitled 1989

Cindy Sherman Untitled #571 2016

Cindy Sherman Untitled #137 1984

Kara Walker Presenting Negro Scenes Drawn Upon My Passage Through the South and Reconfigured for the Benefit of Enlightened Audiences Wherever Such May Be Found, By Myself, Missus K.E.B. Walker, Colored 1997

Kara Walker The Emancipation Approximation (Scene #18) 1999 – 2000

Anna Atkins Untitled from Photographs of British Algae: Cyanotype Impressions 1843

Anna Atkins Untitled from Photographs of British Algae: Cyanotype Impressions 1843

Anna Atkins Untitled from Photographs of British Algae: Cyanotype Impressions 1843

Anna Atkins Untitled from Photographs of British Algae: Cyanotype Impressions 1843

Barbara Kasten Photogenic Painting Untitled 74/7 1974

Barbara Kasten Photogenic Painting Untitled 75/28 1975

Hannah Lamb Baptism (detail) 2014

Hannah Lamb Baptism (detail) 2014

Pablo Picasso The Old Guitarist 1903

4.6 List of references Dewey, J. (1916). Democracy and education. New York, NY: The Macmillan Company.

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

Lowenfeld, V., & Brittain, W. L. (1987). Creative and mental growth. New York: Macmillan.

Walker, S.R. (2001). Teaching meaning in artmaking. Worchester, MA: Davis Productions.

Wachowiak, F. (1965). Emphasis art: A qualitative art program for elementary and middle schools. New York: Allyn & Bacon, Inc. Wood, C. (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfeild, MA: Northeast Foundations for Children.

5. Integration/Connecting Links 5.1 Idea Mapping

5.2 Instructional Resources and Materials: Vocabulary. (n.d) Retrieved on 09/17/18 from • https://www.merriam-webster.com/dictionary This web page provided definitions for the list of art terms and academic language.

Lesson Ideas for Talking about Identity: • http://www.pbs.org/pov/offandrunning/lesson-plan/ • https://www.equalityhumanrights.com/en/secondary-education-resources/lesson-planideas/lesson-3-identity-and-characteristics • https://www.facinghistory.org/resource-library/identity-and-individuality-exploring-artliterature • Color Psychology (Blue): https://www.colorpsychology.org/blue/ • Cyanotype information: https://contrastique.wordpress.com/tag/self-portrait/ • Questions for student reflection : http://educators.mfa.org/self-portraits-identity-emotionand-symbolism-184326

• Cultural Diversity Information: https://files.eric.ed.gov/fulltext/ED348152.pdf Powerpoint Resources about symbolic self portraiture, cyanotypes, color symbolism and cultural diversity: • Barbara Kasten (Cyanotypes): https://art21.org/watch/extended-play/barbara-kastenbeauty-was-a-problem-short/ • Anna Atkins (Cyanotypes): https://en.wikipedia.org/wiki/Anna_Atkins • Cindy Sherman (symbolic self portraiture): https://en.wikipedia.org/wiki/Cindy_Sherman • Frida Kahlo (symbolic portraiture): https://en.wikipedia.org/wiki/Frida_Kahlo • Kara Walker (silhouettes, narratives): https://art21.org/artist/karawalker/?gclid=Cj0KCQjwidPcBRCGARIsALM-ePKrqk927cX4j4uxxQSeQQbl5u1b54FiUnfb4sMOWEyGU58rAP5PMkaAqc9EALw_wcB • Pablo Picasso (Blue/monochromatic art.): https://en.wikipedia.org/wiki/Pablo_Picasso and https://www.pablopicasso.org/blue-period.jsp Visual Culture, Family Heritage and Environment Brainstorm Sheets Elements & Principles of Design Handouts Vocabulary Handouts Color Theory/Symbolism Handouts Artist Statement Sheets Formative assessment handouts Powerpoint Presentation(s) on self portraiture, final project, cyanotypes and mural/community art 5.3 Art Materials for the Lesson: Day 1 – • Overhead projector for PPT presentation • Identity Brainstorm sheets • Blank paper/sketchbooks for visualization

• Pencils, Colored Pencils for sketching ideas Day 2 – • Projector/laptop for silhouette template video • Cyanotype chemicals • (7) 4’ x 6’ fabric muslin sheets • Gloves, aprons, goggles for protection • Paintbrushes to paint on chemistry • Clothing rack to hang sheets • Clamps to hang muslin sheets from rack • Hair dryer • Dark trash bags to store sheets • Light tight bin to store sheets in bags • Black posterboard for silhouette cut outs • Scissors • White chalk/pencil to draw outlines of silhouettes Day 3 – • Projector/laptop for cyanotype sunprint video • Treated muslin sheets • Silhouette cut outs • Large bin for water washing • Gloves, aprons, goggles for protection • Clothing rack to hang sheets • Clamps to hang muslin sheets from rack • Hair dryer to dry sheets • Hangers to hang sheets for storage • Timers • Acrylic paint, various colors • Paint brushes • Water cups • Paper towels • Paper plates for paint • Embellishment props (eg. Feathers, yarn, sequins, foam shapes, etc.)

• Glue gun/glue sticks to adhere props

Day 4 – • Treated muslin sheets • Silhouette cut outs • Large bin for water washing • Gloves, aprons, goggles for protection • Clothing rack to hang sheets • Clamps to hang muslin sheets from rack • Hair dryer to dry sheets • Hangers to hang sheets for storage • Acrylic paint, various colors • Paint brushes • Water cups • Paper towels • Paper plates for paint • Embellishment props (eg. Feathers, yarn, sequins, foam shapes, etc.)

• Glue gun/glue sticks to adhere props

Day 5 – • Finished Cyanotype silhouettes • Clothing rack to hang sheets • Hangers to hang sheets for storage • Acrylic paint, various colors • Paint brushes • Water cups • Paper towels • Paper plates for paint • Embellishment props (eg. Feathers, yarn, sequins, foam shapes, etc.)

• Glue gun/glue sticks to adhere props • Yarn and large needles to sew finished artwork together • Artist Statement Sheets Day 6 – • Finished Artwork • Yarn and large needles to sew finished artwork together • Artist Statement Sheets

6. Management and Safety Issues: • The use of the cyanotype chemicals, although generally non-harmful may be harmful if swallowed or get into eyes, so proper safety gear (goggles, aprons and gloves) and procedures will be administered. Also close supervision while using the chemicals.

• The procedure of walking the cyantoypes and silhouette templates outside to expose in the sun may be a safety issue if kids do not walk carefully. Close supervision and help from my teacher assistant will alleviate any issues.

• Adhering items with a glue gun may pose a safety issue with burns. Close supervision while students are using glue gun will help alleviate any issues.

6.1 Organization of Supplies Day 1 – • Overhead projector will be set up for PPT presentation before students arrive.

• Desks to view PPT will be set up in a semi circle near the screen.

• Identity Brainstorm sheets will be printed and ready to hand out after PPT. • Blank paper/sketchbooks for visualization will be ready to hand out after brainstorm.

• Pencils, Colored Pencils for sketching ideas will be set up in a pile to take from after PPT. Day 2 – • Cyanotype chemicals will be in buckets and (7) 4’ x 6’ fabric muslin sheets will be prepared and ready to hang in the middle of the room.

• Desks will be arranged so that a demo on how to paint muslin sheets can be easily viewed • Gloves, aprons, goggles for protection will be ready to be administered right after demo.

• Paintbrushes to paint on chemistry will be near buckets with chemistry.

• Paper towels in case of spills will be next to chemistry.

• Clothing rack to hang sheets will be placed in the room near an outlet for drying sheets.

• Clamps to hang muslin sheets from rack will be clamped to the rack.

• Hair dryer will be plugged in waiting near the rack to dry the muslin sheets.

• Dark trash bags to store sheets will be stored until use.

• Light tight bin to store sheets in bags will be stored until use.

• Black posterboard for silhouette cut outs will be placed in a pile to grab after silhouette demo.

• Scissors will be in a cup with the black posterboard.

• White chalk/pencil to draw outlines of silhouettes will be in a cup by the scissors to be grabbed by students once silhouettes are to be made.

Day 3 – • Treated muslin sheets will be set out before class for students to use to create cyanotypes.

• Silhouette cut outs will be set out before class for students to use to create cyanotypes.

• Large bin for water washing will be set out before class for students to rinse cyanotypes.

• Gloves, aprons, goggles and paper towels will be placed near the water bin for students to use while washing cyanotypes.

• Clothing rack to hang sheets and Clamps to hang muslin sheets from rack will be waiting before class for students to dry their cyanotypes after washing.

• Hair dryer will be plugged in by rack before class, to dry sheets • Hangers to hang sheets for storage will be kept stored until the end of class.

• While students are washing and drying their cyanotypes, Acrylic paint, paint brushes, water cups, paper towels, paper plates, embellishment props and glue gun/sticks will be set out on a table for students to use if there is time.

Day 4 – • Treated muslin sheets will be set out before class for students to use to create cyanotypes.

• Silhouette cut outs will be set out before class for students to use to create cyanotypes.

• Large bin for water washing will be set out before class for students to rinse cyanotypes.

• Gloves, aprons, goggles and paper towels will be placed near the water bin for students to use while washing cyanotypes.

• Clothing rack to hang sheets and Clamps to hang muslin sheets from rack will be waiting before class for students to dry their cyanotypes after washing.

• Hair dryer will be plugged in by rack before class, to dry sheets • Hangers to hang sheets for storage will be kept stored until the end of class.

• Prior to class, acrylic paint, paint brushes, water cups, paper towels, paper plates, embellishment props and glue gun/sticks will be set out on a table for students to use for embellishment once their cyanotypes are dry.

Day 5 – • Finished Cyanotype silhouettes will be laid out on the floor, ready for embellishment.

• Clothing rack to hang sheets and Hangers to hang sheets for storage will be stored until needed.

• Prior to class, acrylic paint, paint brushes, water cups, paper towels, paper plates, embellishment props and glue gun/sticks will be set out on a table for students to use for embellishment once their cyanotypes are dry.

• Yarn and large needles to sew finished artwork together will be brought out once students are all finished with their artwork, after they have laid out the order of their prints.

• Artist Statement Sheets will be made available at beginning of class for students to work on if they finish early, until all students are finished.

Day 6 – • Finished Artwork will be laid out on the floor to sew together in the agreed upon order (if not already done) • Yarn and large needles to sew finished artwork together will be set out prior to class so students can get right to work.

• Artist Statement Sheets will be made available to students that did not get them done last class.

6.2 Clean-Up of Supplies Day 1 – • Overhead projector will be put away.

• Students will return desks to original positions.

• All Brainstorm sheets will be collected.

• Sketches will be collected or brought home by students.

• Pencils, Colored Pencils will be collected by one student and put into original container.

Day 2 – • Cyanotype chemistry will be poured into chemical bottles which will be capped and put into storage container by one student.

• Any spills will be cleaned up with paper towels.

• Desks will be returned to original positions.

• Gloves, aprons, goggles for protection will be collected by one student and returned to storage container.

• Paintbrushes to paint on chemistry will be collected and put into storage container.

• Paper towels, hair dryer will be collected and put into storage container.

• Clamps will return to clothing rack and put aside for storage.

• Cyanotype sheets will be put into individual bags and put into storage container for storage.

• Black posterboard silhouette cut outs will be collected and put into storage.

• Scissors and chalk will be collected and returned to original containers.

Day 3 – • All finished cyanotypes will be hung up on hangers for drying on the clothing rack for storage.

• Silhouette cut outs will be collected and put into storage.

• Large bin for water will be emptied outside and stored.

• Clean up of any spills will be completed by one student.

• Gloves, aprons, goggles and paper towels will be collected by one student and returned to storage container.

• Clamps will return to clothing rack and put aside for storage.

• Hair dryer, Acrylic paint, paint brushes, water cups, paper towels, paper plates, embellishment props and glue gun/sticks will be collected and stored by one student.

Day 4 – • All finished cyanotypes will be hung up on hangers for drying on the clothing rack for storage.

• Silhouette cut outs will be collected and put into storage.

• Large bin for water will be emptied outside and stored.

• Clean up of any spills will be completed by one student.

• Gloves, aprons, goggles and paper towels will be collected by one student and returned to storage container.

• Clamps will return to clothing rack and put aside for storage.

• Hair dryer, Acrylic paint, paint brushes, water cups, paper towels, paper plates, embellishment props and glue gun/sticks will be collected and stored by one student.

Day 5 – • Cyanotype silhouettes will be collected and hung up to store.

• Hair dryer, Acrylic paint, paint brushes, water cups, paper towels, paper plates, embellishment props and glue gun/sticks will be collected and stored by one student.

• Yarn and large needles will be collected and stored.

• Artist Statement Sheets will be collected if finished.

Day 6 – • Finished Artwork will be folded and stored.

• Yarn and large needles will be collected and stored.

• Artist Statement Sheets will be collected if finished.

7. Vocabulary: Adhere – to attach with glue or other adhesive, attachment material (tape, thread, staple) Balance – an aesthetically pleasing integration of elements Collaboration – to work jointly with others or together especially in an intellectual endeavor.

Collage – an artistic composition made of various materials glued/attached on a surface Communicate – to transmit information, though, feeling so that it is satisfactorily understood Composition - the artistic arrangement of the parts of a picture, often evoking the elements and principles of design.

Community – a unified body of individuals; such as the people with common interests living in a particular area

Contrast - refers to the arrangement of opposite elements (light vs. dark colors, rough vs. smooth textures, large vs. small shapes, etc.) in a piece so as to create visual interest, excitement, and drama.

Cyanotype – a photographic printing process that produces a cyan-blue print. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide.

Embellish - to make beautiful with ornamentation Emphasis – intensity of expression that gives impressiveness or importance to something Environment – the circumstances, objects or conditions by which one is surrounded.

Heritage – something transmitted by or acquired from a predecessor.

Identity – condition or character as to who a person or what a thing is; the qualities, beliefs, etc., that distinguish or identify a person or thing.

Interpret – to explain or tell the meaning of; present in understandable terms Investigate – to observe or study by close examination and systematic inquiry Layering – lying over or under another, used in composition to evoke elements and principles of design Line – Linear marks made throughout the composition. May be descriptive, implied or expressive.

Media/Medium – The materials and tools used by the artist to create a work of art.

Metaphor – a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.

Movement - Compositional movement may be classified as static: that is, movement of the eye between separate components of the image, attracted by similarities and simply shifting to shapes with related shape or color. Movement may also be classified as dynamic. Dynamic movement is characterized by movement of the eye that flows from one area of the composition to another, guided by continuations of line or form, and by gradations of color or form.

Narrative - art that tells a story, either as a moment in an ongoing story or as a sequence of events unfolding over time Mural – a work of art that is applied to and made integral with a wall or ceiling surface.

Overlapping – a partial covering of one thing by an adjoining member Portraiture – pictorial representation of a person usually showing the face Repetition – to repeat an element (such as image, shape, texture, color, text) Space – creating visual or real depth Silhouette - a likeness cut from dark material and mounted on a light ground or one sketched in outline and solidly colored in Symbol – something that stands for or suggest something else Texture – the perceived surface quality of a work of art. Use of texture, can convey a variety of messages and emotions.

Unity – whole or total effect of a work of art, resulting from combination of all component parts.

Universality - the quality of involving or being shared by all people or things in the world or in a particular group.

Variety – quality of state of having different forms or types Visual Culture – the aspect of culture expressed in visual images.

8. In-Class Activities: 8.1 SESSION 1 Time

Learning Activities

Purpose

5 minutes

Orientation/Engagement/Motivation: Introduction to class, discuss background and expecations. Will ask students about their favorite things.

Students will learn about my background and how to conduct themselves with respect in the classroom to me and to each other.

This will begin the sense of community that will surround the entire lesson. Discussing their favorite things will start them to think about their visual culture and segue into discussing why they enjoy them.

Asking about their previous experiences with materials will help gauge what media interests they might have and what skills they need to work on.

For this lesson, we are going to talk about identity, what influences our identities, and how we can express that visually. One way to do this is through self portraiture.

This not only connects us to who we are but also connects us to others in our community as we see what is different and what is the same.

Teacher begins PowerPoint on symbolic self portraiture.

Topic Questions: • What do you think of when I say self portrait? (pictures of faces, certain artworks).

• Why do you think self portraits are made?

(To tell others about what we look like, to share stories) Association Question: • Have any of you created a self portrait before, and if so, what kind of media did you use? (yes, paint, drawing, collage) We are going to create self portraits that don’t use the traditional style of drawing or painting your likeness, but rather use symbolism or metaphor to create the imagery.

Visualization Questions: • What does metaphor mean? Can you give me an example of a metaphor? (saying one thing is like another without using “like” or “as”, eg. The snow is a white blanket. ; The classroom was a zoo.; The stars are sparkling diamonds.)

• What does symbolism mean? Can you give me an example of a symbol?

(Using one thing to represent another, using an image to represent an idea. Eg. Red octagon is a symbol for stop, a blue line on a map represents a river, heart can mean love)

Discussion about symbolism starts them thinking of how an idea turns into a visual element or representation.

Let’s look at some examples of symbolic self portraits.

10 minutes

Presentation/Explicit Instruction: Teacher begins Powerpoint presentation on Identity/Symbolic Self Portraiture Cyanotypes.

Discussion will include references to historical art, cultural heritage, visual culture and environment as well as an introduction to the technique of cyanotype and collage.

The artist Frida Kahlo is one of the most famous artists that did self portraits and used symbols within them to represent different aspects of her identity. Let’s look at some examples of her work.

Students start to connect how outside elements influence their identities and personalities. Start to think about what makes them unique.

Show examples of Frida Kahlo work.

• Can you see examples of symbols within these images? (yes, monkeys conveyed her protective and motherly qualities) Another artist that uses symbolism and performance to create self portraits is Cindy Sherman. She dresses up in costumes and takes photos of herself in all of her work.

Instead of the symbols representing her identity, she uses them to represent the identity of other people, or characters. Let’s look at some examples of her work.

Students reflect on how they can show their identity or personality with more than just what they look like.

Show examples of Cindy Sherman work.

• What do you see in these images? (a woman dressed up in fancy clothes, a woman dressed up in old clothes, bad makeup, etc.)

• How does she use symbols to represent her characters? (make up could mean beauty, fancy clothing could mean power, etc) • What do you think this type of “self” portraiture says about Cindy Sherman? (she likes to talk about current issues, uses herself as a universal symbol of women) Let’s look at the images of Kahlo and Sherman again.

Not only do they use symbols, but they are careful to arrange them or show them in a certain way to emphasize different parts of their identity or character’s identity.

This is called composition. Composition is is the placement or arrangement of visual elements or 'ingredients' in a work of art, as distinct from the subject. It can also be thought of as the organization of the elements of art according to the principles of art.

Students start to notice the formal qualities of the images we are viewing and discuss the elements and principles of design

The elements of art include line, shape, color, value, texture, form, and space.

The principles include balance, contrast, emphasis, movement, pattern, rhythm, unity/variety.

Using some or all of these in your artwork can create pleasing composition. They must be used meaningfully, however, and not just randomly.

• Can you give me an example of how Kahlo or Sherman use any of these elements or principles in their work?

Students will learn about how to use

(Kahlo uses variety in her work through many different symbols, colors, etc.; Sherman uses color and space to emphasize certain parts of the photograph or her body to tell a narrative)

symbols to create a more dynamic artwork. Discuss emphasis, unity, variety and collage.

• How can we show balance in a work? (having even numbers of things, placing objects evenly or using positive/negative space equally) • How can we show emphasis? (using larger or smaller elements, using overlapping, grouping or line to draw the eye to a certain part of the work) • What are some ways we can show unity? (creating color harmony, using many different elements that work together or using pattern to create repetition)

Students start to think of the “why” and not just the “what” of visual representation and how they can form this for their own individual images.

Our project will be a combination of two techniques – cyanotype, to create silhouettes, using our bodies to perform a position that reflects your personality, and mixed media assemblage, using paint and other objects to create symbolic representations of different aspects of identity.

Before we explore the how to do our techniques, let’s talk about the why.

• Why would we choose to use a silhouette or ourselves instead of a detailed likeness? (to show how we can be represented by not just our faces, to show how we are all universally linked in some ways) Here is an artist that uses silhouettes to show likenesses of people in a symbolic way. (Show Kara Walker).

• What kind of stories can we tell using silhouettes? (how we feel, what we like, who we are) • Can we tell stories that are not just about ourselves but about others?

Students will discuss how silhouettes can be used to show personality but also universality.

(show how different genders can act or possibly show that they can be different – girls can be strong, boys can be gentle) • How is this similar to what Cindy Sherman does? (she shows many different sides with different characters in a universal way) This type of story telling is called universality - the quality of involving or being shared by all people or things in the world or in a particular group.

In addition to silhouettes, we are going to collage 3 different media onto the top of our images. They are going to be based on aspects that influence our identities. The three aspects are family heritage, visual culture and environment.

Today, we are going to brainstorm and start sketching the plan for our final artwork. I am going to give you three different brainstorm sheets and scratch paper so you can start thinking of ideas for both your silhouettes and your collage elements.

When you think about identity, many different things have shaped who we are. One aspect is our family culture/heritage. Here is my example of how I brainstormed about my family heritage: Show example of brainstorm sheet.

Show examples of family heritage (images of different cultural family images) All of these ideas talk about where my culture comes from and certain people in my family who have influenced me.

Next, I chose one of these as my word and continued to brainstorm words that represent it (my great grandmother).

Students will start to think and discuss commonalities and create a sense of community by finding out similar ideas/themes throughout their brainstorming.

While brainstorming, I thought about the aspects of her that influenced my personality.

• Does anyone want to share an example of people or traditions that are in your family? (students share examples) Another aspect we are using for our collage is visual culture.

• Has anyone heard of the term “visual culture”?

Visual culture is defined as anything in our culture that is expressed visually. This can include cartoons, video games, movies, comic books, advertisements and more.

Although we can easily describe things like this as “stuff we like”, there is almost always a reason behind what we like.

Here is an example of how I brainstormed about my visual culture: Show example of brainstorm sheet.

Show examples of visual culture.

I chose one of my visual culture elements (David Bowie) and continued to brainstorm about him and his work and the reasons why I enjoy his work.

The last aspect we are going to explore is our environment.

• How do you think our environment shapes who we are? (gives us life, makes us happy, sad, helps us live our lives through technology, helps us connect to each other through travel/roads)

• What different kinds of environment are there? (woods, nature, parks, cities, houses, schools, cars, etc) Our environment can influence us in many different ways.

I like to start out brainstorming about environments I feel comfortable in or enjoy, however, writing down ones that make you feel uncomfortable may help you discover something about yourself.

Show example of brainstorm sheet.

Show examples of environmental art, different environments.

After I write down the physical places, I focus on the feelings I have about each. For my example, I chose a word that encompasses both my natural and my manmade environment and how I feel about both (balance).

The words I ended up choosing are tenacious, risk taking and balance. All three of these things are elements that have helped shaped who I am as a person and my identity.

• Let’s go back to symbols – how can we express these words symbolically? (think of ways to represent them, tenacious could be a strong arm, risk taking could be a caution sign, balance could be scales) Help me brainstorm some ideas: Students will help brainstorm ideas.

Show sketches. I will take the best ideas and combine them into a final sketch which will be the plan I base my final project on.

Show final sketch. Here is an example of what you will be working on today. I would like you to complete a drawn plan on the 12”x18” paper, and label each of the

symbols with what they are, and what they were based on. First, I will have you brainstorm and then when you are ready, you will ask for a final drawing paper and draw your chosen silhouette and your three elements of family heritage, visual culture and environment. Feel free to talk quietly to your fellow students if you feel stuck on ideas.

10 minutes

Structured Practice/Exploration: Teacher will have on student pass out Brainstorm sheets and sketch paper and pencils. Students will think and discuss ideas on their silhouette shapes, family heritage, their visual culture and their environment. Students may work collaboratively or independently.

Teacher walks around to help formulate ideas and make sure students are thinking about they “why” of what they are writing and not just the “what.” Also helping students find common ideas/themes.

Once students are finished with brainstorming, they will ask for a final drawing paper and draw out their final idea plan.

Students will draw out final plan on 12”x18” paper.

Students will start to formulate ideas on how to visually represent themselves with symbols.

5 minutes

Guided Practice/Feedback: Teacher will ask for 1 or 2 volunteers to share their brainstorm and/or their final drawing plans.

• Now that we have worked on our Brainstorm sheets, how many of you have some beliefs, values or social issues written down? (students may share some of their ideas) • Have you found any commonalities between you and another student, or through all of your ideas? (students may share some of their ideas) • Can anyone describe or share how you would visually portray any of these themes or ideas?

(Favorite grandparent could equal comfort, and can be expressed through hands holding; favorite character could represent humor which can be expressed by a smile; Feeling responsible for taking care of the environment could be expressed by a heart/earth) • In your final drawing plans, how are you using the elements and principles of design to show balance, emphasis, or unity? (having multiple elements combined, using them evenly for balance, using larger elements with smaller to show emphasis) • Are there other elements or principles that you have used? (line, shape, composition, color) • In what ways can we show more emphasis in your compositions? (using larger elements or making them brighter, or using them compositionally positioned to draw the eye to them)

Students find unique and similar traits and ideas through their brainstorm/sketches.

5 minutes

Closure Teacher will have students finalize their three ideas and one collaborative idea and write on the brainstorm sheets/sketch paper. Teacher will collect brainstorm sheets, and drawings.

Students will reflect on their ideas and plan on how to create their final images through sketching.

Discuss what will be happening in the next class, and invite students to bring in objects from home if desired.

Also tell them they may continue working on their ideas at home if desired. Drawing plans will be finalized next class.

• What have we learned about how to represent identity visually? (remember to think about the “why” and not just the “what”) (feelings, heritage, visual culture, environment, metaphor, symbols, design, meaning) • Would anyone like to share either their ideas from their brainstorm sheets or their final sketches and explain one aspect they chose and the symbol that represents it? (students may share their ideas)

8.1 SESSION 2 Time

Learning Activities

Purpose

5 minutes

Orientation/Engagement/Motivation: Review project goals, remind them of vocabulary words – symbolism, metaphor, composition, emphasis, balance, unity, silhouette, universality, visual culture.

Students will review their ideas and skills they learned last class.

Topic Questions: Last week, we went over identity and different aspects to portray it in artwork symbolically.

• Can anyone tell me the three different topics we are using to portray identity?

(Family history/heritage, Visual Culture

Students will review their ideas from the previous class and discuss how they will visualize their themes/values based on their visual culture, family heritage and environment.

and Environment) • Does anyone remember why we use silhouettes to represent ourselves? (to tell a story/narrative, to show universal identity) Association Questions: • Would anyone like to share their brainstorm or final drawing plans? In what ways are we using symbols to visualize ideas? (students share ideas; using symbols that represent feelings/emotions/personality rather than the thing itself) Visualization Questions: • Would anyone like to share their plan for their silhouette, and why they chose that body position? What kind of story does it tell about this person? (shy, funny, outgoing, etc) • What elements or principles of design are you using? (balance, line, contrast, positive/negative space)

Students will start to think narratively about their self portrait and how it tells a story of who they are and not just what they look like.

Students will review how we can use non traditional portrait making and the environment to create art in a meaningful way.

Transition Questions: • Can anyone tell me the reasons why we are using silhouette in the form of the cyanotype process and what that might say about our identities? (silhouette represents universality and personality, using the sun to print emphasizes environment)

5 minutes

Independent Practice/Application: Students will be allowed to finish their sketch plans. Those students who are

Students will take more time to carefully plan their final pieces and focus on their design

10 minutes

finished will help pass out materials on cyanotype process/safety. If everyone has finished, we will move on to Presentation/Explicit Instruction.

elements/principles, as well as creating meaningful choices in their artwork.

Presentation/Explicit Instruction: Powerpoint presentation on final project.

Show examples of collaged cyanotypes.

Description of what is a cyanotype and how it is created, how we can use our body to create a silhouette.

Introduction of cyanotypes, the process and safety.

Cyanotypes are a process that uses chemicals that are sensitive to light and applied to surface such as paper or fabric, and then when it is laid out in the sun, and then the chemicals are rinsed off, it creates a deep blue color. Objects that block the light from reaching the surface can be used to create silhouettes (which will be white or the color of the original surface).

• Why do you think cyanotypes are an effective way to make art? (using the environment, creating universality through silhouettes)

Discussion on using the cyanotype process in a meaningful way and how it relates to photography.

• How do you think cyanotypes relate to photography? (using light to make imagery, printing process) • Let’s discuss the blue color – although we don’t have a choice in the blue color that emerges, what are some ways that color can be used symbolically? (to convey feelings, emotions, family lines)

Here students will learn and discuss color theory and how color meanings are not universal, necessarily, but can be different from culture to culture. How

Show samples of Picasso’s blue period.

colors can convey emotions/feelings.

• In what ways did Picasso use the color blue to portray his meaning? (sadness, depression) • What are some other colors we could use and what could they mean?

(Blue can mean sadness, calm, wisdom and more -- other colors can have meaning like red is angry, yellow is happy) Show cultural color wheel.

This color wheel shows the different cultures and what different colors mean.

Colors can take on many meanings depending on who is using them and who is viewing them. Think about this as you start to use paint or other materials as well.

Show samples of Kara Walker’s silhouettes.

• Cyanotypes use aspects of the environment to create a blue silhouette.

Why would we use a cyanotype to create a self portrait?

(To show the shape of us, to represent ourselves without realism) • Why do artists use silhouettes in their artwork? (To tell a story, to show universality among different people)

Review of silhouettes and using them in artwork to tell a universal narrative in addition to a unique portrait.

Teacher will demonstrate how to paint the cyanotype chemicals on the muslin.

Remembering safety procedures and emphasis on carefully applying the chemistry to get the best final results.

• Put on goggles, gloves and aprons.

• Hang muslin sheet up on rack using clamps • Pour some of the chemistry into the bucket with paintbrush.

• Using brush in long, even strokes, going horizontally, vertically or both, apply chemistry as evenly as possible over the entire canvas, front and back.

Teacher will demonstrate how to trace and cut out silhouette on black posterboard (show Powerpoint).

Silhouettes may be more detailed than just tracing, you may choose to go back in and add other details, such hair, or detailed clothing shapes. They do not have to represent exactly what you are wearing or how your hair is done. Tell a story about you with them!

• Lay black board down on floor.

• Using your entire body, position it in the planned position.

• Have a friend trace around your entire body with white chalk.

• Observe your finished tracing and using drawing techniques, go in and add details to the edges of your tracing, including hair details, clothing details. You may be realistic or more narrative.

• Using scissors or an exacto knife, cut along the edges of your silhouette cleanly.

Students will learn proper handling and applying of cyanotype chemistry.

Students will use performance and drawing skills to first trace their bodies then elaborate upon the outlines with hair/clothing elements if desired.

Students will learn how to make the cyanotypes from start to finish.

After we are done cutting out our silhouettes, they will be used as a template for our cyanotypes.

“How to create a cyanotype” Powerpoint.

Making cyanotypes is a fairly simple process, however, mistakes can be made, so follow the directions carefully.

Step 1. Safety first – wear goggles, gloves and aprons.

Step 2. Treat your surface. Paint on the chemistry provided while muslin is hanging Step 3. Use hairdryer to dry the surface or hang to dry.

Step 4. Once cyanotype surface is dry, it can be stored or immediately used. Take the surface outdoors with your templates/objects and lay them flat on a hard surface in the sun or in the shade (cloudy day is ok). Put the templates/objects on top and lay a flat sheet of clear plastic or glass over the entire surface to ensure good contact.

Step 5. Wait 5-10 minutes for surface to expose in the sun.

Step 6. Remove objects and covering and bring cyanotype surface inside for rinsing.

Wash for about 2-3 minutes in a large tub of water until it turns green.

Step 7. Hang your cyanotype up to dry or use a hair dryer to speed up the process.

Don’t forget to be safe – wear goggles and gloves to avoid getting the chemistry on you.

Don’t forget to time your cyanotype properly so that it does not get too dark or stay too light/unexposed.

Don’t forget to wash thoroughly – cyanotypes need to be washed so that the chemicals do not continue to change color.

15 minutes

Independent Practice/Application: Students will take turns hanging and painting the cyanotype chemistry on the clothing rack, and drying with a hairdryer.

Students may work in partners to do this and other students can start to work on tracing/drawing their silhouettes, also working in partners.

2 minutes

Clean Up – Students will help clean up as outlined above (Day 2).

3 minutes

Closure • What unexpected challenges have you encountered so far in the project? (hard to get accuracy in applying chemistry or in tracing/cutting out silhouettes) • How are you using narrative with your silhouette templates? (through body movement, clothing, hair, etc) • What are some ways you are telling a universal story or using universality in your silhouettes?

Students will put into practice the skills they learned. They will also work collaboratively, creating a sense of community as they create their artworks.

Students will work together to see where their strengths and challenges are.

Students can help each other visualize ideas and work collaboratively to find a solution.

(representing young people and how they are in 7th grade) Next week, we will apply our silhouette templates to the cyanotype sheets, and start to apply collage elements. Is anyone still stuck on what ideas/objects or materials they are going to use?

8.1 SESSION 3 Time

Learning Activities

Purpose

5 minutes

Orientation/Engagement/Motivation: Review project goals, cyanotype procedures and safety. Vocab words: cyanotype, silhouette, narrative

Students will review their ideas and skills they learned last class.

Last week, we continued to think about visualizing our ideas, and now we will begin to create our final projects.

Remember to consult your final sketch plan when creating your cyanotype silhouette and then laying on your collage elements.

Topic Questions: • How does careful planning help us create a better visual image? (helps save us from mistakes, creates a stronger message)

Students will review their ideas from the previous class and discuss how they will visualize their themes/values based on their visual culture, family heritage and environment.

Association Questions: • Who can tell me the steps we are going to create our cyanotype muslin canvases?

Visualization Questions: • Would anyone like to share their plan for their collage elements, and why they chose them? What kind of story does it tell about this person? (shy, funny, outgoing, etc)

5 minutes

Students will continue to think narratively about their self portrait and how it tells a story of who they are and not just what they look like.

Transition Questions: • Can anyone tell me the reasons why we are using additional elements to our cyanotypes and how that can create a a more expressive self portrait? (shows more aspects of our personalities, creates a sense of community through similar values)

Students will review how we can use non traditional portrait making and the environment to create art in a meaningful way.

Presentation/Explicit Instruction: Teacher will demonstrate how to create the cyanotype with a template by bringing it outside (show Powerpoint).

• First, I will demonstrate inside how you are going to lay down your cyanotypes, silhouettes and glass/acetate sheets.

• Carry your cyanotype sheet inside the black plastic bag • Carry both your cyanotype sheet and your silhouette outside to the designated exposure spot.

• Carefully take your sheet and lay it as flat as possible, smoothing out wrinkles as necessary • Carefully and quickly lay your silhouette template on top of the sheet • using weights or flat acetate, place on top of silhouette to hold it close and tight

Students will learn how to use the cyanotypes in the sunlight to create an image.

to cyanotype sheet.

• Carefully time your exposure for 5-10 minutes.

• Once your sheet has started to turn, carefully remove the template and you may pick it up and bring everything inside.

• Sheets may sit inside for a few minutes, but as soon as possible, use the water rinse bucket to thoroughly rinse your sheet.

• Wring out any excess water after 2-3 minutes, and hang to dry • May use hair dryer to speed up drying process.

20 minutes

Independent Practice/Application: Students will take their cyanotype sheets outdoors for 5-10 minutes and create their silhouettes. They will then bring them inside and rinse them for 2-3 minutes each before hanging them to dry. They may use a hair dryer to speed up the drying process.

Students will put into practice the skills they learned. They will also work collaboratively, creating a sense of community as they create their artworks.

5 minutes

Clean Up – Students will help clean up as outlined above (Day 3).

5 minutes

Closure Lay out silhouettes on floor to view.

• Would anyone like to share how they are using their personality and narrative to express their identity through the silhouette?

• What elements/principles of design are being used in these cyanotypes? (line, balance, contrast, postive/negative space, narrative) • What feelings or emotions are being conveyed in these silhouettes? (happiness, sadness, shyness, outgoing, etc) • How does the blue color effect the meaning? (makes the shy ones seem sadder, makes the happy/outgoing ones seem bolder or less bold?)

Next week, we will start to apply the collage elements. Is anyone still stuck on what ideas/objects or materials they are going to use?

Students will work together to see where their strengths and challenges are.

Students can help each other visualize ideas and work collaboratively to find a solution.

8.1 SESSION 4 Time

Learning Activities

Purpose

5 minutes

Orientation/Engagement/Motivation: Review project goals, collage/paint options and procedures and safety.

Students will review their ideas and skills they have learned so far.

Last week, we created our cyanotype silhouettes. Remember to consult your final sketch plan when beginning to add your collage elements. Think about your plan, and how layering and overlapping can create emphasis, balance and unity.

Students will use their painting and collage skills to embellish their artwork.

Topic Questions: • How does careful planning help us create a better visual image? (helps save us from mistakes, creates a stronger message) Association Questions: • What is the best way to apply collage elements? (paint first, 3d elements first) Visualization Questions: • Would anyone like to share their plan for their collage elements, and why they chose them?

Students will continue to think narratively about their self portrait and how it tells a story of who they are and not just what they look like.

Students will review how we can find similarities in our ideas/values to create a sense of community.

• What kind of narrative does it tell about this person? (shy, funny, outgoing, etc) Transition Questions: • Have we planned or noticed any similarities between our artworks that we can use to create a sense of community?

5 minutes

Presentation/Explicit Instruction: Teacher will demonstrate different

Students will learn how to safely apply materials to their canvases.

techniques on how to apply different types of collage elements, as well as simple acrylic painting techniques.

• First, take sample muslin and apply a feather or other object with the glue gun, demonstrating proper glue gun techniques.

• Second, using my sample I will demonstrate how to apply acrylic paint and different brushstroke techniques.

After demonstration, discussion about creating a mural.

Show mural/community art Powerpoint. Examples of murals shown in different areas.

Students will learn and discuss how combining their art into a mural can create a sense of universality and community.

After you are done creating your self portraits, you will sew them together to create a large mural.

• Does anyone know what a mural is? (large scale painting, big painting on a wall) • Where do we typically see murals? (on sides of buildings, in hallways) • Why are murals created? (to tell a story about the community)

22 minutes

Independent Practice/Application: Students will paint on and apply collage elements to their artwork. They will then start to plan out the order in which they will attach them to create the mural.

Students will put into practice the skills they learned. They will also work collaboratively, creating a sense of community as they create their artworks.

Students may also start to work on their artist statements if they finish early.

They may use theiri brainstorm sheets and their drawing plan to write out the statements.

3 minutes

Clean Up – Students will help clean up as outlined above (Day 4).

5 minutes

Closure Lay out images as done so far.

• How do you feel these collage or paint elements add to the meaning of the images? (they make them more story telling, more unique) • Do you think these elements still have universal narratives? (some do, some elements are similar to other students or may have same/different meanings for those viewing) • What commonalities do you see in all of these or some of them? What is contrasted? (similar items, similar themes, experiences, heritage, etc) Next week, we will finish applying collage elements and paint, and start to plan how we are going to attach the muslins together to create a mural, and what common traits they have. Does anyone have any differences in opinion on how we should put the muslins together or do we all agree?

Students will work together to see where their strengths and challenges are.

Students can help each other visualize ideas and work collaboratively to find a solution.

8.1 SESSION 5 Time

Learning Activities

Purpose

5 minutes

Orientation/Engagement/Motivation: Review project goals, collage/paint elements, discuss mural layout and artist statements.

Students will review their ideas and skills they learned last class.

Last week, we worked on finishing our collage elements and started to discuss how we would put our images together to create one cohesive piece, or mural.

Students will review their ideas from the previous class and discuss how they will visualize their themes/values based on their visual culture, family heritage and environment, and how to lay them out to create one unified piece.

Topic Questions: • What common theme or themes have we discovered that can unify our individual pieces into one? (we all have Irish heritage, we all love competition, we all feel strongly about saving the environment, etc) Association Questions: • What are some different ways we can layout our pieces (in what order, should we put them side by side or top to bottom, etc)?

Visualization Questions: • What would it say if we laid out the piece in one way or another? What does it say about our piece that we are sewing them together? (creates a sense of community) Transition Questions: • Now that we have some ideas, should we take a vote on how we should lay out the pieces? (students will vote democratically)

Students will start to think of how they are one part of a larger picture.

Students will see that solutions and compromises are ways of creating a community.

• For those of you who voted the way that did not win, are we able to reach some compromise?

• Do you feel this was a fair way to work together to create one piece?

5 minutes

Presentation/Explicit Instruction: Teacher will briefly demonstrate how to use the thread and needle to sew the muslins together. Safety procedures while using needles will be discussed.

• Using an upholstery needle, thread it first • Start at the top or bottom and insert into the edge of the canvas.

• Insert into the top (or bottom) of the second canvas, and pull the thread through until there is enough to sew down entire canvas. Tie a knot at the end.

•Using a looping stitch, sew the edges of two canvases together.

• Tie off in a secure knot at the bottom.

• Continue with next canvas until all are attached

Students will work collaboratively to sew their artwork together.

20 minutes

Independent Practice/Application: Students will work together to sew their artwork together into one unified mural.

Students will put into practice the skills they learned. They will also work collaboratively, creating a sense of community as they create their artworks.

5 minutes

Clean Up – Students will help clean up as outlined above (Day 5).

5 minutes

Closure How do you feel that this project has represented your individuality while creating a sense of community? (through identity exploration and collaboration) How do we apply the elements and principles of design into the larger mural? (through movement, unity) Next week, we will do an in class critique and discussion of each piece and discuss what aspects of the project you would have done differently or which ones were successful. We will also complete our artist statements.

Students will reflect on how the project went, and how they feel their pieces were successful.

Students can start to realize that artwork can create a sense of community and collaboration, and start to realize there is a larger global community outside of their individual lives.

8.1 SESSION 6 Time

Learning Activities

5 minutes

Orientation/Engagement/Motivation: • Would anyone like to share their thoughts on the project we have completed?

• What did you learn about yourself that you didn’t realize, whether it was through the themes/ideas of your piece or the practice/skills?

(I like things in visual culture that are similar to my personality, I have more in common with classmates than I thought, I enjoy painting or cyanotype process) • Did everyone enjoy the cyanotype process? How would/could you use this process in the future? (print making,

Purpose Students will reflect and discuss their initial thoughts on the project.

Students will reflect on their individual identities and how well they were able to visually and symbolically communicate them.

exploring transparency) • How does the cyanotype process relate to photography? (using light to create an image) • In what ways does the collage process add to or take away from the cyanotype? (makes it more visually interesting, covers up the simplicity of the cyanotype)

Students will discuss the process of cyanotype and how that can be applied in the future.

Students will discuss the process of collage and how that can be applied in the future.

Let’s take turns and discuss each of our pieces and the entire mural by completing an in class critique.

25 minutes

Presentation/Explicit Instruction: Teacher will hang up (or lay on floor) the entire piece.

Students will discuss their pieces in pairs or small groups for 5 minutes, then will contribute as a group.

Students will discuss in small groups their ideas and thoughts on their artwork to get the benefit of a critique without the initial discomfort of speaking in front of the whole group.

Final Critique: Students will be asked to share their piece through their artist statements and/or discussing their process. Drawing plans/sketches/brainstorm sheets may be shared. Students can discuss what they think is successful or unsuccessful about their piece, what they may have done differently or how the piece changed from the original plan through the artmaking process. Students may also comment on how well the pieces work as a whole.

Students will reflect on the big idea of the project by discussing their processes and roles as both individuals within their own context and how they interacted/collaborated within the group. Students will gain confidence in speaking about their own artwork and that of others.

10 minutes

Closure • What were some ways that metaphor was used in these pieces? (using symbols to represent our ideas, using composition to portray our identities)

Students will realize their strengths and weaknesses and how they can rely on each other when working with those that are either similar or dissimilar to them.

• In what ways do you feel that any of the pieces represents both individual and universal identity? (portrays symbolically for the individual but also has the universal themes of personality traits, etc.)

Students can connect with each other through similar themes/ideas and realize they are a part of a larger global community.

• Describe some of the ways the pieces have effectively used the elements and principles of design (emphasis, unity, balance, etc).

Students can realize that art is a way to universally communicate big ideas.

• Why do you think it is important to visually represent our identity? (to connect to people from other backgrounds, cultures/languages) • Do you feel it was important to work together as a group, and what lesson/s did it teach you about yourself? (creates a sense of community, realizations about their roles in society)

9. Critical Comments and Reflections: Surprises The biggest surprise for me while clinical teaching middle school at St. Mary’s was the struggle to manage the time. I had certain expectations from the students and the reality was that most of them worked much slower than I anticipated, and the fact that I had about five to ten minutes less time due to morning announcements, as well as having to clean up and get out of the way of the following class, made time management a struggle that I had to overcome in

most of the classes. Making sure I had everything set up and ready to go prior to the student’s arrival helped with this, however, this gave me less of an opportunity to offer the students class jobs to both set up and clean up and work more independently. For classes weeks three through six, I provided a timeline on the board for students to follow, which also helped with keeping them on task. I was also surprised by the lack of artistic skills knowledge the seventh graders had, after presumably learning art since they were young children. The skills and techniques I had assumed they had heard of, such as the elements and principles of design, were actually new to them and more difficult to grasp than I expected. Some of them were also unfamiliar with simple art knowledge, such as how to mix colors. They were interested in the symbolism and metaphor aspects of the lesson, and I was surprised to see how much they loved the cyanotype process. Teaching a variety of skills and techniques proved to be very important, as some students were more advanced than others in both vocabulary and art skill.

This helped keep the lesson very individualized to the students’ needs. Although they were mostly reticent about sharing their personal stories and identity traits out loud in class, I was surprised to see how thoughtful and eloquent they were when writing during the brainstorming and planning aspects of the lesson. I felt that allowing them a chance to write down their more personal thoughts helped open up to more meaningful and expressive artwork.

Student Responses Although the students were more detailed and personal in their brainstorming, they were a little hesitant to discuss out loud in class, and vocabulary words were hard for them to recall.

For the final critique, I had a set of questions ready to help them verbalize more out loud about their artwork, which helped. I also kept things positive, as middle schoolers tend to be their own harshest critics. I reminded them a few times during their artist statement writing time, and during the final reflection and critique that negativity was not welcome. I also was sure to add in my own positive comments, as speaking from a place of “authority” I think it was important for their own sense of self confidence that they heard what they did well. Using guiding questions seemed to help, and in the future, more formative assessments and reviews of vocabulary and skills and techniques as the lesson goes on would help with remembering and applying in their final artwork.

Questions/Dialogue Although I began each class with a review of previous lessons and vocabulary, which students were engaged in, I felt that I missed the chance to have closure in most classes due to time management issues. I also feel that written notes and more visual aids may have helped them remember more vocabulary and concepts. During each class, I did try to use the most important vocabulary words, and during final critique they were able to recall the words “embellishment”, “cyanotype” and “emphasis.” One thing I would like to employ in future lessons are things like bell ringers, such as worksheets that surround the previous class lesson, in order for the student to

prepare for the day and have the information fresh in their mind. I think using more visual cues or story telling techniques to present vocabulary words would be effective as well, and allow for more confidence during class discussion.

Problem & Solving When posed with the problem of planning, the students were hesitant to express their ideas in drawn form, but preferred to write, for the most part. One of the most successful problem solving strategies I employed was allowing students choice over which step to start with, and allowed them to choose the one they felt most comfortable with. However, it would be important to stress in future lessons that all steps must be completed, because I think some of the students believed they could skip some of the initial planning, although I wanted those to be part of their planning process to make their work stronger. Introducing the steps verbally prior to offering them the materials to work with and then emphasizing the importance of each, no matter what order they are done, would help with students who felt they didn’t need certain parts of the process work. I also think that giving them the opportunity to use technology could overcome some of the hesitation with the drawing aspects of the planning. Once I introduced the Chromebooks, they were more eager and willing to visualize their written ideas. During the creation of the final artwork, I again allowed the students room to make mistakes or experiment, and reminded them that there were always to solve their problems should they arise. I was pleased with the ways the students worked to solve their final pieces, and I think part of that was due to the fact they had “practiced” during the planning process.

Organization I feel that I worked very hard to have all the necessary materials for each lesson ready and organized, especially to save time. In the future, I may use some folders for each student to keep their process work more organized and ready for class set up. The cyanotype process proved difficult with the limited resources I had, and although having two of the students work on theirs at a time was meant to keep things less chaotic, I feel that this left the students in the classroom with too much idle time on that day. Having more stations for the cyanotypes could have helped keep the class together and probably would have given more successful results, although most of them turned out fairly well and interesting visually, and may have saved time and allowed for closure that day. For classroom set ups, I made sure that the students who were more social with each other were separated during the final work days. For the most part, they stayed on task with minimal organizational problems.

Quality of Student’s Work I was very pleased with the quality of the student’s work. Most of them were able to complete all of the objectives, except for one student who chose not to add a 3 dimensional element for emphasis, but his choice was deliberate. After giving a presentation about

symbolic self portraiture, and discussing how elements from student’s environment, visual culture and family heritage influence their identity. Students began the project by brainstorming on worksheets with prompt questions that had them think of each of the aspects. They then were asked to sketch out their silhouette body on paper and place their symbols using the elements and principles of design such as emphasis, balance and unity. Although some of the students were more hesitant to do the drawing portion of the assignment, they did complete all of the process work in order to inform their final artwork. The planning and process work allows the students to have more meaningful results from their final projects. All of the students had different results from their work, which was exciting because they all were given the same process and materials to work with, but were given choices within the guidelines which made the artwork reflect their personalities even more. If I were to change anything to get different results, I would probably have given the students more time to complete their cyanotypes or redo them if desired. Two of the cyanotypes did not produce adequate silhouette images, so I had to redo those myself, even though the students expressed a desire to do so. However, due to time and resource limitations I wasn’t able to offer that option.

Better planning of the cyanotype process would have allowed me to give the students that option, and also produced better results from the class as a whole. In spite of this, the silhouettes turned out very interesting visually, and I preferred the varied looks to them because of that reflected the varied identities of the students.

Differentiated Learning I chose two students as differentiated learners. The first was outspoken and outgoing, and very gifted academically. However, his art skills and confidence in his art ability was very low. Encouragement from me and allowing him choices that suited his personality and ability – such as allowing him to type his artist statement instead of hand write it, or allowing him the opportunity to create his silhouette before his sketch -- made the project successful and enjoyable for him. I was also to incorporate a science aspect to the project as well, which turned out to be his favorite subject. I think an interdisciplinary approach to some lessons is important, because it teaches students that don’t consider themselves creative or artistic that art can have many different facets. It also gives them a safe space to express themselves, as many other subjects do not do. I was able to work one on one with the students throughout the entire teaching process, and this proved valuable as well for my differentiated learners.

My second differentiated learner was a very introverted, but artistically minded, individual.

She was a very slow worker, which proved to be a challenge with the pacing of the class and getting her project completed. However, I was able to work with her again one on one to offer her choices to complete the project at her own pace. For example, she was very interested in working quietly and fully completing her sketch before moving on to the next step of tracing her silhouette. I knew she would be able to complete the silhouette tracing faster than her drawing, so I allowed for more time for her drawing. I also gave her additional time to finish her painting,

and offered her unique strategies to complete her artwork faster but in the way she wanted. I also helped her apply her 3 dimensional element after having her lay it out for me. I did not want to do the work for her, but helping her with the non-creative activities of the project allowed her to have a successful piece. She was also very shy about class discussions, so giving written worksheets and peer to peer discussions gave her the chance to express her ideas without being on the spot.

Conclusion My group of students were, for the most part, very respectful and engaged with the project. I was pleased with the outcome, even though they were a bit more reluctant to share verbally in class, they were able to articulate their ideas and identity traits through writing. I came to realize through differentiated learning practices that all students can benefit from choice, one on one guidance and positive encouragement. I learned that not all students will have the same experiences, skills and desire to make art, but an interdisciplinary approach that incorporates student interests and decisions can engage students who do not consider themselves “artists.� Through this project, I think that the students realized their unique qualities and although I intended them to also learn about their similarities, I think that they more so gained a respect for each other and how each one of them is special, important and capable of making a beautiful piece of art that connects to the world around them.

Attachments: 1.Scoring rubric and assessment tools HIGH PERFORMANCE

MEDIUM PERFORMANCE

LOW PERFORMANCE

OBJECTIVE I Student thoroughly researched elements of their family heritage, visual culture and environment and made meaningful connections to at least one element from each category.

Student completed all brainstorm worksheets with a high level of insight and investigation, and created multiple sketches of possible plans for final art piece.

Student completed some of the brainstorm worksheets with a satisfactory level of insight and investigation, and created 1-2 sketches of possible plans for final art piece.

Student completed none or only a partial amount of the brainstorm worksheets and created only 1 or no sketches for possible plans for final art piece.

OBJECTIVE II Student clearly described ways in which objects and elements of the

Student used 3 or more objects or elements from their environment in a meaningful way that

Student used less than 3 objects or elements from their environment in a meaningful way that

Student used 1 or no objects or elements from their environment, or

environment can be used to create meaningful work.

represents their values and beliefs.

represents their values and beliefs.

used objects in a superficial way.

OBJECTIVE III Student accurately described ways in which identity can be represented by elements outside of the body.

Student used 3 or more objects to represent their identity in a clearly symbolic way.

Student used 3 or less objects to represent their identity in a somewhat symbolic way.

Student used 1 or no objects to represent their identity or used them in a concrete, non-symbolic way.

OBJECTIVE IV Student effectively created a silhouette image on muslin that displays strong contrast and sharpness.

Student had a high level of effectiveness in creating a silhouette image on muslin with strong contrast and sharpness.

Student had a satisfactory level of effectiveness in creating a silhouette image on muslin with some contrast and sharpness.

Student had a low level of effectiveness in creating a silhouette image on muslin with little or no contrast or sharpness.

OBJECTIVE V Student skillfully embellished their cyanotype in a meaningful way using the elements and principles of design.

Student applied and displayed embellishments with a high level of skill using the elements and principles of design.

Student applied and displayed embellishments with a satisfactory level of skill using the elements and principles of design.

Student applied and displayed embellishments with a low level of skill, and did not effectively emply the elements and principles of design.

OBJECTIVE VI Student skillfully attached their finished artwork to another student

Student displayed a high level of skill and care attaching their artwork.

Student displayed a satisfactory level of skill and care attaching their artwork.

Student displayed no skill or care attaching their artwork, or artwork remained unattached.

2. Handouts Formative Assessment Handout

Name of Student (whose artwork is it?):

Name one symbol and the corresponding identity trait described:

Name one element/principle of design (Balance, Unity, Emphasis) and how it was used (for example, I created balance in my artwork by making the wings the same sizes).

IDENTITY BRAINSTORM SHEET #1 – FAMILY HISTORY/HERITAGE 1. Describe some of your family traditions, values, heritage or people in your family that inspire you or you enjoy, and give reasons why – use emotions or feelings. (eg., “I enjoy visiting my great grandmother because she tells me stories about when she lived through the Great Depression, which inspires me to be more tenacious,” or “I enjoy eating Christmas dinner with my family every year because it makes me feel comforted being a member of such a large and caring family.”)

2. Using the sentences above, choose 3-5 words that describe your feelings or emotions (eg. tenacious, comfort, caring).

3. How do these words relate to your personality?

IDENTITY BRAINSTORM SHEET #2 – VISUAL CULTURE 1. Name 1-3 of your favorite things from your visual culture – can include tv shows, movies, video games, sports, fashion, books, characters or anything else that you enjoy visually:

2. Describe why you enjoy these things (eg. “I enjoy David Bowie because his music and art inspire me to be more risk taking” or “I enjoy baseball because I love being part of a team and having the opportunity to be a leader as the team captain”).

3. In your answer from number 2 above, chose 1 word that represents a personality or identity trait that describes you (eg. Risk taker, team player, leader)

IDENTITY BRAINSTORM SHEET #3 – ENVIRONMENT 1. Describe an indoor and/or outdoor environment that you enjoy, and how it makes you feel when you are in it (eg. “I enjoy being outside because it makes me feel healthy and energized.” Or “I enjoy being in my room because I feel safe and comfortable.” Or “I like school because I get to be social with my friends.”)

2. Choose some words from the sentences above that correspond to elements of your identity. (eg. “healthy, energized, introverted, social”)

SYMBOLS/VISUAL REPRESENTATION BRAINSTORM: Take the words from number 3 on worksheet #1 and #2 and number 2 from worksheet #3 and and brainstorm some ways you can visually represent them. (Think about what symbols, objects, combination of objecs, props, clothing, hand gestures, parts of your body that you can incorporate into photos to clearly portray these concepts – they can be related or unrelated to their origins…for example, if you love baseball because of the competition, how can you use baseball bats to convey the word “competition” -- maybe criss cross bats showing different team logos?). Feel free to draw or write ideas:

ARTIST STATEMENT WORKSHOP

NAME: AGE: GRADE: Artist Statement Workshop Project: Embellished Cyanotype Self-Portraits 1. Describe your artwork. What does it look like? What is the subject matter? What is the title?

2. How did you use the elements/principles design? Explain how your 3D element (if you had one) emphasized an important part of your artwork or a specific symbol. Give 1-3 examples of emphasis, balance, unity or any other elements/principles of design used.

3. How did you create your art? What media was used (muslin, cyanotype chemicals, acrylic paint, specific 3d elements)? What tools did you use? Did you use any special techniques (eg. layering, opaque/transparent painting, etc.)

4. What symbols did you use in your artwork? How did they correspond to visual culture, environment and/or family heritage/history identity words? (eg. Visual Culture – I used sports icons in my artwork because it is a visual culture element that represents my love of teamwork; Environment - I used flowers in my artwork because it is an element of nature that represents my inner beauty; Family heritage/history – My family is very friendly so I used a dog to represent friendliness).

5. Describe something you feel was successful in your art piece.

6. Describe something you learned while creating this artwork, either about technique, vocabulary or about yourself.

7. Do you feel your piece is complete or is there anything you would add to the piece?

Describe it.

8. Do you feel that there are any similarities to other works in the class? If so, describe what it is and how that may create a sense of community.

Elements and Principles of Art Handout

Elements of Art

Line

Color

Shape

Line is a continuous mark made on a surface by a moving point. Lines can vary by the quality, the width or appearance of any line, such as thick or thin. These marks are made by a pen, pencil, brush or any other tool.

Color is reflected or absorbed light. Color is made up of three things: hue, value and intensity. Hue is the actual name of a color, value is the lightness or darkness of a color and intensity is the colors brightness.

Shape is a closed space that is made when a line connects to itself. Shapes are limited to two dimensions.

Shapes are limited to two dimensions: length (how long it is) and width (how wide it is). Shapes have clear edges when you create them.

Form is a three-dimensional figure. Examples of form are cubes, cylinders, and spheres. They are limited to height,

Form

Texture

width, and depth. For example, a triangle is 2D shape and a pyramid is 3D form. Artists can make 3D objects in the form of pottery or sculpture.

Texture is either actual or implied. Actual texture is how something physically feels while implied texture is how something looks or how it ”visually” feels.

Value

Space

Value is the lightness or darkness of a color. Value is very important when artwork has no colors in it other than black, white and gray.

Space is the distances or areas around, between or within a piece. Space can be positive or negative. It also includes foreground, middle ground and background.

© 2017 Elementary Art Resources

Elements of Art / Principles of Design Handout

Color Theory and Symbolism Handouts

3. Visual examples for instruction (Powerpoints)

4. Student Artwork Examples

5. Class Photos and St. Mary Exhibition Photos