Visual Arts 6th-8th Grade

Visual Arts

6th-8th grade Curriculum and Alignment Guide

August 2017

Charlotte Mecklenburg Schools

6th-8th grade Visual Arts

Curriculum and Alignment Guide August 2017

Curriculum and Alignment Guide Writing Team: Melissa Leftwich , Middle School Visual Arts and Media Arts Lead Teacher Kerri Staviski, Middle School Visual Arts Lead Teacher and New Teacher Trainer Cheryl Maney, K-12 Visual Arts and Dance Curriculum Specialist

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

MISSION To provide a comprehensive K-12 arts education program for each of the arts disciplines (dance, music, theatre arts, and visual arts) through: ARTS INSTRUCTION

ARTS EXPOSURE

ARTS INTEGRATION

VISION Visual and Performing Arts are included in the federal Every Student Succeeds Act (ESSA) as part of a “well-rounded education”. The arts have both intrinsic and extrinsic value, providing an avenue for self-expression and addressing the intellectual needs of students through the development of critical and creative thinking skills. Arts Education prepares future-ready students for graduation and success.

ARTS INSTRUCTION Rigorous and engaging standards-based instruction, taught by licensed arts educators Students should have the ability to: ● Communicate at a basic level in the four arts disciplines ● Communicate proficiently in at least one art form ● Develop and present basic analyses of works of art ● Recognize and appreciate exemplary works of art ● Relate various arts concepts, skills, and processes within and across disciplines

ARTS EXPOSURE Real world context for experiencing the arts through interaction with professional artists, attendance at performances, and visits to museums, theaters, and other arts venues

ARTS INTEGRATION Collaboration with other curricular areas to provide relevant and authentic connections between the arts and other subjects

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Order of Contents  Charlotte Mecklenburg Arts Education Department    

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Mission and Vision Why the Arts Charlotte Mecklenburg Schools Arts Education Visual Arts o National Core Arts Standards o 21st Century Skills Framework o Revised Bloom’s Taxonomy o Webb’s Depth of Knowledge Levels North Carolina Arts Education Essential Standards Preamble North Carolina K-12 Visual Arts Essential Standards At a Glance

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 Middle School Alignment   

 Teaching Visual Arts in Middle School 

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Qualities for an Effective Visual Arts Education o Qualities for an Effective Teacher o Qualities for an Effective Art Class o Qualities for an Effective Art Program Teaching the Unique Middle School Student Unit and Lesson Planning o Teaching Methods Overview o Instructional Strategies for Teaching Art o Where Do We Get Ideas for Lesson Plans? o Unit Designed to Teach for Mastery o Lesson Plan Format o Questions to Consider When Planning o Daily Lesson Plan Template o Unit Plan Sample

Assessment Overview o Checklists and Rubrics o Rubric for Rubrics o Sample Rubrics o Feedback as Formative Assessment o Exit Tickets o Framework of Assessment Approaches o Grading and Assessment in the Art Classroom Suggested Pacing Vertical Planning Guide Benchmark Charts o North Carolina Essential Standards Grade 6 o North Carolina Essential Standards Grade 7 o North Carolina Essential Standards Grade 8

 Instructional Tools for Visual Arts 

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Using an Art Journal/Sketchbook o 6th Grade Sketchbook Assignments o 7th Grade Sketchbook Assignments o 8th Grade Sketchbook Assignments o Journal/ Sketchbook Prompts Essential Questions Academic Conversations o Quotes for Art Journals & Academic Conversations Four Paragraph Art Critique Inquiry- Based Art Critique Copyright and Plagiarism Guidelines for Artists Elements of Art & Principles of Design

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Order of Contents 

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Media o Drawing o Painting o Printmaking o Sculpture o Ceramics o Mixed Media/Collage o Technology o Contemporary Crafts Arts Integration Literacy Integration o Complex Text o Close Reading o Text Dependent Questions and Tasks o Academic Conversations o Academic Writing o Helping Students Discuss and Write About Art o Integrated Vocabulary

o o

 Resources 

Resources for Instruction o Focus on Art and Artists  Concept and Subject  Elements  Medium and Format  Artists with North American Connections  Artists with North Carolina Connections  Artists with Charlotte Connections

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Art Movements Technique Sheets  Viewfinder Design  Basic Forms Worksheet  Shading Techniques  Tints and Shades  Color  Color Schemes  Creating the Illusion of Space in 2D Art  Watercolor Techniques  Composing Effective Photographs  Basic Paper Techniques  Weaving Techniques  Overshot Weaving Patterns  Stitching Techniques  Coiling Techniques  Artist Statement Steps o North Carolina State Symbols Resources for Teaching o Teaching in the 90 Minute Block o Survival Tips for Secondary Art Teachers o General List of Supplies for Middle School Art o Organizational Tips for Art Teachers o Preparing Digital Files of Student Work o How to Prepare Artwork for Display o Glossary of Art Terms

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Charlotte Mecklenburg Schools Arts Education Department Why the Arts?

Visual and Performing Arts are included in the federal Every Student Succeeds Act (ESSA) as part of a “well-rounded education�. The Arts have both intrinsic and extrinsic value, providing an avenue for self-expression and addressing the intellectual needs of students through the development of critical and creative thinking skills. Arts Education prepares students for graduation and success. Arts Education in CMS helps students develop the skills, self-esteem, self-discipline, cooperation and self-motivation necessary for both the 21st century workforce and/or a career in the arts.

The Arts appeal to different senses and add value and substance to the learning environment. The Arts help us discover who we are and have shaped people and cultures around the world. They are infused in our daily lives through the design of our furniture, the space in our environment, the songs we listen to, the entertainment we watch, the way we move, and the images we see on our devices and in our surroundings. As students participate in arts experiences - imagining, creating, responding and reflecting - they develop both verbal and nonverbal abilities necessary for advancement in learning. The intellectual demands of the arts help students develop problem-solving abilities and the more complex thinking skills of analysis, evaluation and creating. Our knowledge crosses many types including factual, procedural, conceptual and metacognitive.

The arts connect people across time, culture and place. It is a way to increase international and ethnic awareness. Students gain a greater understanding of their own culture and are better prepared to be active citizens of the world.

Students who study the arts become informed audience participants and active consumers of culture and the arts. Research provides evidence that the arts can and do serve as a vehicle for change in learning. Students profit from arts education experiences because these experiences cultivate the whole child, building visual literacy and communication skills while developing intuition, reasoning, imagination, and dexterity.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Charlotte Mecklenburg Schools Arts Education Department Charlotte Mecklenburg Schools offer arts in kindergarten through twelfth grade. The Arts Education Department supports over 600 music, visual arts, dance and theatre arts teachers within its Visual and Performing Arts programs. The Department upholds high expectations regarding the quality of the teaching staff, instruction, school programs, and the department as a whole.

CMS Arts Education Department adopted a Comprehensive Arts Education Plan, adapted from the North Carolina Comprehensive Arts Education Plan. It supports arts instruction, integration, and exposure. Our curriculum is based on the North Carolina Standard Course of Study which contains Essential Standards for each of the arts disciplines. Teachers are also encouraged to align instruction to the National Arts Standards and the appropriate discipline based artistic processes of Creating, Responding, Connecting, and Presenting/Performing/Producing. CMS also upholds the philosophical and lifelong learning goals promoted by the National Coalition for Core Arts Standards.

Elementary Students in elementary schools participate in weekly visual arts and music classes taught by certified and licensed visual arts educators. Some elementary students have access to dance and theatre arts. There are several schools designated as Arts or STEAM magnets.

Middle School Most sixth graders participate in an arts education rotation or “wheel” to further explore various arts disciplines. Band and orchestra are options for student at this level. Students may also elect to study more arts in specific arts courses. There are a few schools that are designated as Arts or STEAM magnets or focus schools and that provide for extended specialty courses in the arts.

High School In high school, student who have not had a complete education experience in a discipline may take a beginning level course as an introduction.

Those students that have taken visual arts in kindergarten through eighth grade, music in kindergarten through eighth grade, theatre arts in sixth through eighth grade, or dance in sixth through eighth grade may skip the beginning course and take an intermediate course in their discipline in ninth grade. This allows students that continue studies in a discipline to move on to the proficiency levels of Proficient and Advanced in the tenth and eleventh grade, respectfully. These two levels are inherently Honors courses and receive extra credit for the Grade Point AVerage (GPA).

After a student has been successful at the Proficient level, based on teacher recommendation and portfolio, he/she may move on to Advance Placement (AP) Studio Courses: AP Drawing, AP 2D, or AP 3D. Especially diligent students could conceivably take two AP Studio Courses during their high school years. AP Art History and AP Music Theory are available at most high schools. All AP Courses award extra credit towards a student’s GPA. International Baccalaureate courses in the arts are available at certain schools. There is one arts magnet high school.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Visual Arts Visual Arts, as defined by the National Art Education Association, include the traditional fine arts, such as drawing, painting, printmaking, photography, and sculpture; media arts, such as animation, video and emerging digital technologies; design, such as communication, product, and interactive; environmental, such as architecture, landscape architecture, interior and urban planning; conceptual, performance, participatory, street, and folk arts as well as works of art in clay, glass, metal, wood, fiber, paper and other materials.

In 2014 the National Coalition for Core Arts Standards released the National Core Arts Standards. As of publication, North Carolina has not adopted the National Core Visual Arts Standards. However, in the North Carolina Effective Educator System and Rubric, integrated use of the National Core Arts Standards ​with​ the North Carolina Essential Standards is denoted as accomplished under Standard III: Teachers know the content they teach, Element IIIa. The National Visual Arts Standards are based on the philosophical foundations and lifelong goals that express the overarching common values and expectations for learning in arts education across the arts disciplines. They promote four artistic processes and eleven anchor standards that are common for all five disciplines. Within the standards, there are fifteen Enduring Understandings, which are specific to Visual Arts and encompass learning for all ages and beyond the classroom. Avenues to approach understanding of the Enduring Understandings are found in the Essential Questions. These are open-ended questions that are meant to be asked at different stages of learning so that experience and knowledge lend itself to a new perspective of the answer. These questions can be altered for grade appropriateness while still maintaining the integrity of an open-ended question. Full explanation of these can be found at w ​ ww.nationalartstandards.org When designing your lessons, units of study, and program, you are encouraged to include within your practice, the philosophical foundations and lifelong goals. In depth study of the North Carolina Essential Standards strands for Visual Arts: Visual Literacy; Contextual Relevancy; and Critical Response; reveal definitive links between the NCES and the National Visual Arts Standards.

Portions of this work are based on the National Core Arts Standards (Copyright © 2015 National Coalition for Core Arts Standards/All Rights Reserved - Rights Administered by SEADAE.)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Visual Arts National Visual Arts Standards PHILOSOPHICAL FOUNDATIONS AND LIFELONG GOALS The Arts as Communication

The Arts as Creative Personal Realization

The Arts as Culture, History, and Connectors

The Arts as Means to Wellbeing

The Arts as Community Engagement

ARTISTIC PROCESSES AND ANCHOR STANDARDS CREATING Conceiving and developing new artistic ideas and work

PRESENTING Interpreting and sharing artistic work

Anchor Standard #1:​ Generate and conceptualize artistic ideas and work

Anchor Standard #4:​ Analyze, interpret, and select artistic work for presentation

Anchor Standard #2:​ Organize and develop artistic ideas and work

Anchor Standard #5:​ Develop and refine artistic work for presentation

Anchor Standard #3:​ Refine and complete artistic work.

Anchor Standard #6:​ Convey meaning through the presentation of artistic work

RESPONDING CONNECTING Understanding and evaluating how Relating artistic ideas and work the arts convey meaning with personal meaning and external context Anchor Standard #7:​ Perceive and analyze artistic work Anchor Standard #10: Synthesize and relate knowledge Anchor Standard #8:​ Interpret and personal experiences to make intent and meaning in artistic work art Anchor Standard #9:​ Apply criteria to evaluate artistic work

Anchor Standard #11:​ Relate artistic ideas and works with societal, cultural and historical context to deepen understanding

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Visual Arts 21st Century Skills Framework North Carolina Educator Effectiveness System and Rubric calls for the inclusion of 21st century skills. These are found at the Partnership for 21st Century Learning within the Framework of 21st Century Learning (www.p21.org). There are five categories of student outcomes that are achieved through four support systems. P21 calls for school systems to provide the support to teachers through Standards and Assessment; Curriculum and Instruction; Professional Development and Learning Environments. The student outcomes, as they apply to the Arts, are listed below.

As you design your lessons, units of study, and program, you will find that many of these 21st century skills are inherently a part of the Arts.

However, making a note of when and how they are included will help in informing students; discussing with colleagues; and notifying administration.

This also ensures that you are aware of and are specifically addressing the 21st century skills in your direct instruction or indirectly through your learning environment.

Content Knowledge and 21st Century Themes:

Learning and Innovation Skills

Information, Media and Technology Skills

Arts are included as a fundamental content area.

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Creativity and Innovation

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Information Literacy

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Flexibility and Adaptability

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Critical Thinking and Problem Solving

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Media Literacy

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Initiative and Self-Direction

● Communication and Collaboration

Information and Communications Technologies Literacy

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Social and Cross-Cultural Skills

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Productivity and Accountability

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Leadership and Responsibility

Increasing the rigor of the content by implementing the interdisciplinary themes of: ● Global Awareness ●

Civic Literacy

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Health Literacy

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Environmental Literacy

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Financial, economic, business, and entrepreneurial literacy

LIfe and Career Skills

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Visual Arts REVISED BLOOM’S TAXONOMY Revised Bloom’s Taxonomy​ (RBT) and ​Webb’s Depth of Knowledge Whee​l (DOK) are embedded within the ​North Carolina Essential Standards (NCES)​,​ ​North Carolina Standard Course of Study​ and the ​National Core Arts Standards​. You will need a foundational understanding of both in order to implement the NCES effectively.

RBT is a matrix meant to assist with aligning instruction, desired learning outcomes, and assessment of learning. There are two dimensions in the taxonomy:Cognitive Process Dimension and Knowledge Dimension. When you read the Clarifying Objectives in NCES, you can identify the verb and noun. The verb is aligned to a Cognitive Process. The noun is aligned to a Knowledge Dimension. Not only should the method of assessment be aligned on the taxonomy with the information you are assessing, but also with the cognitive process. The table below defines and clarifies the four knowledge types and the six cognitive processes. NOTE: The Cognitive Processes have often been labeled as “Higher Order Thinking Skills”.

There is not a hierarchy to the processes. They do increase in complexity and require a compilation of the processes as you move to the left on the taxonomy. Creating, the most complex process, requires the use of all the cognitive processes. (Remembering information, understanding what is needed, applying a process, analyzing the structure or work, and evaluating the product are all part of the process of creating.) The information presented was compiled from ​A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom’s Taxonomy of Educational Objectives​;2001 Anderson, Lorin and Krathwohl, David

KNOWLEDGE DIMENSION FACTUAL The basic information needed to engage with a discipline

CONCEPTUAL Relationships between parts of a discipline

PROCEDURAL How to do something, inquiry methods, and criteria for using skills, techniques, and methods

META-COGNITIVE Knowledge of mental processes in general as well as awareness and knowledge of one’s own

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Terminology

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Classifications and categories

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Subject-specific skills

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Strategic knowledge

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Specific details

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Principles

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Subject-specific techniques and methods

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Knowledge about cognitive tasks

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Elements

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Theories, models, and structures

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Criteria for when to use appropriate procedures

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Self-knowledge

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Visual Arts COGNITIVE PROCESSES REMEMBER Retrieve information from memory

UNDERSTAND Construct meaning from oral, written, or graphic communication

APPLY Carry out or use a procedure in a given situation

ANALYZE Break material into parts, relate to each other, relate to a common purpose

EVALUATE Judge based on criteria

CREATE Put parts together to form a “new” whole, pattern, or structure.

Note: new is relative to the individual

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Recognize

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Interpret

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Execute

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Differentiate

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Check

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Generate

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Recall

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Exemplify

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Implement

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Organize

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Critique

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Plan

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Identify

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Classify

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Use

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Attribute

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Produce

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Summarize

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Select

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Design

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Infer

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Construct

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Compare

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Explain

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Visual Arts Webb’s Depth of Knowledge Levels​ address the context of learning. The Depth of Knowledge Levels are not sequential. Students do not need to master content within Level One before moving to Level Two. The Levels are not linked to developmental levels. Even the youngest of students or the most inexperienced can engage in extended thinking tasks. The Levels determine how deeply a student must understand and be aware of the information they are learning and how solutions are impacted. The Levels also address how extensively the student can then transfer the information to new applications in new contexts. Thinking carefully about the rigor of a lesson and how to differentiate what is asked of students will allow all students to grow in their knowledge of art. Utilizing all four levels with students provides for more rigorous tasks and assessment of the knowledge and skills learned.

Level One ● ● ● ●

Knowledge Acquisition Recall and Reproduction Verbatim recall Simple tasks

Level Two ● ● ●

Knowledge Application Skills and Concepts Processing Information

Level Three ● ● ● ● ● ●

Knowledge Analysis Strategic Thinking Going beyond information given Synthesizing Making Connections Using the knowledge or skills

Level Four ● ● ● ● ●

Knowledge Augmentation Extended Thinking Transferring knowledge Personal use of information Applying knowledge to new contexts

Reference: Webb, Norman ​"Research Monograph No. 8: Criteria for Alignment of Expectations and Assessments in Mathematics and Science Education" (​1997​).

Webb, Norman Depth of Knowledge in Four Content Areas” 2002 Francis, Erik “ What Exactly is Depth of Knowledge” ASCD Edge Blog, 2016

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Education Essential Standards Preamble The North Carolina Standard Course of Study includes the following Preamble for the Arts Education Essential Standards.

Philosophy The arts have been part of life from the very beginning and are an inseparable part of the human journey. They have described, defined, and deepened the human experience. The arts are everywhere in our lives, adding depth and dimension to the environment we live in, and shaping our experience daily. The arts help students perceive and think in new ways. The arts are a powerful economic force as well, from fashion, to the creativity and design that go into every manufactured product, to architecture, to the performance and entertainment arts that have grown into multibillion-dollar industries.

Arts education benefits both student and society, because students of the arts disciplines gain powerful tools for: ● ● ● ●

understanding human experiences, both past and present; teamwork and collaboration; making decisions creatively and solving problems, when no prescribed answers exist; ​adapting to and respecting others' diverse ways of thinking, working, and expressing themselves;

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​understanding the influence of the arts and their power to create and reflect cultures; analyzing nonverbal communication, and making informed judgments about products and issues; and, communicating effectively.

The arts are core subjects in the Federal ​Elementary and Secondary Education Act​, and the ​NC Basic Education Program​, and, as such, are included as core subjects every student should learn as part of a balanced curriculum for all children in North Carolina.

While not all students will become professional dancers, musicians, actors, or visual artists, all students will benefit from skills and processes that are developed through the arts and that can be applied in a variety of disciplines and settings. One example of this is the creative process for any work of art and its direct correlation to the processes used for writing.

An education in the arts helps students learn to identify, appreciate, and participate in the traditional art forms of their own communities. As students imagine, create, and reflect, they are developing both the verbal and nonverbal abilities necessary for school success. At the same time, the intellectual demands of the arts help students develop problem-solving, critical, and creative thinking abilities.

The arts have both intrinsic and instrumental value; that is, they have worth in and of themselves and can be used to achieve a multitude of purposes (e.g., to communicate issues and ideas, to persuade, to entertain, to beautify). Beyond the intrinsic value of studying the arts, each arts discipline appeals to different senses and expresses itself through different media, adding richness and engagement to the learning environment.

Numerous studies point toward a consistent and positive correlation between a comprehensive education in the arts and student achievement in other subjects and on standardized tests. A comprehensive, articulated arts education program engages and helps students develop the self-esteem, self-discipline, cooperative skills, and self-motivation necessary for success in life.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Education Essential Standards Preamble Purpose of Visual Arts From the beginning of time, the compulsion to create a visual vocabulary has been as innate in every society as the desire to acquire a system of spoken symbols. Visual art from past civilizations is frequently one of the few remaining clues with the power to illuminate which values were held most dear.

Today, every aspect of our designed environment will serve to explain who we are to those of the future. The pattern of human growth in society is to develop a multi-sensory means of communicating symbols and values. A child discovers objects, those objects take on meaning, and this meaning is denoted and communicated through the various means of expression available to that child.

The visual arts program is designed to develop visual literacy by promoting fluency in the various modes of visual communication.

Students learn the visual arts by using a wide range of subject matter, media, and means to express their ideas, emotions, and knowledge.

They evaluate the merits of their efforts and this assessment forms the basis for further growth that extends to all disciplines in school and to life.

Visual arts education is a multifaceted creative process which includes the development of perceptual awareness and the ability to use materials expressively. Through participation in visual arts, students have the opportunity to recognize and celebrate the creativity and diversity inherent in all of us.

Program Description

Standards and Research

The Essential Standards communicate what students should know and be able to do as a result of instruction at each grade level (K-8) or proficiency level: beginning, intermediate, proficient, and advanced (9-12). Because of the broad base of knowledge and skills involved in creating, performing, responding to, and understanding the arts, experiences and learning must occur in a sequential manner.

The ​Arts Education​ ​Essential Standards ​were written using the Revised Bloom’s Taxonomy Knowledge Dimensions and Cognitive Processes, as well as other prominent educational structures. Research in each of the arts disciplines, other state standards, national standards and international resources, were used in the development of these standards.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Education Essential Standards Preamble 21​st​ Century Skills

Features The ​Arts Education​ ​Essential Standards ​feature the following: ●

Communicating and developing literacy within each arts discipline;

Specifically, the following 21​st​ century skills are taught as an inherent part of each of the arts education disciplines: ●

Thinking and working creatively (creating, elaborating on,

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Thinking creatively and critically, and solving artistic problems;

refining, and evaluating original ideas; implementing originality

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Understanding the arts in relation to history, culture, heritage,

and inventiveness; and demonstrating openness and

ideas, and lifelong learning;

responsiveness to new and diverse perspectives);

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Connecting learning within each arts discipline with other arts, st​

disciplines outside of the arts, the real world, 21​ century

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Implementing innovations and acting on creative ideas;

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Reasoning, making judgments and decisions, and solving

themes and skills, and to life beyond school, whether that be further education, pursuit of an interest, or a career; ●

problems in both conventional and innovative ways; ●

Understanding and appreciating world cultures and historic periods. For the first time, the ​Arts Education​ ​Essential

range of purposes; ●

Standards ​have common clarifying objectives at all levels which

Collaborating effectively, respectfully, and flexibly with diverse teams to accomplish a goal; assuming shared responsibility and

have been closely aligned with history and culture components

valuing contributions of each team member;

of the ​Social Studies Essential Standards​. The purpose of this

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within and across the arts and social studies throughout a child’s

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structure is to provide common learning and understanding

Accessing, evaluating, using, and managing information from a variety of sources with an understanding of ethical/legal issues;

education. ●

Communicating in a variety of forms and contexts and for a

Understanding media messages, influences, creation, interpretations, and purposes;

st​

Addressing 21​ Century Themes and Skills via the Essential

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Applying technology tools effectively to research, organize,

Standards, Clarifying Objectives, and/or Assessment

evaluate, access, manage, integrate, evaluate, create, and

Prototypes.

communicate information; ●

Applying life and career skills, including flexibility and adaptability; initiative and self-direction; social and cross-cultural skills; productivity and accountability; and leadership and responsibility.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Education Essential Standards Preamble Course of Study The intent of the ​Arts Education Essential Standards​ is that a comprehensive understanding of one or more of the arts be accomplished by each

student throughout the K-12 program. Students at the high school level will have the option of studying an individual arts discipline as an area of interest, or specializing and/or completing a concentration in studies to prepare them for further education and/or a career in the arts.

Students should know and be able to do the following by the time they have completed secondary school: ●

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communicate at a basic level in the four arts disciplines​: dance, music, theatre arts, and visual arts. This includes knowledge and skills in the use of the basic vocabularies, materials, tools, techniques, and intellectual methods of each arts discipline; communicate proficiently in at least one art form,​ including the ability to define and solve artistic problems with insight, reason, and technical proficiency; develop and present basic analyses of works of art​ from structural, historical, and cultural perspectives. This includes the ability to understand and evaluate work in the various arts disciplines;

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recognize and appreciate exemplary works of art ​from a variety of cultures and historical periods, and have a basic understanding of historical development in the arts disciplines, across the arts as a whole, and within cultures; and, relate various arts concepts, skills, and processes within and across disciplines, ​ which includes understanding the arts in relation to other subject areas and making connections in a variety of settings, in and outside of school.

Organization Each grade level and high school proficiency level includes Essential Standards and Clarifying Objectives which are organized by Strands. These components are specific and vary for each arts discipline. Content and skills that are not limited to particular materials or methodology, but that can be delivered through multiple approaches and materials, are described through the Essential Standards and Clarifying Objectives for each area.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL ARTS STRANDS and STANDARDS Visual Literacy V.1: Use the language of visual arts to communicate effectively.

V.2: Apply creative and critical thinking skills to artistic expression.

V.3: Create art using a variety of tools, media, and processes, safely and appropriately.

Visual literacy relates to the language of art, how it is organized, and how it is used to communicate as a language of its own. Visual literacy relates to all aspects of becoming “art literate,� including an understanding of how the Elements of Art and Principles of Design are used for personal expression and communication through art. Visual literacy also encompasses the application of critical and creative thinking skills to artistic expression and solving artistic problems, as well as using a variety of tools, media, and processes safely and appropriately while creating art.

Contextual Relevancy CX.1: Understand the global, historical, societal, and cultural contexts of the visual arts.

CX.2: Understand the interdisciplinary connections and life applications of the visual arts.

Contextual relevancy refers to applying knowledge of the visual arts in relation to history, culture, heritage, and other disciplines.

Students understand the influence art has on society and that art may represent various societal themes and issues. They recognize the differences in art from different regions and the effect that geography and culture has on art within a particular region. Students understand how art has evolved throughout history and in different parts of the world, including the United States. Students understand connections with skills and concepts learned in art, which can be applied in other disciplines. Students connect visual arts with human experiences and understand that personal responses to art are based on personal, cultural, and historical contexts.

Critical Response CR.1: Use critical analysis to generate responses to a variety of prompts.

Critical Response refers to the use of critical analysis to react, either in writing, verbally, through art, or through other modalities or combinations of modalities to art. Critical response requires the use of skills such as observing, describing, analyzing, interpreting, critiquing, judging, and evaluating personal art and the art of others. Students’ responses may be personal and/or use an objective process.

As they discover the Elements of Art and Principles of Design, they understand how art can be aesthetically pleasing. Students use appropriate art terminology to describe their feelings about art, and they evaluate their own art in terms of its weaknesses and merits.

They are critical of their work and of the media and processes they are using. Students use teacher-established criteria, or they develop criteria to judge specific works of art, whether it is their own art or art created by others.

Students use self-critiquing to improve the quality of their art. Students make judgments about art and defend their judgments based on knowledge and reflective inquiry.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY V.1: Use the language of visual arts to communicate effectively.

K-2

3-5

6-8

9-12

The first Essential Standard requires students to understand the language of art. Young children are developing fine motor skills and are learning to manipulate various art materials and tools. Since it will be the first time that some children will be correctly using many of the materials and tools, they will need to be given specific instruction. Students will begin to recognize how symbols, subjects, themes, and other commonalities among different pieces of art are used to communicate.

As they create art, students recognize the Elements of Art in their own work, such as shape, color, line, and texture, and work towards explaining why the made certain decisions about their work. Their choices of subject matter reflect their own lives, and they realize that art can tell a story.

The first Essential Standard requires students to use the language of visual arts to communicate effectively. In grades 3-5, students will use specific terminology to discuss their works of art, as well as works of art throughout history and different art movements. They use such terms as cubism, photo-realism, foreground, and proportion. Students begin to express their own ideas in art using experiences that only they have had, reflecting their own personal perspectives of the world in which they live. For example, they illustrate a geographical region and determine how it would be represented, whether it is during a specific season or a specific time of day.

They understand different voices in art, and they also understand differences in works of the masters and determine the differences between realistic and non-objective art. Students’ knowledge of the elements and principles expands and they can accurately depict different types of lines and correlate groups of colors with the moods of works of art. They demonstrate the ability to compose a picture effectively incorporating the Principles of Design.

The first Essential Standard requires students in grades 6-8 to better understand the Elements of Art and the Principles of Design. They use correct terminology when talking about art, including correct names for processes such as wash, blending, relief printing, glazing, etc. Students use the elements and principles to plan their art. For example, when asked to compose a work that demonstrates variety and unity, they select the most appropriate shapes, lines, and colors. Students see how different artworks from different styles and movements successfully incorporate the Elements of Art and Principles of Design, which helps them to infer an artwork’s meaning.

The first Essential Standard requires high school students to use the Elements of Art and the Principles of Design to determine the style of a work of art. For example, by applying their understanding of color theory, texture, shape, and form, students can differentiate between Impressionistic art with its emphasis on movement and light, and Post-Impressionistic art.

Students use their understanding of the relationship of the elements and principles to specific styles of art to develop their own styles. Students use art vocabulary to analyze and evaluate the composition of works of art and their relationships to the elements and principles. Students create artistic compositions based on a successful application of the elements and principles. Students recognize and respond to contemporary art and recognize themes that exist within different works. Using the elements and principles, they may compare works of art that demonstrate a more structured formal design with works of art that seem more intuitive in nature.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY V.2: Apply creative and critical thinking skills to artistic expression.

K-2

3-5

6-8

9-12

The second Essential Standard requires students to use critical and creative thinking skills. Students are often given the same art assignment which may have specific guidelines, but which is open-ended in terms of artistic choices.

They learn that there are multiple solutions and are challenged to reach original solutions by drawing upon their senses and their environment. Rather than copying images or symbols, students come up with their own ideas and use their imaginations for subject matter. For example, students may be asked to draw a barnyard with animals. One student may choose chickens, pigs, and goats, while another student chooses cows, geese, and chickens. Even when they choose the same animal, such as chickens, the chickens will not look alike.

Students will recognize these differences and understand the concept of multiple solutions to artistic problem

The second Essential Standard requires students to use critical and creative thinking skills. Students in grades 3-5 understand that art problems have multiple solutions, and they understand that some solutions are better than others in their effectiveness. As their inspiration for ideas, they use their personal point of view and experiences. They also look towards the larger environment for ideas, including ideas from around the world or from books or on television. Students create abstract art that expresses ideas.

The second Essential Standard requires students to generate and evaluate their solutions to artistic problems. When given an artistic problem, students in grades 6-8 understand that some solutions are better than others. For example, students may be given a problem of creating a vibrant cityscape full of excitement using only cool colors. Students might choose to create excitement using diagonal lines or repetition of shapes. Students understand the value of creating art from original ideas as a way to express one’s feelings and how to use observation skills and personal experiences to generate ideas.

For example, students may create a self-portrait that expresses aspects of their identity through the use of color and shape. Students understand that by carefully manipulating the elements and principles, they can convey different ideas of feelings. For example, when students create a self-portrait, they select and emotion to go with the self-portrait, such as anger or fear.

The second Essential Standard requires students to understand that art is not created without prior planning. They understand there is a process in the creation of art, and that although emotion, imagination, and creativity contribute to the creation of art, innovative problem solving is a guiding factor in the artistic creation. Students develop their personal artistic style while adhering to basic design principles. Students understand that personal experiences influence the way artists perceive their environment.

For example, students may compare paintings created by survivors of storms or natural disasters or compare the creations of graffiti artists in larger cities.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY V.3 Create art using a variety of tools, media, and processes, safely and appropriately.

K-2

3-5

6-8

9-12

The third Essential Standard requires students to sue a variety of tools, media, and processes (e.g., drawing, painting, weaving, printing, stitcher, collage, mixed media, sculpture, and ceramics) safely and appropriately when creating art.

Students will use art materials safely and take care of tools and materials, such as putting lids back on paints, washing brushes correctly, and closing lids on markers. They will learn which media to use for art projects, the processes for using the media, and how to manipulate the media. For example, they will understand concepts such as the additive process in sculpture or ceramics, using a running stitch, and folding and curling paper for three-dimensional effects.

Students will understand that the subject of a work of art tis not limited to one medium, and they may experiment with Styrofoam, texture rubbings, weaving, painting, and found objects.

The third Essential Standard requires students to use a variety of tools, media, and processes (e.g., drawing, painting, weaving, printing, stitcher, collage, mixed media, sculpture, ceramics, and current technology) safely and appropriately when creating art. Students manipulate tools more easily now, and they explore several techniques when using tools and media.

For example, students use a pencil to create a wider range of values by varying the pressure on the pencil, or they create different looks with a brush by using the techniques of drybrush, pointillism, and wet on wet. Students understand how the correct use of tools and media will produce desired results, and that specific techniques are used in select situations.

The third Essential Standard requires students in grades 6-8 to use new and more complex tools, media, and techniques, and they envision new ideas based on these media and techniques.

Their artwork involves using a variety of two-dimensional and three-dimensional media, so they attain a larger vocabulary of terminology. Students not only learn to clean and take care of their tools, but they also store them properly and handle them with care as they transport their tools and media from one place to another.

Students become more selective about which medium is best to use for specific projects. For example, they may evaluate three different printing processes to select an appropriate method for creating an abstract animal. When asked to justify their reasons for selecting a specific medium or process, they do so using the appropriate terminology and reasoning.

The third Essential Standard requires students to use a larger variety of tools, media, and processes, including recycled materials. They look at works of art and compare processes. For example, they compare stone sculptures to discover process marks and determine what tool was used to create them. They may experiment with decorative stitches instead of solely utilitarian stitches. They may experiment with the differences between hand built pottery and thrown pottery. When given an art problem, students select the most appropriate art process, media, and tools for finding a solution.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY K

1

2

V.1: Use the language of visual arts to communicate effectively.

K.V.1.1: Identify various art materials and tools.

1.V.1.1: Identify tools, media and processes.

2.V.1.1: Use appropriate art vocabulary when discussing media, processes, or images in art.

K.V.1.2: Create original art that expresses ideas about oneself.

1.V.1.2: Create original art that expresses ideas, themes, and events.

2.V.1.2: Create original art that expresses ideas about people, neighborhoods, or communities.

K.V.1.3: Recognize various symbols and themes in daily life.

1.V.1.3: Recognize that symbols, subjects, or themes are used in the works of others to communicate.

2.V.1.3: Understand the “story� in works of art.

K.V.1.4: Understand characteristics of the Elements of Art, 1.V.1.4: Understand characteristics of the Elements of Art, 2.V.1.4: Understand characteristics of the Elements of Art, including lines, shapes, colors, and texture. including lines, shapes, colors, textures, form, and space. including lines, shapes, colors, textures, form, space, and value.

K.V.1.5: Recognize characteristics of the Principles of Design, including repetition and contrast.

1.V.1.5: Understand characteristics of the Principles of Design, including repetition, emphasis, contrast, and balance.

2.V.1.5: Understand characteristics of the Principles of Design, including repetition, movement, emphasis, contrast, balance, and proportion.

V.2: Apply creative and critical thinking skills to artistic expression.

K.V. 2.1: Recognize that artists may view or interpret art differently.

1.V.2.1: Recognize that artistic problems have multiple solutions.

2.V.2.1: Understand that artistic problems have multiple solutions.

K.V.2.2: Use sensory exploration of the environment as a source of imagery.

1.V.2.2: Understand how physical location affects what is seen in the immediate environment.

2.V.2.2: Use personal point of view of the environment as a source of imagery.

K.V.2.3: Create original art that does not rely on copying or 1.V.2.3: Create art from imaginary sources of inspiration. tracing.

2.V.2.3: Create art from real and imaginary sources of inspiration.

V.3: Create art using a variety of tools, media, and processes, safely and appropriately.

K.V.3.1: Use a variety of tools safely and appropriately to create art.

1.V.3.1: Use a variety of tools safely and appropriately to create art.

2.V.3.1: Use a variety of tools safely and appropriately to create art.

K.V.3.2: Use a variety of media to create art.

1.V.3.2: Execute control of a variety of media.

2.V.3.2: Recognize characteristics of a variety of media.

K.V.3.3: Use the processes of drawing, painting, weaving, printing, collage, mixed media, sculpture, and ceramics to create art.

1.V.3.3: Use the processes of drawing, painting, weaving, printing, stitchery, collage, mixed media, sculpture, and ceramics to create art.

2.V.3.3: Use the processes of drawing, painting, weaving, printing, stitchery, collage, mixed media, sculpture, and ceramics to create art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY 3

4

5

V.1: Use the language of visual arts to communicate effectively.

3.V.1.1: Use art vocabulary, including specific artistic terms.

4.V.1.1: Use appropriate art vocabulary to compare artists’ 5.V.1.1: Use appropriate art vocabulary to describe art styles. movements.

3.V.1.2: Understand that artists use their art to express personal ideas.

4.V.1.2: Apply personal choices while creating art.

5.V.1.2: Create art that reflects personal voice and choice.

3.V.1.3: Identify themes from masters’ works.

4.V.1.3: Infer meaning from art.

5.V.1.3: Classify works of art in terms of whether they are realistic, abstract, or nonobjective.

3.V.1.4: Understand characteristics of the Elements of Art, 4.V.1.4: Understand how the Elements of Art are used to including lines, shapes, colors, textures, form, space, and develop a composition. value.

5.V.1.4: Understand the relationship between the Elements of Art and the Principles of Design.

3.V.1.5: Understand characteristics of the Principles of Design, including repetition, movement, emphasis, contrast, balance, proportion, harmony, and unity.

5.V.1.5: Apply the Principles of Design in creating compositions.

4.V.1.5: Understand how the Principles of Design work in relation to each other.

V.2: Apply creative and critical thinking skills to artistic expression.

3.V.2.1: Create art through a process that includes generating ideas, planning solutions, and producing original art.

4.V.2.1: Identify different successful solutions to artistic problems.

5.V.2.1: Evaluate solutions to artistic problems, including their effectiveness

3.V.2.2: Use personal point of view and experiences as sources for creating art.

4.V.2.2: Use ideas and imagery from North Carolina as sources for creating art.

5.V.2.2: Use ideas and imagery from the global environment as sources for creating art.

3.V.2.3: Create art from realistic sources of inspiration.

4.V.2.3: Create abstract art that expresses ideas.

5.V.2.3: Create realistic, imaginative, abstract, and non-objective art.

V.3: Create art using a variety of tools, media, and processes, safely and appropriately.

3.V.3.1: Understand how a single tool can be manipulated in multiple ways, safely and appropriately.

4.V.3.1: Apply a variety of methods of manipulating a single tool, safely and appropriately.

5.V.3.1: Evaluate how to manipulate tools safely and appropriately to reach desired outcomes.

3.V.3.2: Use a variety of media with refined skills..

4.V.3.2: Compare characteristics of a variety of media.

5.V.3.2: Use appropriate media for the creation of original art.

3.V.3.3: Create art using the processes of drawing, 4.V.3.3: Create art using the processes of drawing, 5.V.3.3: Create art using the processes of drawing, painting, weaving, printing, stitchery, collage, mixed media, painting, weaving, printing, stitchery, collage, mixed media, painting, weaving, printing, stitchery, collage, mixed media, sculpture, ceramics, and current technology sculpture, ceramics, and current technology. sculpture, ceramics, and current technology.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY 6

7

8

V.1: Use the language of visual arts to communicate effectively.

6.V.1.1: Use appropriate vocabulary to describe art, 7.V.1.1: Use art vocabulary to analyze art. including Elements of Art, Principles of Design, types of media, various processes, and style.

8.V.1.1: Use art vocabulary to evaluate art.

6.V.1.2: Understand how the Elements of Art can aid 7.V.1.2: Understand how the Principles of Design aid 8.V.1.2: Apply the Elements of Art and Principles of in the planning and creation of personal art. in the planning and creating of personal art.

Design in the planning and creation of personal art.

6.V.1.3: Identify artists’ styles.

7.V.1.3: Identify themes in art.

8.V.1.3: Identify how the Elements of Art and Principles of Design differentiate movements, contemporary styles, and themes in art.

6.V.1.4: Recognize how artists use the Elements of Art and Principles of Design in creating art.

7.V.1.4: Understand the relationship between the Elements of Art and the Principles of Design.

8.V.1.4: Analyze the relationship between the Elements of Art and the Principles of Design in art.

V.2: Apply creative and critical thinking skills to artistic expression.

6.V.2.1: Generate solutions to artistic problems.

7.V.2.1: Evaluate solutions to artistic problems.

8.V.2.1: Create art that uses the best solutions to identified problems.

6.V.2.2: Use observation skills of the immediate environment to create original imagery.

7.V.2.2: Use observation skills of the environment 8.V.2.2: Apply observation skills and personal and personal experiences to create original imagery. experiences to create original art.

6.V.2.3: Understand that original imagery is a means 7.V.2.3: Create original art emphasizing selected 8.V.2.3: Create original art that conveys one or more of self-expression used to communicate ideas and elements and principles to express ideas or feelings. ideas or feelings. feelings.

V.3: Create art using a variety of tools, media, and processes, safely and appropriately.

6.V.3.1: Use tools and media appropriately to maintain a safe and orderly work space.

7.V.3.1: Apply safety knowledge to maintain a safe and orderly personal work space.

8.V.3.1: Apply knowledge of safety and media to maintain and take care of the work space and art.

6.V.3.2: Create art using a variety of 2-D and 3-D media, including digital.

7.V.3.2: Compare media in order to choose the best option to create art.

8.V.3.2: Use a variety of media to create art.

6.V.3.3: Create art in different media using various techniques and processes

7.V.3.3: Compare techniques and processes to create art.

8.V.3.3: Evaluate techniques and processes to select appropriate methods to create art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance VISUAL LITERACY Beginning

Intermediate

Proficient

Advanced

V.1: Use the language of visual arts to communicate effectively.

B.V.1.1: Use art vocabulary when discussing art and artistic styles.

I.V.1.1: Use art vocabulary to critique art.

B.V.1.2: Apply the Elements of Art and I.V.1.2: Understand how design Principles of Design to create art. influences artistic expression.

P.V.1.1: Use art vocabulary to analyze A.V.1.1: Use art vocabulary to explain compositions. compositional choices.

P.V.1.2: Understand the relationship between expression and design.

A.V.1.2: Create art based on personal expression and applied design.

B.V.1.3: Classify art according to specified styles.

I.V.1.3: Understand the use of global P.V.1.3: Recognize contemporary themes, symbols, subject matter in art. styles, themes, and genres in art.

A.V.1.3: Create art that responds to contemporary themes in art.

B.V.1.4: Recognize how Elements of Art and Principles of Design are used in art.

I.V.1.4: Analyze images through the P.V.1.4: Evaluate the use of the process of deconstruction (components Elements of Art and Principles of of the image and its meaning).

Design in art

A.V.1.4: Analyze the compositional components of art.

V.2: Apply creative and critical thinking skills to artistic expression.

B.V.2.1: Understand the role of planning in solving artistic problems.

I.V.2.1: Generate innovative solutions to artistic problems.

P.V.2.1: Implement planning to arrive A.V.2.1: Create original art in response at original solutions to artistic problems. to artistic problems.

B.V.2.2: Understand the relationships between sensory awareness and artistic expression.

I.V.2.2: Use experiences and observations to create content for art.

P.V.2.2: Recognize how personal A.V.2.2: Create art using experiences experience influences the perception of and observation to represent individual the environment. perspectives.

B.V.2.3: Create personal, symbolic expression as a means of communication

I.V.2.3: Understand the role of emotion, P.V.2.3: Understand the relationship of A.V.2.3: Generate art based on a imagination, and creativity in producing creative expression to the development creative exploration of a concept. content for original art. of personal style.

V.3: Create art using a variety of tools, media, and processes, safely and appropriately.

B.V.3.1: Understand the appropriate and safe use of tools, media, and equipment.

I.V.3.1: Understand the function of tools in creating art.

P.V.3.1: Compare properties of tools in A.V.3.1: Produce art by using a variety the creation of art. of tools and media appropriately, safely, and effectively.

B.V.3.2: Use a variety of media, including 2-D, 3-D, and digital, to produce art.

I.V.3.2: Select media appropriate for communicating content.

P.V.3.2: Analyze the relationship between media, processes, and results.

B.V.3.3: Exemplify characteristics of different artistic processes.

I.V.3.3: Analyze the relationship between process and product.

P.V.3.3: Select appropriate processes and techniques to create art.

A.V.3.2: Produce art by using a variety of processes appropriately, safely, and effectively.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CONTEXTUAL RELEVANCY CX.1: Understand the global, historical, societal, and cultural contexts of the visual arts.

K-2

3-5

6-8

9-12

The first Essential Standard requires students to understand the global, historical, societal, and cultural contexts of the visual arts. Students in grade K-2 make connections between the visual arts and the heritage, customs, and traditions from different cultures and time periods throughout history. They identify works of art as being from long ago or from the present day. Students understand how the traditions of a culture are depicted in that culture’s art, explaining why the art of one culture looks different from the art of another culture, including what components make each culture’s art unique. Students are able to identify a work of art as being from a specific time period, art movement, or artist because of its use of the Elements of Art and Principles of Design. They connect artists to the movements in which they worked and are able to provide examples of visual arts representing various cultures.

Students in grades 3-5 make connections to the community and to culture, history, traditions, and movements in North Carolina, the United States, and all of North America. Students understand purposes of art in various cultures, time periods, and societies and are able to classify art in terms of styles, genre, and/or movements. They may explain why specific colors and symbols are associated with specific institutions, such as schools and corporations. They explain that specific types of art are associated with a region because of resources and how art changed as better communication and travel evolved. Students may explain how the styles of such artists as Thomas Hart Benton, Georgia O’Keefe, and Andrew Wyeth are reflections of their regional environment. As they explore North Carolina history, they explain the influence North Carolina artists have had, and continue to have, on history. Students collect materials from nature to create art.

Students classify North American artists and analyze the effect of geographic location and physical environment on media and subject matter of art and artists.

The first Essential Standard requires that students in grades 6-8 understand the development of the visual arts throughout history, including its role in North Carolina and the United States. Students look at works of art and analyze them in several ways, including style, subject matter, movements, and geographical influence. For example, students may look at pottery created in different regions of the United States and compare them based on geological factors such as the availability of clays. Students also analyze the effects of geographic location and physical environment on the media and subject matter of African, Asian, and Australian art

The first Essential Standard requires high school students to make connections between events in world history and the art ideas, movements, and cultural values that came about as a result of those events. They understand concepts of civics and economics, for example, by investigating the impact of art auctions on the art market. Students may distinguish objective visual records (such as Edward Hopper’s Nighthawks) from art that is created based on political or personal biases (such as Francisco Goya’s The Third of May 1808) and understand that artists have the power to influence history based on their interpretations of historical events through the creation of art. For example, students may compare Native American drawings documenting conflict with the U.S. Army to Anglo-American paintings documenting the same conflict.

They identify a specific artist’s philosophies based on that artist’s interpretation of subject matter within a specific historical period. Students understand an artist’s style is sometimes based on geographic location. For example, students may develop a map of North Carolina to show the relationship between works of art and available resources. Students develop their own unique style when creating art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CONTEXTUAL RELEVANCY CX.2: Understand the interdisciplinary connections and life applications of the visual arts.

K-2

3-5

6-8

9-12

The second Essential Standard requires students to understand interdisciplinary connections and life applications of the visual arts. Students understand that items such as chairs, lamps, automobiles, and telephones are functional art and they are created with the same innovative thinking as nonfunctional art. They design their own pieces of functional art, and they understand that functional art sometimes results from materials found regionally.

They see the interconnections between the visual arts and other content areas.

For example, they may explain how line, shape, and pattern can be created in art using mathematical concepts. They use scientific processes to understand color theory, and they may demonstrate a connection to literature by illustrating familiar stories. Students learn the importance of sharing art materials and ideas without copying ideas from others, sometimes by collaborating on a group project, contributing their individual ideas.

Students in grades 3-5 make connections to the importance of art and artists to life in North Carolina and society as a whole.

They may create functional art for the purposes of advertisement, social awareness, and illustration. For example, students may design a label for a candy bar or the package for a new product, such as a soft drink. Students may create art that might be used in a science illustration or to illustrate an important event in history. Students work on collaborative projects, demonstrating that each person in a collaborative project has a specific role in the greater whole.

Students understand the importance of digital media in creating products, for example, comparing how product logos were created generations ago and how they are created today.

The second Essential Standard requires students in grades 6-8 to make connections to art as a vocation or an avocation. The skills that​ ​students learn in art are useful for them when applied to daily life. For example, students may design a poster to advertise the school’s drama production, incorporating their knowledge of balance, line, space, unity, etc. to create the design. Students research a variety of careers in terms of the art skills needed to be successful and compare their interests and abilities to those needed to succeed in an art specific career. Students understand that real life projects often involve collaborations among many areas of expertise, including the creation of digital images, technological products, and design. For example, students may analyze a webpage in terms of its aesthetics. Even though web pages require people with technical expertise, they also require people with knowledge of the Elements of Art and Principles of Design. Layout and the use of images are important considerations in order for web pages to be effective.

The second Essential Standard requires high school students to understand that the relationship between the visual arts and the design of goods, products, and services is symbiotic. For example, students may explain why consumer response affects design of such products as clamshell packaging, women’s purses, and aluminum soda cans, and explain how the design of products affects consumer response. Students understand the significance of being able to identify products and services with unique symbols or logos. For example, students may create their own identity in the form of a personal logo. By the advanced level, students use information, media, and technology skills to create digital portfolios that record their development as artists.

Students recognize and apply skills they learn in art to other content areas. For example, they may make connections of linear perspective to mathematics or of chemistry to the classification of paint pigments. Students work collaboratively to create works of art without compromising artistic integrity and without artistic plagiarism. Students analyze how conventional design principles are incorporated in technology. For example, they may compare designs in web pages, personal pages from social media, and professional profiles.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CONTEXTUAL RELEVANCY K

1

2

CX.1: Understand the global, historical, societal, and cultural contexts of the visual arts.

K.CX.1.1: Use visual arts to illustrate how people express themselves differently.

1.CX.1.1: Recognize how visual arts are used in customs and traditions of various cultures.

2.CX.1.1: Exemplify visual arts representing the heritage, customs, and traditions of various cultures.

K.CX.1.2: Recognize that art can depict something from the past (long ago) or present (today).

1.CX.1.2: Identify images in art as depicting something old (historic) or new (contemporary).

2.CX.1.2: Recognize that works of art represent specific time periods.

K.CX.1.3: Recognize key components in works of art 1.CX.1.3: Classify art into categories, such as from different artists, styles, or movements. landscapes, cityscapes, seascapes, portraits, and still life.

2.CX.1.3: Understand various movements in art and the artists that represent them.

K.CX.1.4: Recognize key components of art from different cultures.

1.CX.1.4: Understand how art represents different cultures.

2.CX.1.4: Compare art from various cultures.

K.CX.1.5: Recognize that an artist’s tools and media 1.CX.1.5: Understand that art is a reflection of the come from natural and human made resources. artist’s ideas, environment, and/or resources.

2.CX.1.5: Understand that artists use natural resources in creating art.

CX.2: Understand the interdisciplinary connections and life applications of the visual arts.

K.CX.2.1: Identify examples of functional objects of art in the immediate environment, including home and school.

1.CX.2.1: Identify the role of functional art in various communities around the world.

2.CX.2.1: Recognize the impact of regional differences on the production of art.

K.CX.2.2: Identify relationships between art and concepts from other disciplines, such as math, science, language arts, social studies, and other arts.

1.CX.2.2: Identify connections between art and concepts from other disciplines, such as math, science, language arts, social studies, and other arts.

2.CX.2.2: Understand relationships between art and concepts from other disciplines, such as math, science, language arts, social studies, and other arts.

K.CX.2.3: Understand that artists sometimes share materials and ideas (collaboration).

1.CX.2.3: Differentiate between sharing ideas and copying.

2.CX.2.3: Recognize that some artists work in teams to create art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CONTEXTUAL RELEVANCY 3

4

5

CX.1: Understand the global, historical, societal, and cultural contexts of the visual arts.

3.CX.1.1: Exemplify how visual arts are used by 4.CX.1.1: Understand how the visual arts have various groups for artistic expression within the local affected, and are reflected in, the culture, traditions, community. and history of North Carolina.

5.CX.1.1: Understand how the visual arts have affected, and are reflected in, the culture, traditions, and history of the United States

3.CX.1.2: Understand how art documents the history 4.CX.1.2: Recognize key contributions of North of the local community.

Carolina artists in art history.

5.CX.1.2: Recognize key contributions of North American artists in history.

3.CX.1.3: Classify artists, styles, and movements.

4.CX.1.3: Classify NC artists in terms of styles, genre, and/or movements.

5.CX.1.3: Classify North American artists in terms of styles, genre, and/or movements

3.CX.1.4: Compare purposes of art in different cultures, time periods, and societies.

4.CX.1.4: Explain how place and time influence ideas, issues, and themes found in art.

5.CX.1.4: Explain how traditions and values influence ideas, issues, and themes found in art.

3.CX.1.5: Use local, natural, or recycled resources to 4.CX.1.5: Analyze the effect of the geographic 5.CX.1.5: Analyze the effect of the geographic create art. location and physical environment on the media and location and physical environment on the media and subject matter of NC art and artists. subject matter of North American art and artists.

CX.2: Understand the interdisciplinary connections and life applications of the visual arts.

3.CX.2.1: Understand how artists fit or function within 4.CX.2.1: Exemplify visual arts industries in North a society.

Carolina.

5.CX.2.1: Analyze the relationship between arts and daily life in product design, print, and digital media.

3.CX.2.2: Understand how to use information 4.CX.2.2: Apply skills and concepts learned in other learned in other disciplines, such as math, science, disciplines, such as math, science, language arts, language arts, social studies, and other arts in visual social studies, and other arts, in the visual arts. arts.

5.CX.2.2: Exemplify how information and skills learned in art can be applied in other disciplines.

3.CX.2.3: Use appropriate collaborative skills to create a work of art

4.CX.2.3: Understand individual roles, while applying 5.CX.2.3: Understand the balance of individual roles collaborative skills in creating art. and collaborative skills to create art.

3.CX.2.4: Understand how visual arts has changed and remained the same, with changes in digital media.

4.CX.2.4: Explain the effect of technology on the way 5.CX.2.4: Interpret visual images from media products look and how they are created. sources and the immediate environment.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CONTEXTUAL RELEVANCY 6

7

8

CX.1: Understand the global, historical, societal, and cultural contexts of the visual arts.

6.CX.1.1: Understand the visual arts in relationship to the geography, history, and culture of world civilizations and societies from the beginning of human society to the emergence of the First Global Age (1450).

7.CX.1.1: Understand the visual arts in relationship 8.CX.1.1: Understand the role of visual arts in North to the geography, history, and culture of modern Carolina and the United States in relation to history societies from the emergence of the First Global Age and geography.

(1450) to the present.

6.CX.1.2: Analyze art from various historical periods 7.CX.1.2: Analyze art from various historical periods 8.CX.1.2: Analyze art from various historical periods in terms of style, subject matter, and movements. in terms of style, subject matter, and movements. in terms of style, subject matter, and movements.

6.CX.1.3: Analyze the effect of geographic location and physical environment on the media and subject matter of art with an emphasis on South American and European art.

7.CX.1.3: Analyze the effect of geographic location and physical environment on the media and subject matter of African, Asian, and Australian art.

8.CX.1.3: Analyze the effect of geographic location and physical environment on the media and subject matter of art from NC and the United States.

CX.2: Understand the interdisciplinary connections and life applications of the visual arts.

6.CX.2.1: Exemplify how skills and concepts developed in art are part of, and can be applied to, daily life.

7.CX.2.1: Analyze careers in art and a variety of other careers in terms of the art skills needed to be successful.

8.CX.2.1: Compare personal interests and abilities to those needed to succeed in a variety of art careers.

6.CX.2.2: Understand the connections between art and other disciplines.

7.CX.2.2: Select skills and information needed from other disciplines to solve artistic problems.

8.CX.2.2: Analyze skills and information needed from visual arts to solve problems in art and other disciplines.

6.CX.2.3: Understand how collaborative planning is used to create art.

7.CX.2.3: Implement collaborative planning and art skills to solve problems.

8.CX.2.3: Use collaboration to arrive at effective solutions to identified problems.

6.CX.2.4: Understand the role of art in creating digital images, technological products, and design.

7.CX.2.4: Interpret visual images from media 8.CX.2.4: Exemplify the use of visual images from sources and the immediate environment through the media sources and technological products to context of art. communicate in artistic contexts.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CONTEXTUAL RELEVANCY Beginning

Intermediate

Proficient

Advanced

CX.1: Understand the global, historical, societal, and cultural contexts of the visual arts.

B.CX.1.1: Use visual arts to explore concepts in world history and relate them to significant events, ideas, and movements from a global context.

I.CX.1.1: Use visual arts to explore concepts of civics and economics, such as systems, functions, structures, democracy, economies, and interdependence.

P.CX.1.1: Understand the role of visual arts A.CX.1.1: Interpret visual arts from in United States history as a means of personal, cultural, and historical contexts. interpreting past eras within an historical context.

B.CX.1.2: Explain how art influences historical perspectives on society.

I.CX.1.2: Understand the role of visual art in P.CX.1.2: Understand how personal documenting history. perspective is influenced by temporal context.

A.CX.1.2: Implement a personal philosophy of art.

B.CX.1.3: Understand how art is used to document human experience.

I.CX.1.3: Classify art by artist, movement, and style.

A.CX.1.3: Apply personal artistic style while creating art.

B.CX.1.4: Interpret art in terms of cultural and ethnic context.

I.CX.1.4: Explain the influence of contextual P.CX.1.4: Understand how personal A.CX.1.4: Apply a personal aesthetic to the knowledge on aesthetic responses to art. aesthetic responses to art are influenced by creation of art. culture.

B.CX.1.5: Explain the effect of the geographic location and physical environment on the media and subject matter of art.

I.CX.1.5: Explain the effect of geographic location and physical environment on design, production, and marketing of art.

P.CX.1.3: Exemplify contemporary art and artists.

P.CX.1.5: Understand the relationship of A.CX.1.5: Apply environmental the environment to art, including responsibility to the creation of art. technology, preservation, and sustainability of resources.

CX.2: Understand the interdisciplinary connections and life applications of the visual arts.

B.CX.2.1: Analyze the contribution of art to I.CX.2.1: Apply skills and concepts the design of consumable goods, products, developed in art to daily life. and services, both historical and contemporary.

P.CX.2.1: Understand the influence of commercial design on personal aesthetics.

B.CX.2.2: Recognize the interdisciplinary knowledge used in the creation of art.

P.CX.2.2: Understand how knowledge A.CX.2.2: Create art using skills and learned in other disciplines is used to solve knowledge learned in other disciplines. artistic problems. media.

I.CX.2.2: Apply skills and knowledge learned in various disciplines to visual arts.

A.CX.2.1: Design a portfolio to reflect personal choices and growth over time as an artist.

B.CX.2.3: Analyze the collaborative process I.CX.2.3: Apply collaborative skills to create P.CX.2.3: Understand the value of in the creation of art. art. collaboration with peers to arrive at effective solutions to artistic problems.

A.CX.2.3: Understand the collaborative relationship between the artist and the community.

B.CX.2.4: Analyze the role of art in creating I.CX.2.4: Analyze how digital design affects P.CX.2.4: Analyze how contextual digital images, technological products, and communication in art. relevance affects aesthetic responses to design. digital media.

A.CX.2.4: Analyze the influence of digital media and technology on creating art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CRITICAL RESPONSE CR.1: Use critical analysis to generate responses to a variety of prompts K-2

3-5

6-8

9-12

This Essential Standard requires students to use critical analysis to respond to a variety of prompts. Students in grades K-2 talk about art using appropriate vocabulary. They discuss works of art using their knowledge of the Elements of Art, such as line, color, and shape, and they use terms such as background, foreground, and space. They describe how works of art are made in terms of media and processes used. Students evaluate their own art throughout the creation process and explain how and why personal works of art are made.

This Essential Standard requires students to use critical analysis to respond to a variety of prompts. Students in grades 3-5 evaluate their art and the art of others using terminology from the Elements of Art and Principles of Design using criteria established by the teacher or criteria they create themselves. For example, students may generate a list of items that would suggest what might be changed in order to improve a specific piece of their own art, or they may use a teacher-developed rubric to judge their personal art. They look at the application of concepts in art and make informed statements about their judgments.

This Essential Standard requires students in grades 6-8 to use various resources to evaluate works of art, including personal preferences and prior knowledge, incorporating personal and formal criteria.

Students use formative assessment in their own art throughout the art making process to improve the quality of their work. For example, students may have ongoing discussions with the teacher to propose suggestions for implementing changes to improve their art; or students may select a piece of their art and write self-critiques. Students also use summative evaluations and critique their art based on identified criteria.

This Essential Standard requires high school students to use the art criticism process to evaluate works of art and make judgments using logical arguments that they can successfully defend. Critiques or reflections will be based on objectivity, but with personal perspectives. Students judge the content of their portfolios using criteria that they generate, as well as criteria generated by the teacher.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CRITICAL RESPONSE K

1

2

CR.1: Use critical analysis to generate responses to a variety of prompts.

K.CR.1.1: Identify the lines, colors, and shapes in works of art.

1.CR.1.1: Use appropriate art terminology to express 2.CR.1.1: Use art terminology to describe art in personal opinions about art. terms of subject and physical characteristics.

K.CR.1.2: Explain personal art in terms of media and 1.CR.1.2: Explain how and why personal works of art 2.CR.1.2: Evaluate personal work, while in progress process. are made, focusing on media and process. and at completion.

CRITICAL RESPONSE 3

4

5

CR.1: Use critical analysis to generate responses to a variety of prompts.

3.CR.1.1: Analyze art in terms of the Elements of Art 4.CR.1.1: Use visual clues to interpret the content of 5.CR.1.1: Judge art through the application of art and Principles of Design. art. concepts and vocabulary.

3.CR.1.2: Evaluate the compositional and expressive 4.CR.1.2: Critique personal art based on qualities of personal works of art teacher-established criteria.

5.CR.1.2: Critique personal art based on established criteria and expressive qualities.

CRITICAL RESPONSE 6

7

8

CR.1: Use critical analysis to generate responses to a variety of prompts.

6.CR.1.1: Generate responses to art using personal preferences, prior knowledge, and relationship to self.

7.CR.1.1: Generate responses to art using both personal and formal criteria.

8.CR.1.1: Use convincing and logical arguments to respond to art.

6.CR.1.2: Use formative, self-evaluation strategies and results to improve the quality of art.

7.CR.1.2: Implement formative and summative evaluations of personal art.

8.CR.1.2: Critique personal art based on identified criteria.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards At a Glance CRITICAL RESPONSE Beginning

Intermediate

Proficient

Advanced

CR.1: Use critical analysis to generate responses to a variety of prompts.

B.CR.1.1: Understand the art criticism process.

I.CR.1.1: Critique art based on personal and formal criteria.

P.CR.1.1: Differentiate between personal aesthetic response and objective critical response to art.

A.CR.1.1: Construct convincing and logical arguments, individually and collaboratively, to defend analyses of art.

B.CR.1.2: Use teacher generated criteria to evaluate personal art.

I.CR.1.2: Critique personal art using personal or teacher generated criteria.

P.CR.1.2: Critique personal art based on reflective inquiry.

A.CR.1.2: Critique personal portfolios using personal and teacher-generated criteria.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching 6th-8th Grade Visual Arts

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Qualities for an Effective Visual Arts Education QUALITIES FOR AN EFFECTIVE TEACHER: Over the years you, the teacher, will make many decisions about what to teach, how to teach it, and how to manage your classroom. Experience teaches that students do not automatically arrive in class knowing what to do or how to do it. Nor are the majority of the students spontaneously creative or so excited about making art that it “just happens” for them.

You will find that your classroom does not automatically operate effectively without deliberate efforts on the part of the teacher.

Teaching needs to be meticulously planned and premeditated, but with lots of flexibility for those “teachable” moments to happen for the students and some luck on your part in recognizing when those moment happen.

KNOWLEDGE OF ART AND STUDENTS ● Strong knowledge of content and pedagogy ● Awareness of current curriculum and research ● Effectively motivate students for involvement in art ● Awareness of cultural diversity among students ● High expectations for student involvement and performance ABILITY TO ORGANIZE AND PLAN EFFECTIVELY ● Organize so that your classroom or program operates efficiently ● Commitment to planning -- creating good lessons take a lot of time ● Ensuring lessons are relevant ● Planning for differentiation and extension ● Practicing good stewardship of materials and resources

“Failing to plan, is a plan to fail”

ABILITY TO DELIVER YOUR INSTRUCTION WELL ● Clear, precise speech ● Focus on the objective ● Flexibility to alter the instruction if necessary ● Ability to facilitate instruction, and/or demonstrate as appropriate ● Ability to teach the skills necessary for students to make successful forays into the art world of visual literacy, contextual relevancy and critical response ABILITY TO REFLECT If students don’t get “it”, (whatever the “it” is), “it” probably didn’t work and is an indicator that problems exist in the classroom or program.

Before placing total blame on the students, ask yourself the following questions: ● Why didn’t “it” work? ● Were my instructions clear? ● What can I do differently to ensure that the students do “get it”? ● Did I plan for a wide range of possibilities within the lesson?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Qualities for an Effective Visual Arts Education QUALITIES FOR AN EFFECTIVE ART CLASS PLANNING ● Art content is the central focus of the lesson ● Lesson plans reflect current curriculum ● Instruction is goal focused and sequential ● Instructional activity/unit values individual solutions and/or collaborative creations ● Connections to the other subject areas are authentic LESSON INSPIRATION Lessons must: ● Be aligned to NC Essential Standards for Art ● Be pedagogically correct ● Have an artistic purpose ● Generate learning through student engagement ● Lessons that allow for Direction and Choice Sources of inspiration: ● Art shows ● Student art exhibits ● Online lesson plans ● Master Artists ● Contemporary Artists ● Instructional magazines ● Social Justice issues PORTFOLIOS/SKETCHBOOKS/ARTISTIC JOURNALS/ RESEARCH JOURNALS ● Evidence of preparatory thoughts, assessment, reflection and research ● Prompts promote analysis and understanding of content and processes

INSTRUCTION ● All evidence may not appear in one observation but should be seen over the course of the unit ● Vocabulary is visible in the room ● Connections are made to student’s lives ● Modeling is used to demonstrate skill, technique or process (not the solution) ● Skills/techniques are taught in context ● Elements and Principles are taught in context not isolation ● The arts are used to examine solutions to artistic problems ● Complex thinking, creative thinking, and problem solving skills are valued and efforts made by students to employ these skills are visibly supported ● Students understand the goal or purpose of the lesson/unit ● Student are encouraged to seek unique solutions to artistic problems and products reflect individual thought ● Students receive frequent individual feedback ● Student are given opportunities to describe, analyze, interpret and evaluate art ● Students have the opportunity through discussion and/or critique to discuss their ideas and those of other artists

“Spectacular Achievement is ALWAYS preceded by unspectacular preparation.”

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Qualities for an Effective Visual Arts Education QUALITIES FOR AN EFFECTIVE ART CLASS (continued from previous page) ASSESSMENT ● Expectations and level of performance are clear to students ● Rubrics introduced at the beginning of the unit/lesson ● Assessment becomes a teaching tool ● Students critique art (any discipline, all grades) ● Students develop self-assessment habits of mind ● Students and teachers implement formative and summative assessment ● Informal feedback is used as formative assessment EVALUATION If copied from social media or a textbook, is the lesson aligned to NCES? Was opportunity provided for student choice after directions were given so the project results were not ‘cookie cutter’?

Were students actively engaged in creating with a personal voice and not copying from a model or master?

If a worksheet was used for technique instruction, was opportunity provided for applying the techniques in creating a work of art?

REFLECTION ● Effectiveness of the lesson is evaluated including identifying its failures and successes and recording the changes that should be made ● A self-assessment is conducted regarding the effectiveness of the alignment with the standards, planning process, the organization/preparation, the delivery of instruction and the level of assessment

“Direction and Choice leads to Personal Voice”

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Qualities for an Effective Visual Arts Education QUALITIES FOR AN EFFECTIVE ART PROGRAM Effective programs are built lesson by lesson by effective teachers. However, if you just teach lesson to lesson, you only build a path. To build a strong and effective program, you must design the structure, add mortar, and don’t forget the aesthetic details. Effective programs cannot be built on reputation alone or overnight. It doesn’t take very long for a program that is not monitored to develop a crack that widens and grows until it crumbles. Deliberate, designed action is needed by each individual teacher and the departmental team as a unit. If all of the bricklayers are working from a different blueprint, a cohesive and effective building will not be built.

It is up to you, as the singular teacher or as part of a department to evaluate how Art Education is viewed in the school: ● Is it a rigorous program or a playground? ● Do student increase their knowledge of the discipline in classes or just increase their fun? ● Is the program an integral part of the school? ● Does the class and the program advocate for arts education? ● IF the school/community doesn’t get ‘it’, it is an indicator that a problem exists. Before placing total blame on the system ask yourself the following questions: o Is there evidence of a solid, cohesive program/department? o Do I strive towards being an effective teacher, running an effective class, and being a valuable part of an effective team and program? Do I engage in professional development to grow and develop as an art educator? o Is our department/program advertising itself well through general discussions, art exhibits, written documentation, school involvement, and community partnerships? o Does our department have a cohesive voice that advocates for ourselves our program, our department, our school and arts education or do we expect “it” to advocate for itself?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Qualities for an Effective Visual Arts Education QUALITIES FOR AN EFFECTIVE ART PROGRAM (continued from previous page) The following suggestions will help in planning and organizing for an effective art program:

VERTICAL and HORIZONTAL TEAMING AND PLANNING In addition to a yearly plan, thought should be given to the scope of the entire program (K-5, 6-8, 9-12) PACING GUIDE ● A description of the program should be developed by the group Although the CMS Arts Education department does not publish a ● What skills should students possess after one year versus three pacing guide that regulates media, genre, artists, lesson, etc., there is a years of study? yearly expectation for instruction. There should be evidence that ● How will the department address the concept of the arts as a teachers have planned units/lessons that address the full course of discipline and … study in order to reach all Clarifying Objectives in each grade or course. o … impact on the community and life? o … range of involvement from artists, purchasers, critics, EXHIBITIONS AND RELATIONSHIPS viewers, and consumers? ● Teachers are encouraged to exhibit student art in the school o …avenues that can be followed in experiencing art from and the community. hobby to profession? ● Ensure deeper success by creating ways students can share ● How does art affect the whole child? with others the process, as well as, the product. Audiences do ● Program and department goals should be determined not often realize what students LEARNED when creating their ● Communication lines and a support structure should be masterpieces. It is important they understand the hard work that established is behind the pretty product. This has more impact coming from ● Responsibilities should be taken on for the good of the program a student than a teacher. by each team member ● When exhibiting art in the school, try mixing projects up rather ● Each year those responsibilities should be looked at and than have one exhibit of one project and another of another reassigned, so that one team member is not overburdened, project. Visually it is more attractive to see the variety. In the burned out, or not able to learn new responsibilities exhibit, take a small space to list the main objective you were ● An advocacy plan should be developed and recorded teaching with the lessons and how it is relevant for students. ● Team or department planning should happen regularly over the ● Students can include artist statements and curator notes for year to ensure a cohesive program exhibits. ● Teams or departments should meet at the end of the year to ● Build relationships with community members for guest artists, evaluate the effectiveness of the program and make donations of supplies and to build advocacy voices. constructive changes ● Explore ways students can can demonstrate the healing and connective power of the arts through community service learning projects.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching the Unique Middle School Student MATURITY LEVEL Middle school students’ maturity levels range from childlike, innocent, and unable to accept responsibility to world-wise, responsible and very self-aware.

Middle school students are caught between wanting to be grown up and wanting to be children.

Some middle school students look physically mature but may not be emotionally mature. You must be sensitive in the way you speak to young adolescents. Some can take constructive feedback, others may shut down if you offer anything other than praise.

You must stress safety and procedures in the art classroom. Some classes are mature enough to handle X-Acto Knives and linoleum cutters, but others are not. Know your students. Written and verbal procedures and consequences for each tool is important or you may end up with students throwing supplies across the room at other students, flicking loading paintbrushes at each other, or writing/carving into the table top.

ATTENTION SPAN Break up the 90 minute block (see Teaching in the 90 Minute Block) into small mini lessons. Middle school students typically pay attention for about 10 to 15 minutes before they drift off. Use as many learning modalities as possible to help students tune in and stay focused. When it looks like students are getting restless, host a table critique, gallery crawl, or just a stretch break.

Most middle schoolers are tech-savvy and will feel completely at home using technology. Use this to your advantage and incorporate technology when applicable. Students will typically stay engaged longer than with traditional lecture presentations.

Check for understanding often. Break examples up into smaller visual pieces.

INDEPENDENCE It is often difficult for middle schoolers to work independently successfully. They need a lot of attention from their teacher. Have checkpoints in assignments to make sure students are on track and to avoid wasting supplies. Middle school students hate to redo things!

On the other hand, middle school students crave opportunities to make their choices and be “in charge” of their learning. Along with very specific instructions with checkpoints, give students plenty of choices so that will buy into the unit of study.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching the Unique Middle School Student WORK ETHIC Some middle students will work meticulously and others will speed through their work. Have a plan for what to do with those who finish early.

(Technique sheets, Art graphs/puzzle worksheets, websites--artopia, artsonia, Getty Games ​http://www.getty.edu/gettygames/​, Kaleidocycles, begin work for next project if you can handle it, Sketchbook Assignments) What does “good” middle school art work look like? You will get a lot of substandard work, but keep your standards high. Don’t settle -- middle school students like to test their boundaries. Don’t allow your students to settle for the first idea they have; teach them that there are always ways to improve their work. Use a rubric or checklist. Show examples of good and not-so-good work for each project you are doing.

STUDENT EXPERIENCE Allow for the varying art experiences that students may have had in elementary school art. Differentiation and scaffolding is necessary.

Students may not have art in middle school at all until 8th grade or they may have had it all three years.. You need to accept a wide range of ability levels within one classroom, helping all of them grow through differentiated lessons.

Prepare students for high school art. Students that have had a complete K-8 experience (art in K-8th grade) can skip Beginning Art in High School and move straight into Intermediate Art. This provides these students the opportunity to take Proficient Art (with an inherent honors credit) in 10th grade thus improving their GPA. In addition they are then in line to take Advanced Art (honors credit); AP Studio Art 2D; AP Studio Art 3D or AP Studio Art Drawing in 11th grade and an additional opportunity in 12th grade. These classes add points to their GPA and may give them college credit. To determine if you are preparing your students for Intermediate Art, review the NC Essential Standards for Beginning Art and the Beginning Art Portfolio and Sketchbook Rubrics in the High School Curriculum Guide.

SOCIAL AGENDA The most important part of a young adolescent's life is his/her friends. Create opportunities for group work and personal voice.

The middle school concept is about experimentation and working collaboratively. Build these opportunities into your curriculum.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching Methods Overview STANDARDS OF EXCELLENCE

LESSON PLANS

It is difficult for students to comprehend a teacher’s expectations for Standards of Excellence. Teachers should clearly state Standards of Excellence: ● In verbal terms ● Through rubrics or other assessment ● Visually through examples and prints

● ●

The quality of student work will be at a higher level if students know what the expectation of quality is. Maintaining a consistent expectation for a high quality product and implementing a creative enhancing environment and process will result in students that are proud of their hard work and diligence.

● ●

In CMS, we ​do not​ operate on the philosophy: “We don’t know exactly what we want, but we will know it when we see it” to describe excellence in our visual arts programs.

● ●

● ●

There is also a system-wide expectation for excellence fostered by the Arts Education Department. All teachers should emulate system-wide expectations in their individual programs and art departments. The Department’s level of excellence applies to the teachers, their lessons, and the visual arts program as a whole.

A unit or project plan should be written for each project.

Abbreviated daily lesson plans should be included in each project or unit plan Daily lesson plans should include the learning goal for the day, teacher instruction, and formative assessment focus A brisk pace should be set by establishing daily goals of accomplishment Lessons should reflect the NCES Unit lessons should include ○ Specific learning objectives ○ Descriptions of the activities or agenda ○ Instruction over time ○ Formative Assessment Practices ○ Summative Assessment methods ○ Differentiation Units of study will include Visual Literacy, Contextual Relevancy and Critical Response Careful planning, clear direction, and element of student choice evident

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching Methods Overview VISUAL LITERACY ● ●

●

Visual literacy relates to the language of art, how it is organized, and how it is used to communicate as a language of its own.

Being literate in art requires that students be able to ‘read’ and create art, understanding the use of the Elements of Art and Principles of Design for personal expression and communication.

Classes should incorporate both traditional media and new technology to create art that is individual and expressive. ○ Elementary: drawing, painting, printmaking, collage/mixed media, ceramics, sculpture and textile. ○ Middle school: drawing, painting, printmaking, sculpture and crafts. ○ In High school: ■ Visual Arts :drawing, painting, printmaking, sculpture, and mixed media. Contemporary Craft and Design: wood/paper, metal/jewelry, textiles/fibers, ceramics, and if available, glass.

■ Also available pathways: Ceramics, Photography, Digital Photography, Digital Arts

CRITICAL RESPONSE ● ●

● ● ● ●

Provide opportunities for both oral and written criticism Students should critique ○ Personal art ○ Art from other students ○ Art from professional artists NCES establishes graduated implementation for critique beginning in kindergarten Rubrics are considered best practice.

Inquiry questioning can be used Checklists can be used in early elementary to establish self-assessment in meeting lesson criteria

CONTEXTUAL RELEVANCY

AESTHETICS

The study of art in relating to history, culture, heritage and other disciplines. Connections are made to human experiences. This gives depth, meaning, and a sense of connection to the world and relevance for the student.

Lessons should be designed to expand students’ aesthetic and intellectual awareness through reading, writing, listening, researching, discussing, critiquing, and reflective thinking. Aesthetics are addressed in all three strands in the North Carolina Standard Course of Study.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching Methods Overview DEMONSTRATIONS ●

● ● ● ●

Clear demonstrations for students on ‘how to do ‘ whatever is required of the student in a manner that allows for student’s personal voice When possible, demonstrations should be followed with verbal and/or written instructions Demonstrations could include a ‘think-aloud’ to emphasize the artist’s decision making process Delineate between mandatory directions and opportunities for personal voice to emerge.

Demonstrate brainstorming for ideas

ASSESSMENT ●

● ● ● ●

COPYRIGHT The CMS Arts Education Department does not support copying as a means of developing student art. ● Resource materials must be more than significantly changed ● Art should not be recognizable as coming from the original source. ● Lessons that teach the style of an artist must be designed to use the technique in a way that allows for student’s personal voice to shine through. ● Copying from books, published photographs, magazines, newspapers, internet, Pinterest, social media, or other copyright materials, etc. violates copyright laws.

Pre-assessment: Provides information for teachers on the knowledge and skills that students possess which allows for planning of differentiated lessons.

Post assessment: May be very similar in content and method to pre-assessment to better assess student growth.

Assessment should be directly related to content of the course Performance based assessment is considered a best practice In some situations, using a brief performance based assessment with minimal instruction at the beginning of the course and then again at the end of the year for a summative review will make evident the growth in general art knowledge

TEXTBOOKS ● ● ●

Available as resources Can augment instruction Excellent resources for content-based reading

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Instructional Strategies for Teaching Art Use a variety of instructional strategies and learning activities.

Offering variety provides the students with opportunities to learn in ways that are responsive to their own communication styles, cognitive styles, and aptitudes. In addition, the variety helps them develop and strengthen other approaches to learning.

Use advance and post organizers.

At the beginning of the lessons, give the students an overview and tell them the purpose or goal of the activity. If applicable, tell them the order that the lesson will follow and scaffold it to previous lessons.

Review the main points at the end of the lesson. Posting agendas can help students know what is ahead.

Consider students cultures and language skills when developing learning objectives and instructional activities.

Provide rationales.

Use your students’ backgrounds as points of entry for activities. Use a variety of resources that allow for different language abilities. Consider art and artists that differ in appearance, race, gender, ethnicity, religion, socioeconomic status, physical challenges.

Explain the benefits of learning a concept, skill, or task. Ask students to tell you the rationale for learning and explain how the concept or skill applies to their lives at school, home or work.

Incorporate objectives for affective and personal development.

Facilitate independence in thinking and action.

Provide increased opportunities for high and low achievers to boost their self-esteem, develop positive self-attributes, and enhance their strengths and talents. Such opportunities can enhance students’ motivation to learn and achieve. Collaborative small group learning and tasks take the risks out of some individual work. Large group discussions can provide a safe environment for listening to learn.

When students begin their work without specific instruction from the teacher, they are displaying independence. When students ask questions, the teacher can encourage independence by responding in a way that lets the student know how to find the answer for him or herself.

When teachers ask student to evaluate their own work or progress, they are facilitating independence. When students ask “Am I finished?” guide them in determining the answer themselves through use of rubrics and self-assessments.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Instructional Strategies for Teaching Art Communicate expectations.

Provide frequent reviews of the content learned.

Set procedures for verbal participation, sharing and using materials, maintaining the cleanliness of classroom, storing art, moving around the room, submitting assignments, etc. Teach these to the students. This is helping them learn how to treat their environment as a studio. When working on projects, set daily achievement goals to help students learn how to pace their participation. Model thinking and self-questioning for reaching goals, evaluating meeting the goals, next steps, and improvements. This helps students think about the process of ‘making’ art, not just the product of art.

Provide a brief review of the previous lesson or class before continuing on to a new and related lesson or class session. Ask students where they are in the learning process? Is their pacing too fast or too slow to finish by the end date? At the end of the lesson/class ask students what they LEARNED today. There is a difference between something they did and something they learned. What they ​did​ references the agenda. What they​ learned​ references the learning objectives.

Provide frequent feedback. Monitor student academic progress during lessons and independent work.

Promote student on task behavior.

Feedback is best at different levels. Acknowledge a correct response with a brief nod. Prompt or provide clues to turn an incorrect answer into a correct one. Give feedback on the positive components of a project. Ask questions to assist students in determining for themselves if something is not correct. “Will you be providing more contrast to this section that is difficult to read?”, “One half of your paper is very detailed. What will you be doing to increase the detail in this half to create a finished work of art?”. Provide students with a checklist and/or rubric so they can begin to self-assess. Use those same evaluative tools when students participate in group critiques and mid-project formative peer critiques.

Keeping students on task maintains a high level of intensity of instruction. By starting lessons promptly and minimizing transition time between lessons, teachers can help student stay on-task. Shifting smoothly and efficiently from one lesson to another and being business like about housekeeping tasks, such as distributing projects and supplies, helps to keep the ‘professional’ climate of the room. When students wander off task, ask questions that require students to recall information and stay focused on the lesson. Evaluating if a student is on pace to finish a project by the deadline also helps refocus or create a sense of urgency to their learning. If working with middle and high school students who are on more of an individual schedule, determine and relay to students the consequences of missing the deadline (just like an employee in a creative firm or an artist with a commissioned work of art). This trains them in the artistic behavior.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Where Do We Get Ideas for Lesson Plans?

Most of us are inspired by the work of other artists. Community art exhibits, museums, Pinterest, student work, and art education sites on the internet are great places to start finding what inspires you, but there are a few things to keep in mind as you develop these inspirations into lessons for middle school students.

Is there at least one Essential Standard that can be taught using the inspiring art?

Some art that is found on Pinterest and other internet sites attract us because they appear to be “cool” and “fun”. However, can students master an Essential Standard/Clarifying Objective by creating the work? (The idea that comes to mind first is the canvas with the dripping crayons…..fun, but how much color theory is really being taught?)

If not, can the idea be adapted so an Essential Standard is being taught?

Quite possibly! Using your creativity and knowledge of our Essential Standards, can you further develop the lesson so that it has depth?

There are many ideas out there for quality lessons that can teach our Essential Standards. Be sure to make any tweaks necessary to adapt to the needs of your students.

Is the lesson appropriate for the ability levels of middle school students?

Make sure the lesson is difficult enough to challenge your students, but not so difficult they can’t be successful.

Be aware of copyright laws.

If you are using the work of another artist as inspiration, be careful NOT to have students copy the artist’s work. You may use images of the artist’s work (with proper credit to the artist) to discuss ideas with your students, but be sure to design your lesson plan so that student work is not identical to the artist. (For example, you might learn from an artist’s painting technique but apply the technique idea to a different subject matter.)

Fortunately, many art teachers are willing to share their ideas. There are various art education websites and teacher blog pages that invite you to use their lessons. Again, make sure that the lesson ideas you find align with at least one of our Essential Standards, and that quality student artwork can be produced using the lesson.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Unit Designed to Teach for Mastery The CMS Arts Education Department does not mandate a unit plan format. However, some schools may. Regardless of the format utilized, thoughtful planning and clear documentation of plans assist in teacher evaluation. While all nine components are not necessary in all lessons, it is a best practice to include them in a unit or project plan.

1. Review or Anticipatory Set ●

●

Anticipatory Set ○ Introduce lesson through leading questions, art print, or student examples Review ○ Discuss major points from previous lesson including key words, definitions, concepts ○ If part of an ongoing lesson, discuss what should have already been accomplished

3. Teacher Input ● ● ● ● ●

Discuss any information needed to help students understand what they will be doing Use a variety of resources (prints, examples, digital images, videos, books, etc.)

Demonstrate the process State to students the connection between skills learned in previous lessons and this lesson State to students the connection between art and other subjects for students’ transfer of learning

2. Statement of Objectives ● ● ● ● ● ●

Make a statement to students about the day’s activity Include keywords or concepts Tell the process to be used Keep it short and understandable Post objectives in the room Set goals for what should be accomplished during the day’s lesson

4. Check for Understanding ●

Ask students to tell you what the expectations are for the lesson.

Use leading questions, if necessary, so students include: Keywords and concepts, processes, sequence

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Unit Designed to Teach for Mastery 5. Guided Practice ●

Supervise students as they learn concepts or the process of the lesson ○ Proper use of materials ○ Technique practice ○ Design development ○ Use of journal

7. Assessment ●

●

Formative assessment can relate to ○ Timely completion of art ○ Sequencing ○ Reaching of objectives ○ Proper technique ○ Use of materials ○ Design development Assess art at the completion on fulfilling the objectives and expectations of the lesson or unit. Summative assessment can relate to: ○ Craftsmanship ○ Design ○ Overall aesthetic quality ○ Personal voice

6. Independent Practice ● ●

Monitor students as they develop their art Assess students during independent practice to facilitate altering, changing, or revamping the art in progress to lead to completion of high quality art

8. Closure ●

●

Review: ○ Objective ○ Vocabulary ○ Concepts ○ Skills If applicable refer to artists or subject correlations

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Unit Designed to Teach for Mastery 9. Evaluation ● ● ●

●

Lesson: State what students should have accomplished for the lesson and what is to be accomplished during the next lesson Unit: Review progress and describe steps to come At completion of project a variety of tools can be used: ○ Rubrics ○ Self Assessment ○ Feldman’s model of critique ○ Checklists ○ Written statements For artistic growth and development, students should ○ Evaluate what was successful ○ Evaluate what was not successful ○ Determine what can be done differently in the future

Clarification ● ● ● ● ● ●

The above is very prescriptive. Plans do not need to follow this format exactly. It is meant for guidance and as a model.

Unit plans are a collection of daily lesson plans.

While all nine components do not need to be in each lesson, they should all be addressed in some fashion in a unit plan.

If implementing unit plans, Teacher and students should be able to articulate the learning goal for the day Teacher and students should be able to articulate the accomplishments of the day

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Lesson Plan Format The CMS Arts Education Department does not mandate a lesson plan format. However, some schools may. Regardless of the format utilized, thoughtful planning and clear documentation of plans assist in teacher evaluation. While all seven components are not necessary in all lessons, it is a best practice to include them in a unit or project plan.

1. Focus and Review ● ● ● ●

Focus the learner’s attention Relate previous learning Diagnose prerequisite skills Give reasons why the lesson is important

2. Statement of Objectives ● ● ● ● ●

Align instruction, learning, and assessment to NCES Let students know exactly what is expected Alert students to essential learning If introducing unit, set unit goals If introducing lesson within unit, set lesson goals

3. Teacher Input ● ● ●

Present learning activities (demo, lecture, field trip, reading, create) Check for understanding Monitor and adjust

5. Independent Practice ● ● ●

Practice new learning alone Internalize new skills Acquire speed and fluency

6. Assessment ● ● ● ● ●

Look for understanding Observe student performance and engagement Ask clarifying or inquiry questions Give feedback on performance Document learning

7. Closure ● ● ● ●

Encapsulate lesson taught Summarize major concepts Students assess progress Set Goals for next lesson

4. Guided Practice ● ●

Monitor first attempts at new learning Prevent students from practicing errors

Some information must be ‘given’ by the teacher. However, engaging students in discussion, asking inquiry questions, and requiring student response are more rigorous methods for engaging students in learning.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Questions to Consider When Planning The CMS Arts Education Department does not mandate a unit plan format. However, some schools may. Regardless of the format utilized, thoughtful planning and clear documentation of plans assist in teacher evaluation. While all nine components are not necessary in all lessons, it is a best practice to include them in a unit or project plan.

1. REVIEW OR ANTICIPATORY SET ● ● ●

Is there any vocabulary or information from previous learning that connects with this lesson?

How will the topic or lesson be introduced?

How can students’ interest be peaked or learning motivated?

3. TEACHER INPUT ● ● ● ● ● ● ● ● ● ● ● ● ●

What new vocabulary will be introduced in this lesson?

What essential questions will be asked?

How will questions challenge students on a variety of learning levels?

What resources will be used to present the lesson?

What connections will be used to present the lesson?

What connections or use of technology will be included?

What connections will be made to other curriculum areas?

HOw will students be provided with choice and/or the opportunity for the emergence of personal voice?

What special routines or use of equipment will be defined or demonstrated for the students?

How will a variety of activities that touch on a number of student learning styles /multiple intelligences be incorporated?

What accommodations will be made for exceptional students?

Will any cooperative learning activities be incorporated?

How will I address differentiation?

2. STATEMENT OF OBJECTIVES ● ● ● ● ●

What is the central problem and what is expected of the students to know and be able to do?

What is the essential question?

What is the enduring understanding?

Is the concept one that is taught by another subject area?

What goals and objective in the NCES are addressed in the lesson?

4. CHECK FOR UNDERSTANDING ● ●

What questions will be asked of students that exhibit their understanding of this assignment?

What review method will be used to check for understanding...verbal response, questioning, review of process, individual questions, kinesthetic response, performance-based?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Questions to Consider When Planning 5. GUIDED PRACTICE ● ● ●

What will students be expected to do?

How will students demonstrate their use and understanding of the application of the new knowledge?

How can students actions be observed, documented and used for assessment?

7. ASSESSMENT ● ● ● ● ● ● ● ●

How will student progress and success be assessed?

What form of assessment will be used...formative or summative?

Will a performance based assessment be used?

Will assessment be whole group or individual?

Will completion of daily goals or a timetable be assessed?

Will student complete any of the assessment?

How will feedback be given to students?

What documentation method will be used?

9. EVALUATION ● ● ● ● ●

How will the assessment and/or knowledge gained in the closure/review direct instruction for the next lesson?

How will the assignment or knowledge gained direct instruction for the next uit?

Will evaluation result in a grade or feedback?

How will I utilize what I learned from the assessment?

How will I document student growth and impact on instruction?

6. INDEPENDENT PRACTICE ● ●

What will be monitored during this time?

What daily goals will be set for students to accomplish in order to keep a good pace?

8. CLOSURE ● ● ● ●

How will closure to the daily lesson be accomplished?

How will closure to the unit be accomplished?

What essential questions will be reviewed and answered in the closure or review?

What enduring understanding will be examined with students?

CLARIFICATION ●

The questions listed above are meant to generate a thorough planning process for teachers. It is not an exhaustive list. Not all questions will be answered during the planning process.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Daily Lesson Plan Subject/Grade:

Day:

Date:

Essential Standards:

Visual Example(s):

Essential/Guiding Questions OR Enduring Understandings:

Elements featured (circle or highlight) Line Shape Form Color Value Space Texture Pattern

Principles featured (circle or highlight) ​Repetition Contrast Balance Emphasis Unity Rhythm Movement

Higher Level Thinking Questions/Strategies (Revised Blooms):

Connections to Art and Artists:

Connections to other Subjects:

Warm up:

Introduction/Relevancy:

Review:

Review Method (circle or highlight) Discussion, Demonstration, Q&A, Small Group Activity, other

Vocabulary:

Guided Practice:

Independent Practice:

Formative Assessments:

Summative Assessments:

Closure (circle or highlight) Q&A Think, Pair, Share Group Activity Other

Gallery Crawl

Small

Differentiation: ​Differentiation (in process and final product) Special Needs Students: is inherent in ALL visual arts projects as each project allows students a variety of choices including materials, subject matter, and composition. Visual artwork is highly individual as students include their own “personal voice.” In addition to the intrinsic nature of differentiation in visual art, all art projects are scaffolded to encourage goal setting and growth.

Diversity:

21​st​ Century Skills Global Awareness: Creativity/Innovation: Collaboration/Teamwork: Critical Thinking and Problem Solving: Media Literacy​:

Homework:

Reflection:

Technology:

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Unit Plan Sample Unit Plan:

Linoleum Printmaking

Unit Objective:

Grade Level:

7

Students will explore the relief print process by creating a linoleum print.

Time:

6-8 class periods

Daily Learning Goals: Day 1 Introduce Linoleum Printmaking, complete vocabulary worksheet Day 2 Sketches for print; choose best design, outline with Sharpie using line variation Day 3 Transfer design to linoleum block, outline with Sharpie on linoleum using line variation from sketch, demo carving with emphasis on safety procedures Day 4 Continue carving Days 5-8 Finish carving, print. Sign, number, and evaluate prints.

Links to prior learning: Students will use prior knowledge of contour drawing and composition.

Visual Arts Goals: Essential Standard 7.V.1​ Use the language of visual arts to communicate effectively

7.V.2​ Apply creative and critical thinking skills to artistic expression

Clarifying Objective 7.V.1.1​ Use art vocabulary to analyze art.

7.V.1.2​ Understand how the Elements of Art and Principles of Design in the planning and creation of personal art.

7.V.2.1 ​Evaluate solutions to artistic problems 7.V.2.2 ​Use observation skills of the environment and personal experiences to create original imagery.

“I Can…” Statement ✓ …​discuss printmaking using appropriate vocabulary ✓ …create a strong visual composition for my print using line, shape, space, texture, balance, repetition, and color

✓ …​choose an interesting subject matter for my print, and magnify or multiply it to make my composition interesting

✓ …draw my choice of subject matter accurately from observation

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Unit Plan Sample 8.V.3​ Create art using a variety of tools, media, and processes, safely and appropriately.

7.CX.2​ Understand the interdisciplinary connections and life application of the visual arts 7.CR.1​ Use critical analysis to generate responses to a variety of prompts

7.V.3.1 ​Apply safety knowledge to maintain a safe and orderly personal work space 7.V.3.3​ Compare techniques and processes to create art 7.CX.2.2​ Select skills and information needed from other disciplines to solve artistic problems 7.CR.1.2 ​Implement formative and summative evaluations of personal art.

✓ …use a linoleum cutter without cutting myself ✓ …explain how creating a linoleum print is different from creating a drawing, painting, etc.

✓ ..​create a plan for printing before I start carving so that I don’t ruin my design ✓ …observe my subject matter in an effort to draw it accurately ✓ …analyze feedback as I’m working; make changes as needed ✓ …​evaluate my finished edition of prints based on the given rubric

21​st​ Century Skills: Critical Thinking and Problem Solving Creativity Initiative and Self-Direction

Students will use various types of reasoning to think and reflect critically and solve problems in both conventional and innovative ways.

Students will draw on a variety of sources to generate, evaluate, and select creative ideas to turn into personally meaningful products.

Students will be motivated, self-directed, and reflective learners, who independently manage their goals and time to continuously improve as artists.

Vocabulary: relief print linoleum

multiple original edition

bench hook ink

pattern texture

proof line

brayer

inking trays linoleum white drawing paper

graphite paper masking tape Sharpies

fine tip black markers colored pencils brayers

printing press lino cutters

bench hooks ink

Materials: Newsprint visual resources for drawing

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Unit Plan Sample Procedures:

●

Introduce Printmaking using PowerPoint presentation along with student and teacher examples.

●

Complete Printmaking Vocabulary worksheet.

●

Create drawing for print from observation using visual resources provided. The operational drawing techniques of Multiplication or Magnification must be used to create a strong composition.

●

Outline drawing with Sharpie; use a variety of line weights for interest

●

Transfer design to linoleum using graphite paper. Outline with Sharpie on linoleum.

●

Carve out any shape that is gray, paying close attention to safety. (Teacher demonstrations will be given for both safe carving techniques and printing using the printing press.)

●

Print an edition of at least 3 prints.

●

Sign and number prints (teacher demo).

●

Complete self-evaluation and turn prints in to be graded.

Assessment and Evaluation: In addition to formative teacher feedback throughout the lesson, student will complete a self-evaluation based on the grading rubric to be used by the teacher as a summative assessment.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment Overview Assessment is an ongoing part of the instructional process. Conducting assessment, collecting data and documenting student growth is expected.

With a linear curriculum, students master concepts before moving on to new ones.In a spiraling curriculum, learners continually cycle ‘back’ to the same artistic concepts, going deeper and deeper into the content each time. With a spiraling curriculum, learning focuses on growth, not mastery.

ASSESSMENT Process of documenting ● Knowledge ● Skills ● Attitudes ● Beliefs

FORMATIVE ASSESSMENT Assess student understanding and growth ● (IN) Formative ● inFORmative= For Learning ● Informs student about student learning ● Informs teacher about student learning ● Informs teacher about instruction ● Provides immediate qualitative feedback ● Used to modify or validate instruction ● Not used for a grade

BALANCED ASSESSMENT ● ● ● ● ●

Includes both types of assessment Guides Instruction Provides documentation of growth Validates art program Evidence of Student Learning

SUMMATIVE ASSESSMENT Assess a performance at the end of the project/unit. ● SUMs it all up! ● Final ● Masery ● Judge competency after instruction is complete ● Educational outcomes ● External accountability

ASSESSMENT COMPONENTS Measurement: ​Systematic method to observe artistic behaviors Evaluation:​ Comparison of assessment information with standard Reflection:​ Systematic review of achievements

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment Overview There are three common types of assessment: checklists, rating scales, and rubrics.

CHECKLISTS A list of specific characteristics with a place for marking whether that characteristic is PRESENT or ABSENT ● ● ● ●

Does not assess quality Does assess completeness Is Consistent Checks for desired attributes, not learning

RATING SCALES

RUBRICS

List of specific characteristics with a place for A coherent set of criteria for a performance that marking the degree to which each characteristic includes descriptions of levels of performance is displayed quality ● ● ● ● ●

Frequency scales Quantitative scales Qualitative without evidence or descriptors Assesses aspects of the task, not learning Judgement, no feedback or documentation STOPS ACTION

● ● ● ● ● ●

Provides a continuum of quality Focused on Learning outcomes, not task Allows all to evaluate performance Accurate and fair Fosters understanding Indicates a way to proceed with subsequent learning

Checklists​ are very useful tools when conducting observation during class. It also provides easily accessible data that can be quickly analyzed.

However, while it checks for compliance, a checklist does not check for quality. Students can use these fairly easily.

CMS Visual Arts Department does not support the use of Rating Scales in assessment of student art.

Here is an example of a rating scale: ​The comfort of the hotel room was a 1 2 3 4 5 Work that rates a novice to one person may be average to another. Art that rates as a 5 on a number scale by one teacher, could score a 2 by another. Students, nor parents, can read a teacher’s mind to determine what is meant by a rating scale without descriptors. To provide quality feedback that can lead to student growth, rubrics are a better tool.

There are many different types of ​rubrics​. Regardless on the type of rubric chosen, teachers should develop a rubric to assess learning while creating the lesson. The rubric should be reviewed by students at the beginning of the unit or lesson. This allows for instruction to focus on the key points of a lesson and for students to understand the important aspects of learning and goals for achievement. Rubrics can be used at various points during the unit for mid-term evaluation, component evaluation, and summative evaluation. They also can be used for peer evaluation, self-evaluation, and teacher evaluation. There are several examples in our guide. Notice the nuanced differences in structure.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment Overview PARTS OF A RUBRIC Criteria ● ● ● ●

Levels

Appropriate Definable Observable Distinct

● ● ● ●

Descriptors

At least three Centers the target performance level Allow for higher and lower performance levels Levels may be labeled or worth points

● ● ● ●

Descriptors show a continuum of learning Descriptors distinguish among levels Descriptors make you look and report on what you see Removes bias

TYPES OF RUBRICS Generic ●

● ● ● ● ●

Can be used with different tasks to assess knowledge and skills are developed over time Allow for different paths for success Focus on developing skills not performance task Lower reliability at first Requires practice to apply well Requires calibration between students and teacher

Task Specific ● ● ● ●

● ●

Low inference Performance descriptors specific to task Good for a summative Easy for students to confuse what you ask them to DO is what you want them to LEARN New rubrics must be developed for each task

Holistic ●

Evaluate the performance as a whole (the overall impression).

Developmental ●

●

●

Can help to assess student’s knowledge and skills when placed on a continuum of progress.

Characteristics of student artists as emerging, developing, and independent levels are an example.

Assessing criteria over time within set parameters (unit, quarter, semester, etc.)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Rubric for Rubrics A rubric is a scoring guideline that can be used to provide consistency in evaluating student work. Rubrics spell out scoring criteria so that multiple teachers and students, using the same rubric, would arrive at the same score or grade. Using a rubric for an art assignment allows students to understand what criteria are important in the project and what level of mastery is needed to score well.

The following rubric describes HOW to create a rubric for classroom use.

Criteria

Accomplished

Needs developing

Needs to be redone

Rubric

Rubric has appropriate criteria with performance levels assessing the learning outcomes not the task

Rubric has appropriate criteria with performance levels assessing the task

Rubric

Applied rubric can be used by students to set goals and determine next steps in learning Each criteria is defined with easy to understand and distinct descriptors The descriptor for the criteria is easily observed Each criteria has a fully described performance at a variety of levels Each criteria has performance levels that show a continuum of learning

Applied rubric can be used by students to see what they learned

Rubric does not have appropriate criteria OR rubric is really a checklist OR rubric is really a rating scale Applied rubric does not give any useful feedback to students

Criteria Criteria Performance Levels Performance Levels

Each criteria is defined with descriptors, but they are not distinct The descriptor for the criteria can be inferred Each criteria has a described performance at a variety of levels Each criteria has performance levels that are confusing and not a continuum.

Each criteria is not defined The descriptor for the criteria is not observable Each criteria does not have performance levels that are defined Each criteria has performance levels that are the same or too far apart

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Project Rubric Note: When creating a rubric, the task element criteria for processes and concepts changes for each project. The composition, craftsmanship and creativity task elements stay relatively unchanged except for a few specific project-related items.

DRAWING VARIATION ON A THEME TASK ELEMENT

(1) DEVELOPING

(2) PROFICIENT

(3) ACCOMPLISHED

(4) DISTINGUISHED

PROCESSES AND CONCEPTS

Shading and highlights are not evident on most objects; the 4 step approach to colored pencils is not evident on most objects; the application of harmony, balance, variety, contrast is not visible

Accurately shades and highlights some objects; masters the 4 step approach to colored pencils in some areas; incorporates the application of harmony, balance, variety, contrast in some areas

Accurately shades and highlights most objects; mostly masters the 4 step approach to colored pencils; incorporates the application of harmony, balance, variety, contrast in most areas

Accurately shades and highlights all objects; masters the 4 step approach to colored pencils; incorporates skilled application of harmony, balance, variety, contrast

DESIGN AND COMPOSITION

Space is not filled adequately; little use of textures/patterns; composition is awkward or unbalanced with little evidence of color scheme usage; focal point is not evident

Fills some of the space; Incorporates at least 1 textures/patterns; composition is somewhat balanced with at least 2 color schemes and media; focal point not easily recognized

Fills most of the space; Incorporates at least 5 textures/patterns; composition is mostly balanced with at least 3 color schemes and media; focal point is recognizable

Fills each section with the space in an engaging way; Incorporates at least 6 textures/patterns; balances the composition with a variety of color schemes and media; creates an engaging focal point

CRAFTSMANSHIP

Demonstrates limited skill in the use of tools/media; few/none of the required details to create a finished product are evident (shapes/spaces are left unfinished with media, several stray pencil marks/smudges, paper is folded or wrinkled)

Demonstrates some skill in the use of tools and media; includes some of the required details to create a finished product (media fills some the intended space/shapes, some stray pencil marks/smudges, paper may be folded or wrinkled)

Demonstrates skilled use of tools and media; includes most of the required details to create a finished product (media fills most the intended space/shapes, very few stray pencil marks/smudges, mostly clean, flat paper presentation)

Demonstrates highly skilled use of tools and media; includes all of the required details to create a finished product (media completely fills the intended space/shapes, no stray pencil marks/smudges, clean, flat paper presentation)

CREATIVITY

No evidence of problem solving, critical thinking, and risk-taking for original expression; chose a very simple level of difficulty and little experimentation with chosen media and theme

Limited evidence of problem solving, critical thinking, and risk-taking for original expression; chose a average level of difficulty and experimentation with chosen media and theme

Some evidence of problem solving, critical thinking, and risk-taking for original expression; chose a moderate level of difficulty and experimentation with chosen media and theme

Persuasive evidence of problem solving, critical thinking, and risk-taking for original expression; chose a high level of difficulty and experimentation with chosen media and theme

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Group Project Rubric Group #_____ Group Member Names: _______________________________________________________________

Area of Focus Excellent Assignment Specifications/ Requirements (Subject matter, number of images,resolution)

Composition (Rule of thirds, leading lines, lighting...)

Concept, Content, and Theme Image Quality (Exposure, focus, contrast, depth of field)

Creativity

Average

Below Average

High Achieving 20 points each

Moderate Achieving 16 points each

Poor 13 points each

Strong evidence of collaborative effort (every group member contributed in a meaningful way). Strong choice of subject matter for the group of images in the portfolio. Editing and enhancement create striking images. Proper 5:4 ratio; sufficient resolution; landscape format; Portfolio fully meets or exceeds requirements.

Strong composition because of layout and placement of camera to subject as well as effective use of compositional techniques.

Demonstrates exceptional visual interest.

Collaboration is evident on a basic level.

Images meet the basic level of quality and subject matter to satisfy the assignment. Subject matter could be improved somewhat; some images may not be edited well, are not the proper ratio or format. Shows evidence of some requirements.

Image composition has potential, but other angles, positioning of subject and use of compositional techniques will improve your images. Demonstrates some visual interest.

Ideas are partially communicated by the group. Some images address the theme/topic. Some evidence of imagination, creativity and/or thoughtfulness.

Collaboration is NOT evident. Subject matter does not satisfy assignment.

Images are missing.

Shows minimal to no evidence of requirements (may be presented in the wrong ratio or format or have insufficient resolution) or no work submitted.

Little to no consideration of basic photographic composition techniques.

Backgrounds may be busy or distract from the focal point. Does not demonstrate visual interest.

Weak connection to the theme/topic.

Unclear – many images seem random.

Little to no evidence of thought, creativity. Evidence of brainstorming for original ideas is minimal.

Some images are taken at appropriate exposure. Use of black and white/contrast is adequate.

Focus and depth of field is adequate in many images.

Some or most images are too dark or too light and distract from the subject or mood of the images. Focus and depth of field do not follow project guidelines; some images are out of focus, poor depth of field is evident in many images.

Group portfolio show little problem solving or risk-taking. Images show minimal creativity. Portfolio is trite, stereotypical, dull, or lacking in impact.

Strong and effective concept developed by the group. Ideas are communicated well.

Images thoroughly address the theme/topic or subject. Thorough evidence of imagination, creativity and thoughtfulness.

Correct exposure for the setting. Use of black and white/contrast works well with the subject and the mood of the image.

Focus and depth of field effectively contribute to a powerful image.

Group portfolio shows problem solving and risk-taking. Well organized, unified meaning. Interesting, different, effective, unique approach to assignment. Excellent photo editing, enhancement.

Group portfolio shows some problem solving and risk-taking. Good approach showing some creativity but could have been planned, executed and enhanced to achieve a more powerful portfolio of images.

Score

Total__________ Comments:

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Analytic Rubric Example Art 8 TASK ELEMENT CONCEPT:

1 Developing

Overshot Pattern Paper Weaving Scoring Rubric 2 Proficient

3 Accomplished

4 Distinguished

Overshot Pattern is not used or not used correctly in weaving

Some of the Overshot Pattern is visible in weaving

Most of the Overshot Pattern is visible in weaving

Overshot Pattern can be clearly seen in weaving

No consideration of the use of elements and/or principles specific to assignment: ● viewfinder composition not used ● marker techniques and/or patterns not used; many areas of flat color ● no metallic marker accents

Effective use of some elements and/or principles specific to assignment: ● viewfinder composition used for some of the design ● some marker techniques and/or patterns added ● some metallic maker accents added

Effective use of most elements and/or principles specific to assignment: ● viewfinder composition used for most of the design ● at least one color scheme used ● marker techniques and/or patterns added through most of the composition ● metallic maker accents added through most of the composition

Effective use of elements and principles specific to the assignment: ● viewfinder composition used for entire design ● two different color schemes used ● marker techniques and/or patterns added consistently throughout the composition ● metallic maker accents added consistently throughout the composition

CRAFTSMANSHIP

Demonstrates inappropriate use of Tools and media: ● marker work is unfinished ● lines have been not been measured and cut straight ● weaving has a lot of open spaces or is unfinished

Demonstrates some appropriate use of tools and media: ● markers have not been applied consistently; many white spaces ● some lines have been measured and cut straight ● weaving has some open spaces

Demonstrates appropriate use of tools and media: ● markers have been applied over the entire surface of the paper ● most lines have been measured and cut straight ● weaving is mostly “tight”; few open spaces

Demonstrates highly skilled use of tools and media: ● markers have been applied neatly and consistently ● lines have been measured and cut straight ● weaving is “tight”; no open spaces

CREATIVITY

No personal expression, problem solving, and critical thinking

Little personal expression, problem solving, and critical thinking

Inconsistent or varied personal expression, problem solving, and critical thinking

Consistent unique personal expression,problem solving, and critical thinking

WEAVING CONCEPT: DESIGN AND COMPOSITION

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Analytic Rubric Example Continued from previous page

What are the two color schemes that you used? Name the color scheme and list the colors:

What is one thing that you like about this assignment or your finished project? Why?

What is one thing that could be improved about your finished project? Why?

Based on the rubric above, what grade would you give yourself for your Overshot Pattern Paper Weaving?

Additional comments:

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Task Specific Rubric Example Project: Face Jugs Criteria

Above Average

Average

Below Average

Construction of jug

Made vessel; added coils to construct desired form as evidenced in planning sketch

Made vessel; added coils with some attention to desired form as evidenced in planning sketch

Made vessel; did not add coils or construct desired form as evidenced in planning sketch

Completion and Expressiveness of Facial features are complete with Facial Features an identifiable expression or emotion

Facial features are complete but do not show an easily identifiable expression or emotion

Facial features are incomplete

Craftsmanship of Glaze

Glaze is applied smoothly and covers jug; color may not be chosen for visual representation of emotion or expression

Glaze is sloppily applied and does not cover jug; color is not chosen for visual representation of emotion or expression

Glaze is applied smoothly, covers jug; color was chosen for visual representation of emotion or expression

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Holistic Rubric Example Circle one number in each of the following categories. Add comments in the space provided at the bottom if desired. Add the three numbers to obtain the score for the artwork. Totals for each entry will be added together to assign a numerical placement in the rating of the artwork.

Originality in Process, Conception, and Subject Matter 5 4 3 2 1

Highly original, creative, unique, complex Reasonably original and creative, medium complexity Adequate for age level, but not outstanding in originality or complexity Unoriginal; tendency toward cliche Cliche; stereotypical, or possibly a copy

Skill/Technique -- Successful Use of Media 5 4 3 2 1

Utilization of materials is clean, technically advanced, and exceptional evidence of experimentation with medium and willingness to be inventive and to take risks Execution is competent, proficient, some experimentation evident Minor problems are evident in use/ average application of materials; little inventiveness Major problems evident -- materials are not used competently or inventively Incorrect; incompetent use of medium

Expression 5 4 3 2 1

Exceedingly successful aesthetic presentation; demands attention and admiration; evidence of personal vision/style; expresses feeling and/or concepts well Successful presentation, unusual for age level; stimulates serious observation evidence or personal vision and expression Aesthetically pleasing, good work for age level; somewhat expressive Rather mediocre for age level, does not complete intention; minimal visual expression Unappealing use of medium; lacks style and expression

Comments: Total Points Awarded:

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Developmental Rubric Example Criteria

5: Excellent, Outstanding, Exemplary

4: Above Average, Very Good, Acceptable

3: Average, Good, Not yet Acceptable

Mostly exhibits understanding of class procedures

Sometimes exhibits understanding of class procedures

2: Below Average, Needs Improvement; Barely Acceptable Rarely exhibits understanding of class procedures

1: Unsatisfactory, Poor, Unacceptable

Class Procedures

Always exhibits understanding of class procedures

Craftsmanship

Always produces work Mostly produces work Sometimes produces evident of strong skill with evident of strong skill with work evident of strong media media skill with media

Rarely produces work Never produces work evident of strong skill with evident of strong skill with media media

Creativity

Always produces work that is unique, original, and evident of individuality

Mostly produces work that is unique, original, and evident of individuality

Sometimes produces work that is unique, original, and evident of individuality

Rarely produces work that is unique, original, and evident of individuality

Never produces work that is unique, original, and evident of individuality

Design Elements and Principles

Work always evident of understanding of elements and principles

Work mostly evident of understanding of elements and principles

Work sometimes evident of understanding of elements and principles

Work rarely evident of understanding of elements and principles

Work never evident of understanding of elements and principles

Work Ethic

Always completes assignments in a timely manner

Mostly completes assignments in a timely manner

Sometimes completes assignments in a timely manner

Rarely completes assignments in a timely manner

Never completes assignments in a timely manner

Teamwork/ Communication

Always contributes to Mostly contributes to Sometimes contributes to Rarely contributes to Never contributes to discussion or group work discussion or group work discussion or group work discussion or group work discussion or group work

Attitude

Always helpful and considerate

Mostly helpful and considerate

Sometimes helpful and considerate

Attendance

Takes total responsibility for work missed

Mostly takes responsibility for work missed

Takes some responsibility Rarely takes for work missed responsibility for work missed

Rarely helpful and considerate

Never exhibits understanding of class procedures

Never helpful and considerate Never takes responsibility for work missed

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Evaluation and Reflection EVALUATE YOUR PRINTMAKING EDITION Directions: 1. Using a small piece of paper, write down your first and last names, your class day and period, and the bolded evaluation categories list below.

2. Next, rate yourself from 1 to 5 in each of the categories (1 = lowest rating to 5 = highest score) After each self-rating, justify in writing why your rating is accurate. Use proper vocabulary and evidence from your work.

3. Finally, write a clear, concise paragraph describing your decision-making process as you moved through the printmaking project.

Include what you did well and what you might do differently next time.

4. Turn in your printmaking edition paper clipped together with the evaluation on top.

STRENGTH OF CARVED IMAGE ● ● ● ● ●

variety of carved marks including different line widths, lengths, and directions carved lines create an interesting rhythm and/or pattern throughout the piece carved areas are neat and well-defined carved areas include positive, negative, and partially carved areas adjacent carved spaces contrast well with each other

PROPER REGISTRATION OF PLATE ● ● ● ● ●

each print is registered properly with the edition (fraction) number, title and signature directly under the image title of print edition is thoughtful and meaningful each registered print is written neatly in pencil student first and last names appear on the back of each print 5 prints (or more) are contained in the edition

STRENGTH OF INKED EDITION ● ● ● ● ●

each print is inked well (not too much or too little) ink is ONLY contained within the drawn border prints are clean and neat with no stray pencil marks (aside from the registration information) or ink smudges inked prints are “squared” to the edges of the paper (not crooked or off center) At least one print shows successful experimentation with ink or paper (interesting color mixture, alternative paper or background)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Score Eval + Reflection Student Name:_______________________________________________ Date: _____________________ PART 1: DRAWING ASSESSMENT (worth a total of 70 points) Practice Name Drawing Created at least 3 name inspired sketches _____/10

Craftsmanship Used a wide variety of intensities _____/10 Applied crayon in an intentional manner _____/10

Drawing Technique Was as creative as possible in choosing how to display letters _____/10

Personal Style Unique personal style evident in thought and technique _____/10

Composition Your name drawing fills the space in an interesting way _____/10

Use this point scale to determine your score.

Participation Daily Essential Questions are discussed and reflected with care _____/10

PART TWO: REFLECTION (worth a total of 30 points) Answer the following questions in complete sentences using your knowledge of the Elements and Principles.

1. Describe an area of strength in your artwork using at least one element and one principle.

2. Describe an area that needs more work using at least one element and one principle.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Rubric + Written Evaluation Student Name __________________________________ Total Points Earned __________/20 Novice (D) 1 point Apprentice (C) 2 points Proficient (B) 3 points Final Concept Student did not fully develop Student developed project to Student developed project to Development project to meet all meet many of the requirements, most all of the requirements; (4 points) requirements; 3 or more 2 important guidelines are not one guideline is not evident. guidelines are not evident. evident.

Distinguished (A) 4 points Student fully developed project to meet all of the requirements.

Composition (4 points)

Composition touches one or fewer sides of the paper.

Final image uses 50% or less of the space on the page.

Composition touches two sides of the paper. Final image uses 75% of the space on the page.

Composition touches three sides of the paper. Final image uses 90% of the space on the page.

Composition touches all four sides of the paper; final image uses the entire space on the page.

Range of Tonal Values (4 points)

Drawing contains three or less recognizable tonal values throughout the picture.

There are 4-7 easily distinguishable values in the drawing.

There are 8 easily distinguishable values in the drawing. Some smudgy or streaky edges may exist.

There are 10 easily distinguishable values in the drawing.

Proportions of the Portrait (4 points)

Facial features are drawn very poorly and proportions are inaccurate. Drawing shows evidence of a lack of measuring or observation of features. Shapes are of inconsistent size relationships. Many objects are drawn like “symbols�

Features are drawn more realistically but accurate proportions are lacking in some areas.. Some shapes appear somewhat distorted because of incorrect proportions.

Facial features are drawn with accurate proportions when compared to other larger objects in the picture. Slight problems with the proportion of objects and the accuracy of shapes.

Facial features are very accurately drawn. The size and proportion of all objects and their parts recorded accurately. Objects are drawn realistic and convincing. Accurate proportions when comparing one object to another.

Basic Skills and Sensitivity/Craf tsmanship (4 points)

The appearance of the work shows little degree of control for the media and techniques and was poorly drawn.

The appearance of the work shows a moderate degree of control for the media and techniques and was drawn.

The appearance of the work shows a high degree of control for the media and techniques and was skillfully drawn.

The appearance of the work shows an excellent degree of control for the media and techniques and was skillfully drawn.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Rubric + Written Evaluation *Bonus Growth Points* – There are 4 possible bonus points for growth (how much you have improved in your work from the preassessment drawing to your final. Below, write specifically what you would do next time to elevate you to the “distinguished” level in your self-portrait. _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _______________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _______________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _______________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _______________________________________________________________________________________________

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Rubric + Critique SKETCHBOOK RUBRIC CONCEPTS Understanding of Art Concepts and Skills including Elements and Principles of Design* CREATIVITY Originality, Expression, and Communication of Ideas CRAFTSMANSHIP Successful use of Media/Materials COMPLETION Work is completed by the assigned deadline

​Name:

Date:

​Sketch #: ______ Score: ______

Emerging - 10

Developing - 15

Proficient -20

Exemplary - 25

Student demonstrates minimal comprehension of 1 artistic concept, element or principle (listed below).

Sketch shows minimal planning and appears unfinished to the teacher.

Student demonstrates basic comprehension and successful application of 2 artistic concepts, elements and principles (see list). Sketch is planned but appears unfinished to the teacher.

Student demonstrates comprehension and successful application of 3 artistic concepts, elements and principles (listed below). Sketch is planned and executed.

Student demonstrates highly developed comprehension and successful application of 3 or more artistic concepts, elements and principles (listed below). Sketch is meticulously planned and executed.

Student demonstrates insufficient ability to create an original sketch. Student is unable to communicate simple ideas visually.

Student demonstrates minimal understanding of media/materials. Sketch shows poor craftsmanship and/or insufficient attention to detail.

Drawing is 3 or more days late.

Some of the required info (name, date, and sketchbook assgn) may be missing.

Student demonstrates limited ability to create an original expressive sketch.

Student is able to communicate simple ideas visually.

Student demonstrates basic understanding of media/materials. Sketch shows some craftsmanship and attention to detail.

Student demonstrates ability to create an original and/or expressive sketch. Student is able to clearly communicate most of his/her ideas visually.

Student demonstrates essential understanding of media/materials and their limitations. Sketch shows good craftsmanship and attention to detail.

Drawing is 1 day late.

Most/all of the required info (name, date, and sketchbook assgn number) is labeled.

Student demonstrates ability to create an insightful, original, and expressive sketch.

Student makes intentional choices designed to communicate sophisticated ideas.

Student demonstrates accomplished understanding of media/materials and their limitations. Sketch shows outstanding craftsmanship and attention to detail.

Drawing is completed by the deadline.

Name, date, and sketchbook assignment number are clearly labeled on the back.

Drawing is 2 days late.

Some of the required info (name, date, and sketchbook assgn) may be missing.

*Effective Elements of Art: ​Variety of LINE and SHAPE, Application of 3D FORM with several VALUES of gray to create shading and highlighting, Application of COLOR to add mood, emotion, or meaning, Fills the SPACE on the paper fully and in an interesting way *Effective Principles of Design: ​Demonstrates REPETITION to create PATTERN, TEXTURE, or RHYTHM, Demonstrates BALANCE throughout the work, Shows a clear focal point to create EMPHASIS and make one part stand out, Uses CONTRAST so areas of the work have VARIETY and difference, The work has UNITY ( pieces function well as a unit), Shows appropriate PROPORTION (or Disproportion)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Rubric + Critique SKETCHBOOK PEER CRITIQUE Student you are critiquing:

Your name:

Instructions:​ Study your table partner’s sketchbook assignment. Check the back to understand which assignment number the student completed. Reference the sketchbook assignment sheet and your sketchbook rubric as a guide to completing the critique.

Provide helpful feedback in all 4 categories: CONCEPTS, CREATIVITY, CRAFTSMANSHIP, and COMPLETION. Feedback should include specific comments only -- “I like it...it’s purty” is not acceptable. Feedback should include PRAISE (what is successful) as well as POLISH (what can be improved). One sentence for PRAISE and one sentence for POLISH is enough.

Score your table partner’s work using the rating system found on your sketchbook rubric. (Emerging -10, Developing - 15, Proficient -20, Exemplary - 25)

CRITERIA

SCORE

WRITTEN PRAISE & POLISH

CONCEPTS Understanding of Art Concepts and Skills including Elements and Principles of Design* CREATIVITY Originality, Expression, and Communication of Ideas

CRAFTSMANSHIP Successful use of Media/Materials

COMPLETION Work is completed by the assigned deadline FINAL SCORE (ADD UP YOUR COLUMN RATINGS)

ADDITIONAL COMMENTS:

*Effective Elements of Art: ​Variety of LINE and SHAPE, Application of 3D FORM with several VALUES of gray to create shading and highlighting, Application of COLOR to add mood, emotion, or meaning, Fills the SPACE on the paper fully and in an interesting way *Effective Principles of Design: ​Demonstrates REPETITION to create PATTERN, TEXTURE, or RHYTHM, Demonstrates BALANCE throughout the work, Shows a clear focal point to create EMPHASIS and make one part stand out, Uses CONTRAST so areas of the work have VARIETY and difference, The work has UNITY ( pieces function well as a unit), Shows appropriate PROPORTION (or Disproportion)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Rubric + Critique HOW 2 CRITIQUE YOUR PEER’S SKETCHBOOK DRAWING NON examples

GOOD examples

It’s purty….I like it.

The colors you chose are pleasing to the eye. I am drawn to the detail you put in the flowers.

I don’t understand what that some of your things are.

The object at the bottom right corner is not detailed/clear enough for me to understand. Try to add more detail or clarity to help you communicate better.

I see lots of shapes, lines and contrast.

You have used a lot of contrast in your shapes and colors. The contrast helps to make the artwork lively and energetic.

You used a lot of blue.

The cool color scheme you used helps me to understand the mood of your artwork. It has a sad and lonely feeling.

I don’t get it.

I think you are trying to describe _______________________ because I see ____________________.

There is a lot of variety in your work.

Your lines/shapes/pattern (pick the element that works best) add harmony/unity/emphasis/variety (pick the element that works best) to your artwork. One specific example is...

Your artwork makes me _________ (add mood/emotion word).

Your artwork makes me feel ____________ (add mood/emotion word) because _________________ (describe the elements and principles that communicate that mood/emotion).

Great job. It’s really realistic.

Great job adding details like the shading on the paws, the dog’s fur, and the sparkle in his eyes. Those details make your drawing look realistic.

It’s really creative and original.

I’ve never thought about drawing a pig with dragon fly wings. Tieing in this idea to the idiom “When Pigs Fly” was surprising and made me laugh.

It’s messy. You should be neater.

It might be easier to see your details if you blend in your shading more gradually in the background.

The uneven lines are distracting and take my focus off the main subject.

There’s a lot of stuff in your artwork that’s not finished.

You have included a lot of interesting objects in your artwork. If you add details/shading/texture (pick a word that fits) to those objects, they would be even more interesting.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Assessment: Exit Tickets Exit tickets are a type of formative assessment that will give you an idea of what your students have mastered, and what they still need to do. An exit ticket is simply a question (or questions) based on your learning objectives and essential questions, posed to all students prior to class ending. Students write their answer on a card or piece of paper and hand it in as they exit.

This assessment strategy engages all students, gives you as the teacher a clearer picture of which students understand the concept(s) you are teaching, as well as who needs additional help or who needs more time to complete a task. The student can ask you questions directly or tell you they don’t understand something without fear of asking in front of the whole class. Additionally, an exit ticket can help you plan the next steps of your instruction and assist with creating student learning groups.

Some ideas for exit ticket questions: ●

3-2-1 Approach (What are 3 things you learned today? What are 2 questions you still have? What is one connection you made today?

●

Social Media (Before you go, “tweet” what you know!”)

●

Answer the Essential Question for today’s lesson

●

“I need help with…….”

●

How can what you learned in Art today be applied to your daily life?

There are many ideas and graphics for exit tickets on the internet that you can adapt for your lessons, but an exit ticket can also be done on a plain sheet of paper, index card, a sticky note or computer program such as Google Forms. Remember, the idea is to get the information you need to ensure the success of your students.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Feedback as Formative Assessment

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Framework of Assessment Approaches Assessment and evaluation are the basis for being able to determine student learning in all subjects. It provides assurance that students are learning what teachers are teaching. Assessment should be an ongoing part of the instructional process.

Art teachers must be accountable for students accomplishing the carefully considered objectives formulated in line with the North Carolina Essential Standards for Visual Arts. When teachers use formative assessments effectively during lessons, students become more aware of the learning process. In turn, summative assessments can be used to develop instruction and learning in following units. Teachers use a variety of formal and informal assessment methods to gather evidence of student learning as seen in the table below.

Framework of Assessment Approaches and Methods Assessing Student Learning in the Art Classroom Selected Response Format

Constructed Response Format Brief Constructed Response

Performance Based Assessment Product

Performance

Process Focused Assessment

Multiple Choice

Fill in the Blank

Portfolio

Oral Presentation

Oral Questioning

True-False

Short Answers

Art Work

Demonstration

Observation/monitor

Matching

Label a Diagram

Art Exhibition

Skill Performance

Interview

Visual Representations

Research Paper

Teach a Lesson

Conference

Illustration

Essay

Critiques

Process Description

Graph

Video/Audio Report

Collaborative Art

Learning Log

Chart

Process Report

Research Journal

Sketch

Artist Statement

Process Journal

Graphic Organizer

Sketchbook

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Grading and Assessment in the Art Classroom I. Start with the end in mind

II. Check alignment

Good art teachers create a “test” project before presenting the unit to their students so that they are clear about what criteria are important, what pitfalls students may encounter, and what quality/level of mastery is to be expected in the finished work.

Answer the following questions when you are making the “test” project yourself and then again when you are writing out your lesson/unit plans and assessments.

To ensure that the ​assessment​ is based on the important points of the lesson, check the alignment on Bloom’s taxonomy. ● Instructional activities ​should be aligned with the student learning (check verb with cognitive process and noun with knowledge type) ● Student learning​ should be aligned with the assessment type If all three are aligned with the same cognitive process and knowledge type, it is considered a golden alignment. eg: If assessing students on ​Applying the steps of the printmaking process​, a written test on the tools used in printmaking is not aligned with the knowledge learned (​procedural​) nor with the cognitive process (​apply​). Instead. the test is assessing factual information at remembering​. Printing a series of prints is aligned with knowledge type and cognitive process.

Important questions: ​ ​What do I want my students to know? What criteria are most important? What concept am I going to teach? What will the final project look like (in general terms)?

●

II. Assess throughout the teaching process

III. Grading Tips

♦ ♦ ♦ ♦

♦

♦ ♦ ♦ ♦ ♦

Pretest/post-test Teacher observation and monitoring Oral/written questioning or essay Critique (written or oral) Student self-evaluation Group evaluation Peer evaluation In Progress Journal response Gallery Crawl Completed Project Formative/Summative Check list Rubric Quiz/Test Exit Ticket Student Led Lesson o Review project goal with absent peer o Teach lesson to parents for homework

♦ ♦ ♦ ♦

♦ ♦ ♦

Keep your rubric/project guidelines beside you and refer to them as you are grading Scan artwork quickly, putting into grade stacks (A quality – F quality) Go through each general stack and sub-divide into top, middle and bottom within each grade designation (e.g. A+, A, and A-) Re-sort anything that stands out as inconsistent to the stack Add a customized rubric/assessment to each student work and check off the criteria that make the artwork fall into the grade designation (in other words…what makes it an A?) If you find yourself getting subjective, study your rubric again Add both positive comments and constructive comments so students understand how you arrived at the grade Be able to document and justify your choices to administration, parents, and students

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Middle School Alignment

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Suggested Pacing 6th Grade Area of Instruction

7th Grade

8th Grade

Qtr

Sem

Year

Sem

Year

Sem

Year

Drawing

3

6

9

6

9

6

9

Painting

2

3

6

3

6

3

6

Mixed Media/Collage

1

2

4

1

4

1

4

Printmaking

1

2

4

2

4

2

4

Sculpture

1

2

4

2

4

2

4

Contemporary Crafts

1

1

5

1

5

1

5

Ceramics

1

1

1

1

1

1

Digital/Media Arts

1

3

2

3

2

3

● ● ● ●

Textile Surface Design Weaving Jewelry/metal craft Wood/paper/book arts

This suggested pacing denotes weeks of instruction you should devote to a particular media/skill, not the number of individual projects.

Drawing skills must be taught first. All other areas will be built upon these drawing skills. Some skills overlap and are taught in conjunction with one another. For example, clay may be used as your sculpture medium.

The teaching order of your media/skills should take into consideration topical curriculum connections, alignment connections, and school-wide planning.

The North Carolina Essential Standards can be addressed using any medium.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Vertical Planning Guide This guide should be used for general grade-to-grade planning purposes and is aligned to the North Carolina Essential Standards for Visual Art. The Essential Standards are designed as a scaffold with each grade level’s Essential Standards building upon the ones before it. This Vertical Planning Guide highlights the differences in the Essential Standards from year to year. The guide is not intended to be an exhaustive listing of all art areas of instruction. The art teacher is not expected to cover everything in each category.

Art 6 CONTEXT (aligned with Social Studies Essential Standards)

Art 7

Historical Periods: Cave art to Renaissance art (6.CX.1.1, 6.CX.1.2)

Historical Periods: Renaissance to present day art (7.CX. 1.1, 7.CX.1.2)

Geographic Locations: South American art and European art (6.CX.1.3)

Geographic Locations: African, Asian, and Australian art (7.CX.1.3)

Artists Styles (6.V.1.3, 6.CX.1.2)

Subject Matter over time/themes in art (7.V.1.3, 7.CX.1.2)

Art 8 Historical Periods: North Carolina and United States art from American Indian/Colonial settlers to the present (8.CX.1.1, 8.CX.1.2, 8.CX.1.3) Geographic Locations: North Carolina and United States art (8.CX.1.1, 8.CX.1.2, 8.CX.1.3) Art Movements (8.CX.1.3)

Art 6 CONNECTIONS AND APPLICATIONS

Art and Daily life (6.CX.2.1)

Art 7 Art and careers (7.CX.2.1)

Connections between art and other disciplines (6.CX.2.2, 7.CX.2.2, 8.CX.2.2) Collaboration between art and other disciplines (6.CX.2.3, 7.CX.2.3, 8.CX.2.3)

Art 8 Art and Personal interests/abilities as criteria for choosing art careers (8.CX.2.1)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Vertical Planning Guide This guide should be used for general grade-to-grade planning purposes and is aligned to the North Carolina Essential Standards for Visual Art. The Essential Standards are designed as a scaffold with each grade level building upon the one before it. This Vertical Planning Guide highlights the differences in the Essential Standards from year to year. The guide is not intended to be an exhaustive listing of all art areas of instruction.

The art teacher is not expected to cover everything in each category.

Art 6 CRITICAL RESPONSE

Art 8

Personal criteria (6.CR.1.1)

Personal and formal criteria (7.CR.1.1)

Convincing and logical arguments based on formal criteria (8.CR.1.1)

Formative and self-evaluation strategies to improve art (6.CR.1.2)

Formative and summative evaluations (7.CR.1.2)

Critique personal art (8.CR.1.2)

Art 6 ELEMENTS AND PRINCIPLES (builds on the previous year.

Note the Bloom’s cognitive verb)

Art 7

Knowledge and application of elements (6.V.1.2) Artists’ use the elements and principles (6.V.1.4)

Art 7 Knowledge and application of elements and principles (7.V.1.2, 7.V.1.4)

Art 8 Refined application and analyzing of elements and principles (8.V.1.2, 8.V.1.3, 8.V.1.4)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Vertical Planning Guide This guide should be used for general grade-to-grade planning purposes and is aligned to the North Carolina Essential Standards for Visual Art. The Essential Standards are designed as a scaffold with each grade level building upon the one before it. This Vertical Planning Guide highlights the differences in the Essential Standards from year to year. The guide is not intended to be an exhaustive listing of all art areas of instruction.

The art teacher is not expected to cover everything in each category.

MEDIA TECHNIQUES/ PROCESSES (builds from year to year)

Art 6

Art 7

Art 8

Planning to Create

Evidence of brainstorms, plans, evaluations and art creations (6.V.2.1, 7.V.2.1, 8.V.2.1) Knowledge and creation of art that expresses ideas and feelings (6.V.2.3, 7.V.2.3, 8.V.2.3) Collaboration (6.CX.2.3, 7.CX.2.3, 8.CX.2.3)

Drawing

Pencil, crayons, colored pencils, oil pastels, markers

Pencil, crayons, colored pencils, oil pastels, markers, chalk, drawing pens

Objects from observation (emphasis on form and contour); Space/picture plane devices (e.g. overlapping, size changes, detail changes…) (6.V.2.2, 6.V.3.2, 6.V.3.3)

Observational skill refining of objects (emphasis on form, value, contour); landscape/distance (foreground, middleground, background, atmospheric perspective); students’ life experiences; one-point linear perspective (7.V.2.2, 7.V.3.2, 7.V.3.3)

Pencil, Ebony pencils and other drawing pencils with varying lead qualities, charcoal, colored pencils, oil pastels, chalk pastels, markers, chalk, pen and ink Observational skill further refining of objects (emphasis on form, value, contour, proportion, and detail); portraits, self-portraits, figures; students’ life experiences; two-point linear perspective (8.V.2.2, 8.V.2.3, 8.V.3.2, 8.V.3.3)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Vertical Planning Guide This guide should be used for general grade-to-grade planning purposes and is aligned to the North Carolina Essential Standards for Visual Art. The Essential Standards are designed as a scaffold with each grade level building upon the one before it. This Vertical Planning Guide highlights the differences in the Essential Standards from year to year. The guide is not intended to be an exhaustive listing of all art areas of instruction.

The art teacher is not expected to cover everything in each category.

Painting

Watercolor techniques and processes (6.V.3.2, 6.V.3.3, 6.CX.1.2)

Watercolor techniques and processes refining (7.V.3.2, 7.V.3.3, 7.CX.1.2)

Watercolor techniques and processes further refining (8.V.3.2, 8.V.3.3, 8.CX.1.2)

Tempera techniques and processes (6.V.3.2, 6.V.3.3)

Tempera techniques and processes refining (7.V.3.2, 7.V.3.3)

Tempera techniques and processes further refining (8.V.3.2, 8.V.3.3) Acrylic techniques and processes (8.V.3.2, 8.V.3.3, 8.CX.1.2) Ink Wash techniques and processes (8.V.3.2, 8.V.3.3, 8.CX.1.2)

Printmaking

Collagraphs (6.V.3.2, 6.V.3.3)

Collagraphs refining (7.V.3.2, 7.V.3.3)

Monoprints (6.V.3.2, 6.V.3.3)

Monoprints refining (7.V.3.2, 7.V.3.3) Single-color linocut (7.V.3.2, 7.V.3.3)

Collagraphs further refining (8.V.3.2, 8.V.3.3) Monoprints further refining (8.V.3.2, 8.V.3.3) Single-color linocut refining (8.V.3.2, 8.V.3.3) Lino-reduction (8.V.3.2, 8.V.3.3) Silkscreen (8.V.3.2, 8.V.3.3)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Vertical Planning Guide This guide should be used for general grade-to-grade planning purposes and is aligned to the North Carolina Essential Standards for Visual Art. The Essential Standards are designed as a scaffold with each grade level building upon the one before it. This Vertical Planning Guide highlights the differences in the Essential Standards from year to year. The guide is not intended to be an exhaustive listing of all art areas of instruction.

The art teacher is not expected to cover everything in each category.

Sculpture

Paper Sculpture (6.V.3.2, 6.V.3.3)

Paper Sculpture and Cardboard Relief (7.V.3.2, 7.V.3.3)

Paper and Cardboard Sculpture (8.V.3.2, 8.V.3.3)

Clay (7.V.3.2, 7.V.3.3, 7.CX.1.2)

Clay (8.V.3.2, 8.V.3.3, 8.CX.1.2)

Found objects (7.V.3.2, 7.V.3.3, 7.CX.1.2, 7.CX.2.3)

Found objects (8.V.3.2, 8.V.3.3, 8.CX.1.2, 8.CX.2.3)

Wire (7.V.3.2, 7.V.3.3, 7.CX.1.2, 7.CX.2.3)

Wire (8.V.3.2, 8.V.3.3, 8.CX.1.2, 8.CX.2.3)

Clay(6.V.3.2, 6.V.3.3, 6.CX.1.2) Found objects (6.V.3.2, 6.V.3.3, 6.CX.1.2, 6.CX.2.3)

Coiled Fiber (8.V.3.2, 8.V.3.3, 8.CX.1.2, 8.CX.2.3) Plaster -- Subtractive techniques (8.V.3.2, 8.V.3.3, 8.CX.1.2, 8.CX.2.3) Contemporary Craft & Design

Weaving: paper weaving (6.V.3.2, 6.V.3.3)

Weaving: tapestry weaving (7.V.3.2, 7.V.3.3, 7.CX.1.1, 7.CX.1.3)

Weaving: overshot pattern paper weaving, basket weaving (8.V.3.2, 8.V.3.3, 8.CX.1.1, 8.CX.1.2, 8.CX.1.3)

Ceramics: Ancient Greek and Roman vessels, Ancient Latin American ceramic artifacts, coil and pinch pot techniques (6.V.3.2, 6.V.3.3, 6.CX.1.2)

Ceramics: slab construction, teapots, sake bowls, porcelain (Asia) (7.V.3.2, 7.V.3.3, 7.CX.1.1, 7.CX.1.2, 7.CX.1.3)

Ceramics: American Indian pottery, face jugs, Seagrove/Catawba Valley style (8.V.3.2, 8.V.3.3, 8.CX.1.1, 8.CX.1.2, 8.CX.1.3)

Fiber Arts: Latin American textiles (6.V.3.2, 6.V.3.3,​ ​6.CX.1.3)

Fiber Arts: silk painting, batik, embroidery (7.V.3.2, 7.V.3.3, CX.1.1, 7.CX.1.2, 7.CX.1.3),

Fiber Arts: coiled fiber baskets (sweetgrass/pine needle) Native American, quilting -- paper or fabric (8.V.3.2, 8.V.3.3, 8.CX.1.1, 8.CX.1.3)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Vertical Planning Guide This guide should be used for general grade-to-grade planning purposes and is aligned to the North Carolina Essential Standards for Visual Art. The Essential Standards are designed as a scaffold with each grade level building upon the one before it. This Vertical Planning Guide highlights the differences in the Essential Standards from year to year. The guide is not intended to be an exhaustive listing of all art areas of instruction.

The art teacher is not expected to cover everything in each category.

Mixed Media/Collage

Matisse-style paper cut collage (6.V.3.2, 6.V.3.3, 6.CX.1.2) Byzantine magazine “tile� mosaic (6.V.3.2, 6.V.3.3, 6.CX.1.1, 6.CX.1.2)

Japanese Notan Designs with construction paper (7.V.3.2, 7.V.3.3, 7.CX.1.2, 7.CX.1.3)

Romare Bearden-style collage with assorted paper (8.V.3.2, 8.V.3.3, 8.CX.1.2)

Still life object collage with assorted paper (8.V.3.2, 8.V.3.3)

3-D/relief and assemblage with found objects (8.V.3.2, 8.V.3.3, 8.CX.1.2) Surreal photo collage with magazine paper (8.V.3.2, 8.V.3.3, 8.CX.1.2)

Digital/Media Arts

Digital photography (6.V.2.2, 6.V.3.2, 6.V.3.3.CX.2.2, 6.CX.2.4)

Digital photography and editing refining (7.V.2.2, 7.V.3.2, 7.V.3.3, 7.CX.2.2, 7.CX.2.4)

Digital photography and editing further refining (8.V.2.2, 8.V.3.2, 8.V.3.3, 8.CX.2.2, 8.CX.2.4)

Digital object drawing/painting -- see Resources (Apps) section (6.V.2.2, 6.V.3.2, 6.V.3.3, 6.CX.2.2, 6.CX.2.4)

Digital landscape/portrait drawing/painting -- see Resources (Apps) section (7.V.2.2, 7.V.3.2, 7.V.3.3, 7.CX.2.2, 7.CX.2.4)

Digital self-portrait drawing/painting -see Resources (Apps) section (8.V.2.2, 8.V.3.2, 8.V.3.3, 8.CX.2.2, 8.CX.2.4)

2D paper drawn stop-motion Animation -- see Resources (Apps) section (6.V.2.2, 6.V.3.2, 6.V.3.3, 6.CX.2.2, 6.CX.2.4)

3D found object stop-motion Animation -- see Resources (Apps) section (7.V.2.2, 7.V.3.2, 7.V.3.3, 7.CX.2.2, 7.CX.2.4)

Claymation/stop-motion Animation -see Resources (Apps) section (8.V.2.2, 8.V.3.2, 8.V.3.3, 8.CX.2.2, 8.CX.2.4) Surreal digital montage (8.V.2.2, 8.V.3.2, 8.V.3.3, 8.CX.2.2, 8.CX.2.4)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Benchmark Charts The Benchmark Charts are designed to be a resource for teaching the North Carolina Essential Standards for Visual Arts.

These charts are separated by grade level and strands that comprise the Essential Standards: Visual Literacy, Contextual Relevancy, and Critical Response. The Essential Standards are located horizontally under each strand.

The Clarifying Objectives for each standard are located in the first column.

To the right of each Clarifying Objective, there are benchmarks--a description of what students should know and be able to do.

To the right of the benchmarks, there is a column with lesson ideas. These are not lesson plans, and are not all-encompassing ideas of how the benchmarks can be taught. They are simply places to start. Lesson plans will need to be developed, and should include differentiation to meet the various needs of students in the classroom.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

VISUAL LITERACY 6.V.1 Use the language of visual arts to communicate effectively.

6.V.1.1​ Use appropriate vocabulary to describe art, including Elements of Art, Principles of Design, types of media, various processes, and style.

6.V.1.2​ Understand how the Elements of Art can aid in the planning and creation of personal art

Describe the Elements of Art (line, shape, color, space, form, texture, value) and the Principles of Design (repetition, pattern, emphasis, proportion, contrast, unity, movement, balance) in a given work of art Create a plan for a work of art and explain the choices you made based on the Elements of Art

ART HISTORY/CRITICISM Plan activities such as artist reports, peer evaluations, critiques, and other methods to guide students in looking and talking about art (both their own work and the work of other artists) using the Elements of Art and Principles of Design, media, processes, and artist’s style.

Refer to the Art Criticism resource section of this guide.

ANY APPLICABLE MEDIUM When discussing or creating art, focus on a primary element (e.g. space for landscapes, color for Abstract or Nonobjective art, form for sculpture) DRAWING Zoom in on an object from nature. Emphasize shape, line, value, and texture. Outline contours with dimensional paint or black glue. Finish with oil pastels or chalk.

PRINTMAKING Create a collagraph Illuminated Letter design emphasizing shape, texture, and line SCULPTURE Use slab, geometric, and freeform shapes to create a modern sculpture with emphasis on positive and negative space.

DIGITAL MEDIA Use a computer draw/paint program to create a landscape. Experiment with digital tools to create line, shape, forms, space, patterns and textures.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

6.V.1.3 ​Identify artist’s styles.

Recognize a variety of artists by the distinctive characteristics of their work.

ART HISTORY/CRITICISM Choose two artists to compare and contrast styles. (Link to CX.1.1 and CX.1.3) Understand the differences in Realistic, Abstract, and Non-Objective art.

PAINTING Create a landscape painting using Impressionist brush techniques.

MIXED MEDIA/COLLAGE Research historical and contemporary collage artists. Talk about what makes each artist distinctive. Then create a collage inspired by these artists while also adding some new stylistic elements.

ANY APPLICABLE MEDIUM Create a work of art inspired by a selected artist’s style.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

6.V.1.4 ​Recognize how artists use the Elements of Art and Principles of Design in creating art.

Identify and describe how an artist uses the Elements of Art and the Principles of Design in a given work of art.

ANY APPLICABLE MEDIUM Plan Art Criticism activities that lead to a studio assignment inspired by a specific artist: How does a specific artist apply an element or principle to communicate in their work?

How can students apply these elements or principle successfully? (e.g. Monet used color to show how light changed the feeling/mood) PAINTING Design a composition using the student’s name. Distort and overlap the letters, allowing them to run off the edges of the paper, creating an interesting design. Add patterns. Paint the design using a color scheme, changing colors when the shapes intersect. Identify and describe each of the Art Elements and Design Principles that you used.

Draw a natural object from observation. Repeat the object to fill the space of the paper.

Outline the object with metallic marker; use watercolor techniques to complete.

PRINTMAKING Create a collagraph print using a repeated motif (radial, rotational, or mirror symmetry.)

Create printing stamps and rollers by carving into erasers or gluing foam, string, yarn or other found objects to a toilet paper tube.

DIGITAL/MEDIA ARTS Use a computer drawing program to experiment with fill patterns and textures. Create a name design and apply fills, textures, shadows, and embossing inside each letter.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

...continued from previous page

Identify and describe how an artist uses the Elements of Art and the Principles of Design in a given work of art.

FIBERS Recreate a famous painting or an animal in yarn emphasizing line and texture in the stitchery.

6.V.1.4 ​Recognize how artists use the Elements of Art and Principles of Design in creating art.

Create a bracelet or belt using soda straws threaded with yarn as a loom.

DRAWING Draw a object from observation. Repeat the object (or related objects) to fill the space of the paper. Add patterns in the negative spaces.

COLLAGE Zoom in on the face of an animal and draw it, focusing on contour and proportion. Use collage techniques to add color and texture.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

6.V.2 Apply creative and critical thinking skills to artistic expression.

6.V.2.1 ​Generate solutions to artistic problems.

Brainstorm multiple solutions to an artistic problem

ANY APPLICABLE MEDIUM Brainstorm several ideas for each assigned studio assignment and demonstrate thought processes through sketches, digital idea files, and written annotations.

DIGITAL MEDIA Use the iMovie trailer feature to create an original trailer for a Social Studies or Science concept.

6.V.2.2 ​Use observation skills of the immediate environment to create original imagery.

Create an observational work of art.

DRAWING/PAINTING Introduce the concept of drawing/painting three dimensional forms by having various objects available for observation and drawing. Emphasize form and contour, space and using the picture plane.

6.V.2.3 ​Understand that original imagery is a means of self-expression used to communicate ideas and feelings.

Understand that artists communicate ideas and feelings and expressions through visual art

ANY APPLICABLE MEDIA Create an expressive self-portrait that uses facial expression to help create mood.

DRAWING/PAINTING Create an abstract or nonobjective drawing/painting that emphasizes the emotional characteristics of color.

ART HISTORY/CRITICISM Research Medieval paintings and the symbolic use and meaning of the pigments red, blue, white, and gold.

Choose a work of art that communicates an idea or feeling. Have students write a short story based on the work of art.

DIGITAL MEDIA Use photo editing software to create a digital collage that expresses a mood or emotion.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

6.V.3 Create art using a variety of tools, media, and processes, safely and appropriately.

6.V.3.1 ​Use tools and media appropriately to maintain a safe and orderly work space.

Follow established art safety rules and procedures

ALL MEDIA Create and display safety posters in the art classroom.

Teach safety procedures and responsibility/care for each tool and medium you use.

DIGITAL MEDIA Discuss internet safety and procedures including safe procedures for posting work online and using images you find on the internet.

6.V.3.2 ​Create art using a variety of 2-D and 3-D media, including digital.

Create 2-D or 3-D art using a variety of media in drawing, painting, printmaking, sculpture, contemporary crafts, mixed media, collage, and digital art.

DRAWING Create drawings using pencil, colored pencils, chalk, oil pastels, and markers.

Create crayon etchings or scratchboards.

Draw from nature (leaf, insect, skull, bones, etc.) with the emphasis on object realism.

Then, stylize and abstract the same object to tie in to 6.CX.1.2.

PAINTING Create paintings using watercolor and tempera paint.

Draw 2-3 objects in different sizes using the entire page to create an interesting composition. Use a white china marker to outline or show highlights of the objects.

Paint the composition with watercolor show showing students how to build layers of transparent watercolor for interest.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

...continued from previous page

Create 2-D or 3-D art using a variety of media in drawing, painting, printmaking, sculpture, contemporary crafts, mixed media, collage, and digital art.

PRINTMAKING Create a collagraph or monoprint.

6.V.3.2 ​Create art using a variety of 2-D and 3-D media, including digital.

SCULPTURE Create 3D work using paper, clay or found objects.

Create a mythological creature with clay or papier-mâché emphasizing unique characteristics and details (horns, wings, and multiple heads.) Use a faux finish to imitate stone or bronze that would have been used by pre-Renaissance Europeans.

CONTEMPORARY CRAFT & DESIGN Create a paper weaving, clay coil/pinch pot or jewelry, or Latin American textile design.

Use a combination of slab and coil clay handbuilding methods to create a drape mold of a leaf with a coil base.

Create a yarn painting in the style of the Huichol.

Create a simple piece of clay jewelry with emphasis on creating texture from natural objects.

Study ancient Mesoamerican functional artifacts, especially musical instruments.

Design a clay ocarina whistle.

MIXED MEDIA/COLLAGE Create a Matisse-style paper cut collage or a Byzantine tile mosaic.

DIGITAL/MEDIA ARTS Create a digital object drawing using a drawing app like ​Paint Sai Pro​ or ​ProCreate​.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

...continued from previous page

Create artwork that shows application of media specific techniques and processes.

DRAWING Expose students to a variety of dry media techniques. Use a variety of papers colors, types and textures. Processes and techniques may include: pencil:​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using a tortillon or eraser to blend or smudge colored pencils:​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, burnishing crayons:​ layering, blending, tonal grading, applying variety of pressures, stippling, hatching, cross-hatching, sgraffito oil pastels:​ layering, blending, tonal grading, applying variety of pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using baby oil and a Q-Tip to blend or smudge, sgraffito markers:​ layering, blending, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using water and a brush to blend or smudge

6.V.3.3 ​Create art in different media using various techniques and processes.

PAINTING Expose students to watercolor and tempera paint techniques and processes. Use a variety of papers and brushes. Processes and techniques may include: watercolor:​ layering, blending, flat color and tonal grading, wet on wet, wet on dry, washing, dry brushing, lifting off, spattering, masking off, adding salt or rubbing alcohol, sponging, stencilling, scraping, incising, adding plastic wrap, experimenting with a variety of papers tempera:​ layering, blending, flat color and tonal grading, dry brushing, lifting off, spattering, sponging, stencilling, applying paint with a variety of consistencies, adding gel medium

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

...continued from previous page

Create artwork that shows application of media specific techniques and processes.

PRINTMAKING Expose students to a variety of printmaking techniques. Processes and techniques may include:​ collagraph:​ gluing, layering, cutting and tearing cardboard or foam, adding low relief objects, experimenting with inking tools and a variety of papers, exploring ink colors monoprint:​ exploring additive (ink drawing onto surface and then printing) techniques, exploring subtractive (inking surface and incising lines into the ink before printing) techniques, experimenting with inking tools and a variety of papers, exploring ink colors

6.V.3.3 ​Create art in different media using various techniques and processes.

SCULPTURE Expose students to a variety of sculpting techniques. Processes and techniques may include:​ paper:​ papier-mâchéing , experimenting with 3D forms (e.g. creating cylinders, cones, prisms, cubes, scrunching), gluing, accordion folding, quilling, creating springs, slotting, scoring, fringing, creating negative cuts, spiraling, looping, curling, creating tabs, rolling, gluing and layering clay: ​experimenting with different methods of construction (e.g. pinch, coil, slab, press mold, slump mold), exploring a variety of tools, creating a variety of decorative techniques (e.g. carving, stamping, painting with underglaze) found objects:​ gluing, layering, cutting and tearing with a variety of cardboards and other objects, painting, adding string, yarn or other textiles, adding low relief objects CONTEMPORARY CRAFT & DESIGN Expose students to a variety of craft and design techniques including weaving:​ experimenting with a variety of paper weaving materials, adding beads and other objects, experimenting with a variety of weaving patterns (e.g. tabby, twill, herringbone, diamond twill), experimenting with weaving techniques (e.g. interlocking, making/outlining a shape), creating a variety of finished shapes and sizes ceramics:​ experimenting with different methods of construction (e.g. pinch, coil, slab, press mold, slump mold), exploring a variety of tools, creating a variety of decorative techniques (e.g. carving, stamping, painting with underglaze) textiles: ​ stitchery, yarn painting

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

...continued from previous page

Create artwork that shows application of media specific techniques and processes.

MIXED MEDIA/COLLAGE Expose students to a variety of surface treatments, techniques and processes.

Processes and techniques may include: collage:​ gluing, layering, cutting and tearing with a variety of papers, stencilling, stamping, sponging, texturing with gel medium, painting, glazing, adding writing/journaling, adding string, yarn or other textiles, adding low relief objects

6.V.3.3 ​Create art in different media using various techniques and processes.

DIGITAL/MEDIA ARTS Expose students to a variety of technology-based techniques. Processes and techniques may include: digital photography:​ photographing, editing, printing digital drawing/painting:​ creating actions digitally similar to drawing and painting stop motion animation: ​ 2D pencil and paper drawn animation capturing

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

CONTEXTUAL RELEVANCY 6.CX.1 Understand the global, historical, societal, and cultural contexts of the visual arts.

6.CX.1.1 ​Understand the visual arts in relationship to the geography, history, and culture of world civilizations and societies from the beginning of human society to the emergence of the First Global Age (1450).

Understand that art is a visual recording of history and a reflection of culture and geographic location (different cultures have different styles and symbols; some art serves a utilitarian purpose)

ART HISTORY/CRITICISM Discuss how the socio-political culture (e.g. war, invasion, and conquering) influenced the sculpture and architecture of the Ancient Roman Empire. Talk about how the Romans adopted Greek art styles after conquering them.

Discuss how early European artists until the time of the Renaissance emphasized religious images and symbols because of the spread of Christianity (e.g. paintings of Fra Angelico, Gothic Cathedrals).

CONTEMPORARY CRAFT Discuss Byzantine mosaics. Create a paper or recycled cardboard mosaic.

Discuss the Ancient Greek origins of metal repousse. Create a metal foil repousse based on a repeated design.

NOTE: ​ Although the specific cultures/time periods you discuss are not restricted to the beginning of human society to the emergence of the First Global Age, this clarifying objective presents an opportunity to connect with Social Studies Essential Standards.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

6.CX.1.2 ​Analyze art from various historical periods in terms of style, subject matter, and movements.

Discuss, compare and contrast selected artworks in terms of style, subject matter, and movements. Emphasis in 6th grade is on artist styles.

ART HISTORY/CRITICISM Discuss the thematic history of landscapes or seascapes, especially in reference to the particular styles of the artists. Talk about how each artist applied his/her media, how he/she used tools, and what unique vision the artist shared.

Study one particular artist’s work. Discuss how the artist’s style can be seen throughout many/most of his/her works and is what helps the viewer identify the works as belonging to the artist.

Choose three different works from one movement. (For example--Impressionism: Monet, Cassatt, Degas.) Have students complete a compare/contrast graphic organizer about the three pieces, and then discuss how the artist’s style connects them to the movement, as well as the unique qualities of each artist’s style.

NOTE: ​ Although the specific cultures/time periods you discuss are not restricted to the beginning of human society to the emergence of the First Global Age, this clarifying objective presents an opportunity to connect with Social Studies Essential Standards.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 6 Clarifying Objective

Benchmark

Ideas for Lessons

6.CX.1.3 ​Analyze the effect of geographic location and physical environment on the media and subject matter of art with an emphasis on South American and European art.

Examine art from South America and Europe to determine the connections to geographic location, physical environment, and available resources.

ART HISTORY/CRITICISM Discuss how South America’s ​major geographical location and physical environment like the Andes Mountains, Amazon Rainforest and Pampas plains influence the media and subject matter of local artists. For example, the Ancient Inca’s sought-after cumbi cloth was produced because of the abundance of natural cotton and alpaca wool in the Andes Mountains.

Discuss the availability/scarcity of certain minerals/elements used in color dyes and pigments during the Medieval Era and how certain dyes (e.g. purples) were only affordable to the wealthy.

Select a set of readily available (local) materials and ask the students what they would use and why. Lead students to the conclusion that they would use the materials because they are the most accessible items to them. Then, ask students what they would use if they had to choose things in their neighborhood, state, and/or country.

Next, show selected items from South American art, and lead students in a discussion as to why artists used these materials for their works of art.

ANY APPLICABLE MEDIUM Go on a nature scavenger hunt around your school. Create artwork using only natural items that students can find outside the classroom. Follow up with a discussion about geography.

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6.CX.2 Understand the interdisciplinary connections and life applications of the visual arts​.

6.CX.2.1 ​Exemplify how skills and concepts developed in art are part of, and can be applied to, daily life.

Identify and demonstrate how skills used in art can be applied to other areas of learning and daily life.

6.CX.2.2 ​Understand the connection between art and other disciplines

Identify and demonstrate skills used in art that can be applied to other subjects in school

FOR ALL STUDIO EXPERIENCES http://www.p21.org/our-work/p21-framework (21st century learning skills website) Application of art concepts to other areas of life: ● When you learn about color in art, you understand which colors to paint your bedroom for a calming effect. ● When you learn about how to use a ruler in art, you understand how to measure a board for a construction projects ● Creating art and analyzing art requires creative thinking, problem solving and the concept of ambiguity ● Meeting deadlines ANY APPLICABLE ASSIGNMENT OR STUDIO EXPERIENCE ​where art concepts naturally integrate with other school subjects; connections will need to be pointed out to students to reinforce understanding: ● Literature--symbolism, narrative, point of view ● Writing--generating personal responses to art (link to CR1.1) ● Math--using a ruler, types of symmetry, scale, proportion, geometric forms ● Science-- observational skills, physical properties of matter (clay, paint), pigment vs light ● Social Studies-- reference art and artifacts from Asia, Africa, Europe, and the Americas from the beginning of civilization to the Age of Exploration ● Arts-- Elements and Principles in the other arts areas ● Technology-- portrait vs landscape orientation, careers

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6.CX.2.3 ​Understand how collaborative planning is used to create art.

Identify and demonstrate how artists plan collaboratively to create art.

SCULPTURE In groups, create mobiles using cut cardboard shapes and wire (shapes can be geometric, free form, or simple images.)

CERAMICS Design a clay tile for a mural based on a common theme with a motif from Social Studies (e.g., Byzantine). Collaborate to determine how each tile will be displayed to create a group installation.

PAINTING Design and paint a mural based on a theme brainstormed by a group of art students.

Work in small groups to create a Kandinsky style, non-objective, large painting. Use music to inspire the lines, shapes, colors and textures of the painting.

6.CX.2.4 ​Understand the role of art in creating digital images, technological products, and design.

Identify the role of art from a variety of media sources

DESIGN Design a package cover for a new product (food, CD, clothing) with emphasis on letting style and illustrations.

DIGITAL/MEDIA ARTS Create a 2D pencil animated film where each student contributes 10 to 20 “frames” of content.

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CRITICAL RESPONSE 6.CR.1 Use critical analysis to generate responses to a variety of prompts.

6.CR.1.1 ​Generate responses to art using personal preferences, prior knowledge, and relationship to self.

Create a piece of art or written response to a piece of art based on your personal aesthetic and past experience

ART CRITICISM Use writing prompts to respond to selected works of art. (See Art Journal section of this handbook.)

ANY APPLICABLE MEDIUM Create a piece of art inspired by or in response to another work of art. (For example, step inside Edvard Munch’s ​The Scream.​ Turn around. Illustrate what you see from the viewpoint of the person in the painting.)

Note: Personal interest/identity and buy-in to art should factor in (personal preferences and opinions are most important as long as based on something you can explain)

6.CR.1.2 ​Use formative, self-evaluation strategies and results to improve the quality of art.

Use a rubric and other formative feedback to improve your artwork in process

SELF ASSESSMENT Write a statement evaluating whether or not your work is successful. Make sure you have supporting evidence for your responses.

As you are working, use a rubric or a teacher-made checklist to assess your work and make improvements.

(See Assessment section of this handbook.)

ART CRITICISM Have students “grade” a work of art using a rubric you provide them, then discuss what is strong about the piece and how the artist can improve the work.

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VISUAL LITERACY 7.V.1 Use the language of visual arts to communicate effectively.

7.V.1.1​ Use art vocabulary to analyze art.

7.V.1.2​ Understand how the Principles of Design aid in planning and creating personal art.

Analyze a work of art using appropriate vocabulary.

Elements and Principles to be included are line, shape, color, space, form, texture, repetition, balance, unity, proportion, emphasis, and contrast.

ART CRITICISM Plan activities such as artist reports, peer evaluations, critiques, and other methods to guide students in looking and talking about art (both their own work and the work of other artists) using the Elements of Art and Principles of Design.

Create a plan for a work of art and explain the choices you made based on the Principles of Design

ANY APPLICABLE MEDIUM When discussing or creating art, focus on a primary principle (e.g. proportion for portraits, pattern for weaving, or contrast for printmaking)

Refer to Art Criticism Resource section.

DRAWING Create a multi paneled/sectioned composition where one object is explored from different viewpoints (zoomed in, different angles, bird’s eye…). Explore a variety of drawing media.

PAINTING Create a motif using either a historical design source or a viewfinder. Repeat the motif three to four times. Paint each motif using a different color scheme in tempera paint. (repetition) DIGITAL MEDIA Use a computer draw/paint program to create a black and white personal logo. Experiment with digital tools to focus on contrast, emphasis, and repetition.

Start by drawing an interesting design in a draw, paint or photo editing program. Then duplicate the design layer many times and arrange in an interesting way to create a repeating design motif.

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7.V.1.3 ​Identify themes in art.

Analyze a work of art using appropriate vocabulary with a focus on the ​broad idea or a message conveyed by a work.

ART CRITICISM Choose two artists to compare and contrast themes (​usually about life, society or human nature) ​in their work. Themes to consider: ​anguish, bravery, delicacy, fear, gracefulness, horror, humor, injustice, joy, love, passion, patriotism, pleasure, sadness, and tranquillity.

MIXED MEDIA/COLLAGE Research contemporary collage artists who use similar themes. Talk about how each artist is able to communicate the theme through collage. Create a collage based on a theme of your choice.

ANY APPLICABLE MEDIUM Create a work of art that communicates a theme. Connect the theme to Language Arts Essential Standards.

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7.V.1.4 ​Understand the relationship between Elements of Art and the Principles of Design.

Explain how the Principles of Design are comprised of one or more Elements of Art in a particular artwork

ANY APPLICABLE MEDIUM Plan Art Criticism activities that lead to a studio assignment inspired by a specific artist: ● How does a specific artist apply an element or principle to communicate in their work? ● How can students apply these elements or principle successfully? (e.g. Monet used color to show how light changed the feeling/mood) PAINTING Explore the element of space and (foreground, middleground, and background in a landscape. Introduce the concepts of atmospheric perspective, one-point perspective and color intensity.

WEAVING Create a tapestry weaving based on a viewfinder design that uses a color scheme and emphasizes shape, texture, and unity.

SCULPTURE Create a cardboard relief sculpture using a viewfinder design emphasizing levels of space and texture. Unify the sculpture with a color scheme.

CERAMICS Drape a clay slab around or over a plastic container to create a vessel. Use tools and found objects to incise and impress planned repetitive surface designs.

DESIGN or DIGITAL/MEDIA ARTS Use contrasting colors of construction paper to create a positive and negative reflection design in the Japanese Notan style. Create a similar design using draw, paint, or photo editing software. (Link to 7.CX.1.3) Plan a landscape on paper. Then use the layers feature in a draw, paint or photo editing program. Create and save perspective guidelines in one layer. In each additional layer, make one object in your landscape so that each element can be resized and moved independently.

Print the landscape without the original guideline layer.

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7.V.2 Apply creative and critical thinking skills to artistic expression.

7.V.2.1 ​Evaluate Solutions to artistic problems.

Generate ideas and plan for the best solution to solve a given design problem.

ANY APPLICABLE MEDIUM Brainstorm several ideas for each assigned studio assignment and demonstrate thought processes through sketches, digital idea files, and written annotations.

7.V.2.2 ​Use observation skills of the environment and personal experiences to create original imagery.

Create an observational work of art based on environment and personal experiences

DRAWING or PAINTING Further refine concepts of drawing and shading three-dimensional forms by having various objects available for students to observe and draw (consider creating a still life in the classroom). Emphasize form, value, contour, space/distance, atmospheric perspective, and one-point linear perspective).

Create a still life drawing or painting based on a collection of personal objects selected by each student.

DIGITAL MEDIA Create a photo expose or 30 second time-lapse film documenting a natural process like a flower blooming, ants building a mound. or a piece of food decaying.

7.V.2.3 ​Create original art emphasizing selected elements and principles to express ideas or feelings.

Use the elements and principles to communicate specific ideas and feelings.

PAINTING Explore an artist who uses emotion and color. Create a painting in that style. (For example, introduce Pablo Picasso. Create a self-portrait using his painting characteristics, but also incorporating personal style.)

Create a portrait with realistic face and hands and decorative patterned clothing and backgrounds (see Gustav Klimt.)

PRINTMAKING Study the West African Adinkra symbols used in designing cloth. Create a linoleum stamp that expresses a personal symbol. (Link to 7.CX.1.3)

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Use the elements and principles to communicate specific ideas and feelings.

SCULPTURE Sculpt an expressive clay animal emphasizing additive techniques and surface textures.

7.V.2.3 ​Create original art emphasizing selected elements and principles to express ideas or feelings.

DRAWING Create a mandala where each layer expresses something about the student. Incorporate radial balance, repetition, and unity. Use colored pencil shading techniques to add value and contrast. (Link to 7.CX.1.3) DIGITAL MEDIA Use photo editing software to create a Surreal digital collage that expresses a mood or emotion.

PAPER ARTS Explore the relationship of positive/negative space reversals by creating a Japanese-style Notan design.

ART JOURNAL Have students do a five minute sketch about an emotion without using symbols or representative drawings. Students will then write about and/or discuss why they chose certain Art Elements and Design Principles to communicate the idea of their selected emotion.

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7.V.3 Create art using a variety of tools, media, and processes, safely and appropriately.

7.V.3.1 ​Apply safety knowledge to maintain a safe and orderly personal work space.

Follow established art safety rules and procedures

7.V.3.2 ​Compare media in order to choose the best option to create art.

After experimenting with a limited selection of media, choose the most appropriate one to solve the artistic problem

ALL MEDIA Create and display safety posters in the art classroom.

Teach safety procedures and responsibility/care for each tool and medium you use.

DRAWING Create the illusion of space in a drawing using one-point linear perspective.

PAINTING Create paintings using watercolor and tempera paint (continue to refine skills learned in Art 6).

PRINTMAKING Create a collagraph, monoprint, or single-color linocut.

SCULPTURE Create 3D work using paper, cardboard, wire, clay or found objects.

CONTEMPORARY CRAFT & DESIGN Create a tapestry weaving based on a viewfinder design that emphasizes color, texture, and movement.

Use slab or coil construction to create a vessel.

MIXED MEDIA/COLLAGE Create a still life collage using assorted papers.

DIGITAL MEDIA Create a digital object drawing/painting using a drawing app like ProCreate.

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7.V.3.3 ​Compare techniques and processes to create art.

Compare techniques and processes used to create art (such as contour line drawings, value techniques, color mixing, paint application, printmaking, clay hand building techniques, fibers)

DRAWING Expose students to a variety of dry media techniques. Use a variety of papers colors, types and textures. Processes and techniques may include: pencil:​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using a tortillon or eraser to blend or smudge colored pencils:​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, burnishing chalk:​ layering, blending, tonal grading, smudging, using an eraser to lighten crayons:​ layering, blending, tonal grading, applying variety of pressures, stippling, hatching, cross-hatching, sgraffito oil pastels:​ layering, blending, tonal grading, applying variety of pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using baby oil and a Q-Tip to blend or smudge, sgraffito markers:​ layering, blending, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using water and a brush to blend or smudge drawing pens:​ layering, blending, stippling, hatching, cross-hatching, controlled scribbling/scumbling PAINTING Expose students to watercolor and tempera paint techniques and processes. Use a variety of papers and brushes. Processes and techniques may include: watercolor:​ layering, blending, flat color and tonal grading, wet on wet, wet on dry, washing, dry brushing, lifting off, spattering, masking off, adding salt or rubbing alcohol, sponging, stencilling, scraping, incising, adding plastic wrap, experimenting with a variety of papers tempera:​ layering, blending, flat color and tonal grading, dry brushing, lifting off, spattering, sponging, stencilling, applying paint with a variety of consistencies, adding gel medium

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Compare techniques and processes used to create art (such as contour line drawings, value techniques, color mixing, paint application, printmaking, clay hand building techniques, fibers)

PRINTMAKING Expose students to a variety of printmaking techniques. Processes and techniques may include: collagraph:​ gluing, layering, cutting and tearing cardboard or foam, adding low relief objects, experimenting with inking tools and a variety of papers, exploring ink colors monoprint:​ exploring additive (ink drawing onto surface and then printing) techniques, exploring subtractive (inking surface and incising lines into the ink before printing) techniques, experimenting with inking tools and a variety of papers, exploring ink colors single -color linocut:​ experimenting with lino carving tools, experimenting with inking tools and a variety of papers, exploring ink colors

7.V.3.3 ​Compare techniques and processes to create art.

SCULPTURE Expose students to a variety of sculpting techniques. Processes and techniques may include: paper:​ papier-mâchéing , experimenting with 3D forms (e.g. creating cylinders, cones, prisms, cubes, scrunching), gluing, accordion folding, quilling, creating springs, slotting, scoring, fringing, creating negative cuts, spiraling, looping, curling, creating tabs, rolling, gluing and layering cardboard:​ experimenting with 3D forms (e.g. creating cylinders, cones, prisms, cubes, scrunching), gluing, accordion folding, creating springs, slotting, scoring, creating negative cuts, creating tabs, rolling, gluing and layering, creating surface texture clay: ​experimenting with different methods of construction (e.g. pinch, coil, slab, press mold, slump mold), exploring a variety of tools, creating a variety of decorative techniques (e.g. carving, stamping, painting with underglaze) found objects:​ gluing, layering, cutting and tearing with a variety of cardboards and other objects, painting, adding string, yarn or other textiles, adding low relief objects wire:​ bending, cutting, twisting, shaping, braiding, joining, using a variety of wire sculpting tools (e.g. jig, wire cutters, pliers), adding beads and other found objects, covering in papier-mâché or fibers

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Compare techniques and processes used to create art (such as contour line drawings, value techniques, color mixing, paint application, printmaking, clay hand building techniques, fibers)

CONTEMPORARY CRAFT & DESIGN Expose students to a variety of craft and design techniques. Processes and techniques may include: weaving:​ experimenting with a variety of weaving materials (e.g. string, yarn, twine, natural fibers, paper, wire), adding beads and other objects, experimenting with a variety of weaving patterns (e.g. tabby, twill, basketweave, herringbone, diamond twill), experimenting with weaving techniques (e.g. interlocking, twining, soumack, making/outlining a shape, warp wrapping, laid in weave), creating a variety of finished shapes and sizes, experimenting with a variety of looms ceramics:​ experimenting with different methods of construction (e.g. pinch, coil, slab, press mold, slump mold), exploring a variety of tools, creating a variety of decorative techniques (e.g. carving, stamping, painting with underglaze) textiles: ​ fabric painting, stitchery, batiking, silk painting, yarn painting

7.V.3.3 ​Compare techniques and processes to create art.

MIXED MEDIA/COLLAGEs Expose students to a variety of surface treatments, techniques and processes. Processes and techniques may include: collage:​ gluing, layering, cutting and tearing with a variety of papers, stencilling, stamping, sponging, texturing with gel medium, painting, glazing, adding writing/journaling, adding string, yarn or other textiles, adding low relief objects DIGITAL MEDIA Expose students to a variety of technology-based techniques. Processes and techniques may include: digital photography:​ photographing, editing, printing digital drawing/painting:​ creating actions digitally similar to drawing and painting digital collage:​ layering, stencilling, stamping, texturing, adding writing/journaling stop motion animation: ​ 2D pencil and paper drawn animation capturing, 3D found object animation capturing, editing, processing for viewing film-making:​ filming, editing, processing for viewing

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CONTEXTUAL RELEVANCY 7.CX.1 Understand the global, historical, societal, and cultural contexts of the visual arts.

7.CX.1.1 ​Understand the visual arts in relationship to the geography, history, and culture of modern societies from emergence of the First Global Age (1450) to the present.

Understand that art is a visual recording of history and a reflection of culture and geographic location (different cultures have different styles and symbols; some art serves both utilitarian and aesthetic purposes)

ART HISTORY/CRITICISM Discuss how the culture of the Renaissance influenced its art and architecture. Talk about important inventions, Humanism and its effects on education and secular art, the rise of realism and perspective and important architectural developments.

7.CX.1.2 ​Analyze art from various historical periods in terms of style, subject matter, and movements.

Discuss, compare and contrast selected artworks in terms of style, subject matter, and movements. Emphasis in 7th grade is on subject matter and its changes over time.

ART HISTORY/CRITICISM Discuss the thematic history of a particular subject matter, like animals, trees, or still-life objects. Talk about how the subject changes over time as new skills, materials, and ideas are acquired. Note how each artist applied his/her media, how he/she used tools, what unique vision the artist shared and how these factors relate to the time period in which he/she lived.

NOTE: ​ Although the specific cultures/time periods you discuss are not restricted to the beginning of human society to the emergence of the First Global Age, this clarifying objective presents an opportunity to connect with Social Studies Essential Standards.

PAINTING Research the blue dog paintings of George Rodrigue. Create a pet portrait.

DIGITAL MEDIA Research the evolution of the camera. Make a pinhole camera.

NOTE: ​ Although the specific cultures/time periods you discuss are not restricted to the beginning of human society to the emergence of the First Global Age, this clarifying objective presents an opportunity to connect with Social Studies Essential Standards.

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7.CX.1.3 ​Analyze the effect of geographic location and physical environment on the media and subject matter of African, Asian, and Australian art.

Examine art from Africa, Asia, and Australia to determine the connections to geographic location, physical environment, and available resources.

ART HISTORY/CRITICISM Discuss how the ​major geographical location and physical environment of Africa, like the Plateau region (feat. Mt. Kilimanjaro) or the Plains region (feat. the Nile River and the Sahara Desert) influence the media and subject matter of local artists. For example, sculpture and masks in West African cultures is typically made of wood because of the abundance of trees found along the Niger and Congo rivers.

SCULPTURE Create a geometric and highly stylized African papier-mache mask; paint and embellish with raffia, straw and other natural materials.

DESIGN Create a Japanese style scroll poetry book emphasizing calligraphy writing and illustrations.

CONTEMPORARY CRAFT After discussing the history of batik, create a crayon or paper batik using wax resist processes.

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7.CX.2 Understand the interdisciplinary connections and life applications of the visual arts​.

7.CX.2.1 ​Analyze careers in art and a variety of other careers in terms of the art skills needed to be successful.

Investigate artistic skills needed to be successful in various careers

7.CX.2.2 ​Select skills and information needed from other disciplines to solve artistic problems.

Identify skills and information learned in other disciplines necessary to create art

RESEARCH & DISCOVERY Research skills needed in different art careers.

ART JOURNAL Ask students to list characteristics a person would need to be successful in a certain career (e.g., graphic designer, engineer, forensic investigator). From that list, determine which skills are learned in Art. ANY APPLICABLE ASSIGNMENT OR STUDIO EXPERIENCE ​where art concepts naturally integrate with other school subjects; connections will need to be pointed out to students to reinforce understanding: ● Literature--symbolism, narrative, point of view ● Writing--generating personal responses to art (link to CR1.1) ● Math--using a ruler, types of symmetry, scale, proportion, geometric forms ● Science-- observational skills, analyze the body structures in order to represent the human form ● Social Studies-- reference art and artifacts from Asia, Africa, Europe, the Americas, and Australia from the Age of Exploration to the present ● Arts-- Elements and Principles in the other arts areas ● Technology-- portrait vs landscape orientation, careers Keep a log in your sketchbook of information and skills learned in other classes that you use in Art.

7.CX.2.3 ​Implement collaborative planning and art skills to solve problems.

Given a design problem, collaborate with a small group to plan a solution.

DESIGN Collaborate to create a group mandala using outdoor sidewalk chalk.

ANY APPLICABLE MEDIA Problem solve in small groups to find a creative solution an identified issue. Create an artwork that explains the solution.

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7.CX.2.4 ​Interpret visual images from media sources and the immediate environment through the context of art.

Interpret layout and design from a variety of media sources.

ART CRITICISM Choose a variety of mass-produced images from different sources. Discuss the artistic choices that have been made to create the image and packaging.

DESIGN Analyze cereal boxes for use of color, layout, font, and other aspects of design. Create an original cereal box using advertising strategies.

Used stylized lettering to write a phrase (song title, line in a poem, original thought) and use illustration and design to complement and enhance the message.

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CRITICAL RESPONSE 7.CR.1 Use critical analysis to generate responses to a variety of prompts.

7.CR.1.1 ​Generate responses to art using both personal and formal criteria.

Describe, analyze, interpret and judge a piece of artwork.

ART HISTORY Show students a piece of artwork and have them write a 4 paragraph critique (see Art Criticism section of this handbook).

Host an academic conversation with the entire class based on one or more pieces of artwork.

7.CR.1.2 ​Implement formative and summative evaluations of personal art.

Use a rubric and other formative feedback to evaluate and improve your artwork both in process and upon completion.

SELF ASSESSMENT Use a rubric to evaluate whether or not your work is successful. Make sure you have supporting evidence for your responses.

Evaluate the progress of a peer using a teacher generated formative response worksheet.

ART CRITICISM Have students “grade” a piece of artwork that is not their own using a rubric you provide them. Then discuss what is strong about the piece and how the artist can improve the work. This can be done as a mid-project peer critique, or as a way to help students understand how to use a rubric to improve their work.

Note: This activity is best if used when all of the rubric requirements are clearly not met.

This gives students more opportunity to use critical thinking skills.

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VISUAL LITERACY 8.V.1 Use the language of visual arts to communicate effectively.

8.V.1.1​ Use art vocabulary to evaluate art.

Evaluate art using appropriate vocabulary (Elements of Art, Principles of Design)

ART CRITICISM Plan activities such as artist reports, peer evaluations, critiques, and other methods to guide students in looking and talking about art (both their own work and the work of other artists) using the Elements of Art and Principles of Design.

Refer to Art Criticism Resource section.

8.V.1.2​ Apply the Elements of Art in the planning and creation of personal art

Apply the Elements of Art in planning and creating personal art

ANY APPLICABLE MEDIUM When discussing or creating art, focus on selected elements and principles (e.g. value for still-life drawings, texture for landscape paintings, proportion for portraits, pattern for weaving, or contrast for printmaking) DRAWING Create a composition on dark colored paper using white colored pencil.

Create a still life drawing that emphasizes one or more of the Elements of Art. for example, experiment with line quality or positive and negative space.

PRINTMAKING Using linoleum, experiment with texture, pattern and positive and negative space to create a multiple color reduction print.

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8.V.1.3 ​Identify how the Elements of Art and Principles of Design differentiate movements, contemporary styles, and themes in art

Compare movements, styles, and themes in art using the Elements of Art and Principles of Design.

PAINTING Compare and contrast the Hudson River School (e.g. Cole, Church) or the American West painters (e.g. Bierstadt, Remington) during the 1800s with examples of contemporary United States landscape painters. Create a landscape painting that borrows from one of these styles.

CERAMICS Discuss the varying firing styles, color choices, and functions of American Indian pottery (e.g.

Pueblo, Navajo, Hopi) and compare it to contemporary ceramics. Create a functional ceramic piece using some of these styles and techniques.

8.V.1.4 ​Analyze the relationship between the Elements of Art and Principles of design in art

Examine how and why the Principles of Design are comprised of one or more Elements of Art in a particular artwork

ANY APPLICABLE MEDIUM Plan Art Criticism activities that lead to a studio assignment inspired by a specific artist: How does a specific artist apply an element or principle to communicate in their work?

How can students apply these elements or principle successfully? (e.g. Monet used color to show how light changed the feeling/mood) DRAWING Bring in your favorite piece of fruit. Draw the fruit several times on the paper to show the process of the fruit being consumed.

Create the illusion of form and space in a drawing using two-point linear perspective.

PRINTMAKING Create a collagraph print using a repeated motif (radial, rotational, or mirror symmetry.)

PAINTING Locate strong compositions using a viewfinder, be able to explain how the elements and principles work together successfully. Further develop into a finished work of art.

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8.V.2 Apply creative and critical thinking skills to artistic expression.

8.V.2.1 ​Create art that uses the best solutions to identified problems.

Generate ideas, plan for the best solution, and produce a work of art based on a given design problem

ANY APPLICABLE MEDIA Brainstorm several ideas for each assigned studio assignment and demonstrate thought processes through sketches, digital idea files, and written annotations.

DIGITAL/MEDIA ARTS Imagine that your school is your client. Create several mock ups for a new school logo or web design header that communicates your school’s vision and/or mission statement.

8.V.2.2 ​Apply observation skills and personal experiences to create original art.

Create an observational work of art based on your personal experiences

DRAWING Further refine concepts of drawing and shading three-dimensional forms by having various objects available for students to draw. Students should select object based on their personal meaning or connection to the objects. Emphasize form, value, contour, proportion, and detail.

DRAWING/PAINTING After dividing paper into 7-10 spaces, draw from observation objects that students have selected that have a common theme or subject selected by the student.

Focus on contour lines and filling the space. Add value using colored pencil shading techniques, watercolor pencil techniques, and/or watercolor techniques.

PAPER ARTS Create a contour drawing of student-selected objects from observation; thicken the lines of the objects. Add more objects or designs if necessary to make sure everything connects.

Transfer to construction paper and use an X-Acto knife to cut out the negative spaces.

Repeat the process for 2-4 more layers of paper.

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8.V.2.3 ​Create original art that conveys one or more ideas or feelings

Create original art that conveys one or more ideas or feelings

DRAWING Create a portrait or self-portrait from observation. Further extend by drawing a self-portrait with facial expression; use color to convey mood.

COLLAGE Use drawing, painting, and other materials to create a narrative, symbolic collage in the style of Romare Bearden that illustrates an important life event. (Link to 8.CX.1.1 and Language Arts.)

DIGITAL/MEDIA ARTS Create a photo essay or 2 minute video that describes how it feels to win (or lose) a school related event like a football game, art contest, or academic competition. Tell that story through photos or video.

Expand your knowledge of Pablo Picasso and David Hockney by creating a self-portrait “joiner” photomontage. Instead of posing for the camera, do something characteristic of your personality (talk on your cell phone, read a book, listen to music, watch TV, play with your dog).

FIBERS Research quilts created by slaves during the Civil War in the United States and the quilts of Faith Ringgold. Discuss the symbolism and meaning of the quilt designs. Collaborate as a class to create a modern quilt that incorporates symbolism and/or tells a story. (Links also to 8.CX.2.3) SCULPTURE Create a self-portrait wire sculpture in the style of Alexander Calder. (Links also to 8.CX.2.3)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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8.V.3 Create art using a variety of tools, media, and processes, safely and appropriately.

8.V.3.1 ​Apply knowledge of safety and media to maintain and take care of work space and art

Follow established art safety rules and procedures

8.V.3.2 ​Use a variety of media to create art.

Create 2-D or 3-D art using a variety of media in drawing, painting, printmaking, sculpture, ceramics, contemporary crafts, and digital art.

ALL MEDIA Create and display safety posters in the art classroom.

Teach safety procedures and responsibility/care for each tool and medium you use.

DRAWING Create drawings using a variety of drawing pencils with varying lead qualities, charcoal, colored pencils, chalk, oil pastels, markers, pen and ink PAINTING Create paintings using watercolor, tempera, acrylic, and ink washes.

PRINTMAKING Create a collagraph, monoprint, single-color linocut, reduction print, or silkscreen print.

SCULPTURE Create 3D work using paper, cardboard, clay, found objects, wire, coiled fiber, and plaster.

CONTEMPORARY CRAFT & DESIGN Create a coiled fiber basket in the sweetgrass/pine needle traditions Explore the work of North Carolina potters (Seagrove, Catawba) and create a face jug or other vessel inspired by those traditions.

MIXED MEDIA/COLLAGE Examine the Surrealism movement and create a surrealist photo collage using magazines.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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Ideas for Lessons

8.V.3.3 ​Evaluate techniques and processes to select appropriate methods to create art

Given a limited selection of media and processes, choose the best one that is most appropriate to solve the artistic problem

DRAWING Expose students to a variety of dry media techniques. Use a variety of papers colors, types and textures. Processes and techniques may include: Pencil (including Ebony and other pencils of varying lead quality):​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using a tortillon or eraser to blend or smudge charcoal:​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using a tortillon/eraser to blend colored pencils:​ layering, blending, tonal grading, applying variety of pencil pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, burnishing chalk:​ layering, blending, tonal grading, smudging, using an eraser to lighten chalk pastels: ​layering, blending, tonal grading, smudging, using an eraser to lighten oil pastels:​ layering, blending, tonal grading, applying variety of pressures, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using baby oil and a Q-Tip to blend or smudge, sgraffito markers:​ layering, blending, stippling, hatching, cross-hatching, controlled scribbling/scumbling, using water and a brush to blend or smudge pen and ink:​ layering, blending, stippling, hatching, cross-hatching, controlled scribbling/scumbling

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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Ideas for Lessons

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Given a limited selection of media and processes, choose the best one that is most appropriate to solve the artistic problem

PAINTING Expose students to watercolor and tempera paint techniques and processes. Use a variety of papers and brushes. Processes and techniques may include: watercolor:​ layering, blending, flat color and tonal grading, wet on wet, wet on dry, washing, dry brushing, lifting off, spattering, masking off, adding salt or rubbing alcohol, sponging, stencilling, scraping, incising, adding plastic wrap, experimenting with a variety of papers tempera:​ layering, blending, flat color and tonal grading, dry brushing, lifting off, spattering, sponging, stencilling, applying paint with a variety of consistencies, adding gel medium acrylic:​ layering, blending, flat color and tonal grading, dry brushing, lifting off, spattering, sponging, stencilling, applying paint with a variety of consistencies, adding gel medium ink wash:​ layering, tonal grading, wet on wet, wet on dry, washing, dry brushing, lifting off, spattering, masking off, experimenting with a variety of papers

8.V.3.3 ​Evaluate techniques and processes to select appropriate methods to create art

PRINTMAKING Expose students to a variety of printmaking techniques. Processes and techniques may include: collagraph:​ gluing, layering, cutting and tearing cardboard or foam, adding low relief objects, experimenting with inking tools and a variety of papers, exploring ink colors monoprint:​ exploring additive (ink drawing onto surface and then printing) techniques, exploring subtractive (inking surface and incising lines into the ink before printing) techniques, experimenting with inking tools and a variety of papers, exploring ink colors single -color linocut:​ experimenting with lino carving tools, experimenting with inking tools and a variety of papers, exploring ink colors lino-reduction:​ experimenting with lino carving tools, experimenting with inking tools and a variety of papers, exploring ink colors silkscreen:​ exploring the use of stencils (e.g. emulsion, painted, photo types), experimenting with inking tools and a variety of papers, exploring ink colors

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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Ideas for Lessons

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Given a limited selection of media and processes, choose the best one that is most appropriate to solve the artistic problem

SCULPTURE Expose students to a variety of sculpting techniques. Processes and techniques may include: paper:​ papier-mâchéing, experimenting with 3D forms (e.g. creating cylinders, cones, prisms, cubes), gluing, accordion folding, quilling, creating springs, slotting, scoring, fringing, creating negative cuts, spiraling, looping, curling, creating tabs, rolling, gluing and layering cardboard:​ experimenting with 3D forms (e.g. creating cylinders, cones, prisms, cubes, scrunching), gluing, accordion folding, creating springs, slotting, scoring, creating negative cuts, creating tabs, rolling, gluing and layering, creating surface texture ​clay: ​experimenting with different methods of construction (e.g. pinch, coil, slab, press mold, slump mold), exploring a variety of tools, creating a variety of decorative techniques (e.g. carving, stamping, painting with underglaze) ​found objects:​ gluing, layering, cutting and tearing with a variety of cardboards and other objects, painting, adding string, yarn or other textiles, adding low relief objects ​wire:​ bending, cutting, twisting, shaping, braiding, joining, using wire sculpting tools (e.g. jig, wire cutters, pliers), adding beads and other found objects, covering in papier-mâché or fibers ​coiled fiber: ​wrapping yarn, string or other fibers around thick cording, wire, or scrunched ropes of wired newspaper ​plaster:​ casting, carving, creating surface textures, experimenting with plaster tools

8.V.3.3 ​Evaluate techniques and processes to select appropriate methods to create art

CONTEMPORARY CRAFT & DESIGN Expose students to a variety of craft and design techniques. Processes and techniques may include:​ weaving:​ experimenting with a variety of weaving materials (e.g. string, yarn, twine, natural fibers, paper, wire), adding beads and other objects, experimenting with a variety of weaving patterns (e.g. overshot, tabby, twill, basketweave, herringbone, diamond twill), experimenting with weaving techniques (e.g. interlocking, twining, soumack, making/outlining a shape, warp wrapping, laid in weave), creating a variety of finished shapes and sizes, experimenting with a variety of looms ​ceramics:​ experimenting with different methods of construction (e.g. pinch, coil, slab, press mold, slump mold), exploring a variety of tools, creating a variety of decorative techniques (e.g. carving, stamping, painting with underglaze) textiles: ​ coiling, fabric painting, stitchery, batiking, silk painting, yarn painting

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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Ideas for Lessons

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Given a limited selection of media and processes, choose the best one that is most appropriate to solve the artistic problem

MIXED MEDIA/COLLAGE Expose students to a variety of surface treatments, techniques and processes. Processes and techniques may include: mixed media:​ building structural 3D elements, gluing, layering, cutting and tearing with a variety of papers, stencilling, stamping, sponging, texturing with gel medium, painting, glazing, adding writing/journaling, adding string, yarn or other textiles, adding low relief objects collage:​ gluing, layering, cutting and tearing with a variety of papers, stencilling, stamping, sponging, texturing with gel medium, painting, glazing, adding writing/journaling, adding string, yarn or other textiles, adding low relief objects

8.V.3.3 ​Evaluate techniques and processes to select appropriate methods to create art

DIGITAL/MEDIA ARTS Expose students to a variety of technology-based techniques. Processes/techniques include: digital photography:​ photographing, editing, printing digital drawing/painting:​ creating actions digitally similar to drawing and painting digital collage:​ layering, stencilling, stamping, texturing, adding writing/journaling stop motion animation: ​ 2D pencil and paper drawn animation capturing, 3D found object animation capturing, 3D claymation capturing film-making:​ filming, editing, processing for viewing

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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Ideas for Lessons

CONTEXTUAL RELEVANCY 8.CX.1 Understand the global, historical, societal, and cultural contexts of the visual arts.

8.CX.1.1 ​Understand the visual arts in North Carolina and the United States in relation to history and geography.

Understand that art is a visual recording of history and a reflection of culture and geographic location (people select media based on available resources and technological advances; different cultures have different styles and symbols; art serves both utilitarian and aesthetic purposes)

ART HISTORY/CRITICISM Discuss how the culture of the American colonists influenced their art.

Discuss the difference between the art of early American settlers and the art of more established colonists. Talk about how the art products changed after the settlers became more established.

DESIGN Construct a paper weaving using overshot pattern techniques (based on Early American coverlets.)

PAINTING Create a flat-shape Pop Art style tempera painting using an everyday commercial object as the subject.

CERAMICS Create a coil pot with emphasis on form curvature and surface embellishments. (North Carolina pottery, Face Jugs) DIGITAL/MEDIA ARTS Create a digital poster advertising a North Carolina based craft (weaving, furniture, ceramics…). Advertise the unique qualities of that craft.

NOTE:​ ​ Although the specific cultures/time periods you discuss are not restricted to the beginning of human society to the emergence of the First Global Age, this clarifying objective presents an opportunity to connect with Social Studies Essential Standards.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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8.CX.1.2 ​Analyze art from various historical periods in terms of style, subject matter, and movements.

Discuss, compare and contrast selected artworks in terms of style, subject matter, and movements. Emphasis in 8th grade is on art movements.

ART HISTORY/CRITICISM Discuss how art movements develop. For example, how was Pop Art a reflection of the US economy in the 1950-1960s?

DRAWING or COLLAGE Create a Surrealist composition that juxtaposes unlike objects or proportions (scale).

NOTE: ​ Although the specific cultures/time periods you discuss are not restricted to the beginning of human society to the emergence of the First Global Age, this clarifying objective presents an opportunity to connect with Social Studies Essential Standards.

8.CX.1.3 ​Analyze the effect of geographic location and physical environment on the media and subject matter of art from North Carolina and the United States

Examine art from North Carolina and the United States to determine the connections to geographic location, physical environment, and available resources.

ANY APPLICABLE MEDIA Study and/or create artwork based on geographic regions of North Carolina (e.g. Seagrove and Catawba pottery, face jugs, basketry, textiles, furniture design) Study and/or create artwork based on geographic regions and art movements of the United States (e.g. Andy Warhol’s Pop Art,Hudson River Valley School, Georgia O’Keeffe New Mexican desert, Remington westerns, graffiti art, Romare Bearden, Inuit Totem Poles)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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8.CX.2 Understand the interdisciplinary connections and life applications of the visual arts​.

8.CX.2.1 ​Compare personal interests and abilities to those needed to succeed in a variety of art careers

8.CX.2.2 ​Analyze skills and information needed from visual arts to solve problems in art and other disciplines

Identify personal strengths and interests in art and explain how they could help you be successful in an art career

RESEARCH & DISCOVERY Complete an inventory of personal skills, interests, and strengths and then research art careers that employ those skills.

Reflect on a variety of skills that you use or learn in art

ANY APPLICABLE ASSIGNMENT OR STUDIO EXPERIENCE Keep a log in your sketchbook of information and skills learned in art that you use in other disciplines.

Discuss how the skills you use in art may apply to non-art careers

DIGITAL/MEDIA ARTS Become a photojournalist by photographing a newsworthy subject like a community event, sporting event, or local art opening. Use ​Publisher​ to create your own magazine page.

8.CX.2.3 ​Use collaboration to arrive at effective solutions to identified problems

Given a design problem, collaborate with a small group to plan multiple solutions and select the best one

PRINTMAKING As a group, create a design to etch into an acrylic sheet. Create a series of monoprints.

PAINTING Collaborate to design and paint a mural based on a given location and theme.

CERAMICS or SCULPTURE Design a “Pop Art” style café. Each student constructs “food” out of clay that will appear on the menu.

DESIGN or DIGITAL/MEDIA ARTS Pretend you are a customer looking for design work. Give the class your specs and have them create a design in their groups. Students will then do a “sales presentation” to the class.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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8.CX.2.4 ​Exemplify the use of visual images from media sources and technological products to communicate an artistic context.

Give examples of how design is used commercially to communicate a message

COLLAGE Create a collage portraying a group of people using a variety of papers and cloths. The emphasis needs to be on your idea of beauty. Resources: YouTube ​Dove Evolution​ video; The Young Artist​, by Thomas Locker DESIGN or DIGITAL/MEDIA ARTS Compose and photograph a still life using a quotation as an inspiration.

ART CRITICISM Analyze movie posters, trailers, or other advertisements to discern how and why the artist used certain art elements and design principles to communicate a message.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

NC Essential Standards Grade 8 Clarifying Objective

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CRITICAL RESPONSE 8.CR.1 Use critical analysis to generate responses to a variety of prompts.

8.CR.1.1 ​Use convincing and logical arguments to respond to art

8.CR.1.2 ​Critique personal art based on identified criteria

State an informed supposition about a given work of art and provide supporting rationale for your viewpoint

ART CRITICISM Given a specified quantity of art prints (can be online), have students curate their own museum exhibition based on a theme or concept. Explain choices through curator notes.

Assess work based on established criteria

SELF ASSESSMENT As you are working, use a rubric or checklist to assess your work and make improvements.

DIGITAL/MEDIA ARTS Have students look at a variety of computer generated fractal designs.. Open up discussion (small or large group) about whether computer generated works like these should be considered art.

ART CRITICISM Have students “grade” a piece of artwork that is not their own using a rubric you provide them.

Then discuss what is strong about the piece and how the artist can improve the work. This can be done as a mid-project peer critique, or as a way to help students understand how to use a rubric to improve their work.

Note: This activity is best if used when all of the rubric requirements are clearly not met. This gives students more opportunity to use critical thinking skills.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Instructional Tools for Visual Arts

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Using an Art Journal/Sketchbook Although collecting information and recording ideas for other projects is an important focus, an effective journal/sketchbook should be more than a tool for planning future artwork. The journal/sketchbook is a visual diary used as an artistic tool for self-discovery and a journey into the creative spirit of the art student and artist. It can be a place for students to explore concepts, philosophies, and personal politics, an idea diary combining images and text, or a personal record of occurrences, experiences, research, and reflection.

Students should know that completing visual arts from kindergarten through eighth grade (with no skips) allows them to pass over Beginning Art and be placed into Intermediate Art as a freshman in high school. This gives students a better opportunity to enter honors levels art courses. To demonstrate competency, students are required to submit a journal/sketchbook as part of their portfolio. It is highly recommended that middle school art students develop the practice of keeping one.

Consider redefining and broadening the definition of traditional sketchbook/journal, thereby pushing its limits and boundaries. An effective art journal/sketchbook can be: ● A medium for sketching what is right in front of you at the time, or for imagining what is only in your mind. ● A celebration of human relationships to be shared and cherished. ● A place to explore non-traditional materials. ● A book where all forms of text including song lyrics, quotations, poetry, philosophy, scenes from a play, newspaper articles, graphs, maps, infographics, and photocopied artwork can be a springboard for artwork. ● A place to be spontaneous with absolutely no right or wrong, only changes in direction. ● A place to create a planned out elaborately created image. ● A book that can have a theme to it. ● A book with random images, nothing that relates to anything. ● A book that includes all styles and all types of mark making. ● A place to explore a variety of techniques including collaging, drawing, scribbling, finger painting, ripping, cutting, pinking, stapling, weaving, taping, tabbing, gluing, texturing, and sewing. ● A place to explore traditional materials including pencil, pen, markers, colored pencils, watercolor paints, and pastels.

Assignments may include: ● Exploring watercolor ● Responding to an art print ● Writing a letter to an artist ● Imagining what the beginning of life looks like ● Testing out compositional ideas ● Responding to an artist quote ● Designing a new product ● Drawing what is inside your mind or your junk drawer ● Abstracting a postcard image ● Practicing shading techniques ● Creating a hybrid creature ● Responding to something political ● Responding to something in your environment ● Designing a bumper sticker ● Recording interesting patterns and textures.

See ​Quotes for Art Journals and Academic Conversations​ and Journal/Sketchbook Prompts​ for more ideas

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

6th Grade Sketchbook Assignments ● ● ●

Sketches must be ​complete, well drawn, and fill the space​. Plan on ​45 minutes to 1 ½ hours​ to complete each drawing. Use the provided rubric If you don’t understand a word in the instructions, look it up. If you still don’t understand, ask your teacher.

You must have a minimum of _____ completed drawings and rubrics in your notebook by the end of each quarter. Additional drawings will count as an extra formal assessment grade. Do not complete extra drawings unless you have time to follow the instructions carefully to completion.

Sketchbook Assignment 1

Take off your shoe and draw it. Pay attention to the design of the shoe. Include details like stitching and textures.

Re-draw your shoe if it were designed to wear it on your hand instead of your foot.

Draw your family members each with something they cherish.

2 3

Draw yourself as a baby.

Draw yourself as you are now.

Draw yourself 10 years from now.

Draw yourself 50 years from now.

Draw a non-stereotypical flower.

Draw another flower and make it appear dangerous.

Draw the most creative looking alien you can imagine. Now draw its environment and name this new planet.

4 5 6

9

Think of your school bus. Draw your friends on the way to school. Now draw your friends on the way home from school.

Illustrate the difference.

Google Rube Goldberg Machines. Design a sketch of your own machine in the style of Rube Goldberg. Show the start and finish and a way to indicate the movement or flow.

Draw from imagination, with as much detail as possible, if you were awakened by a crash in the middle of the night. Think about what would it might be from and show how loud it may be in your composition.

Draw your first name using objects or animals that represent your personality.

10

Imagine that you wake up in a Dystopian future. What does the world look like around you?

11

Draw your room (or part of your room) the way it looks BEFORE you clean it up. Add lots of detail.

12

Draw a pile of bicycles on the sidewalk. Think of something else you would see on the sidewalk. Draw it piled up.

13

Draw yourself as an African animal. Visually describe how the animal you choose reflects your personality. Your may use colored pencils to enhance your drawing if you wish.

Draw at least four studies of your face making different facial expressions. Use rich detail to create strong studies. No not create cartoon images!

7 8

14 15

Think like an architect and draw a room in your dream home. Add lots of detail.

16 17

Create a still life on your table. Use objects that have a variety of textures, patterns, and surface qualities. Then draw the objects you have arranged using lots of detail.

Create a detailed drawing of the family junk drawer in your home.

18

What does it look like inside the world’s biggest creativity factory?

DUE DATES:

Quarter ____:

Quarter ____:

Due

Grade

Charlotte-Mecklenburg School Visual Arts Middle School Curriculum Guide

7th Grade Sketchbook Assignments ● ● ●

Sketches must be ​complete, well drawn, and fill the space​. Plan on ​45 minutes to 1 ½ hours​ to complete each drawing. Use the provided rubric to guide your mastery.

If you don’t understand a word in the instructions, look it up. If you still don’t understand, ask your teacher.

You must have a minimum of ____ completed drawings in your notebook by the end of each quarter. Additional drawings will count as an extra formal assessment grade. Do not complete extra drawings unless you have time to follow the instructions carefully to completion.

#

Sketchbook Assignment

1 2

Draw a picture of yourself as if you grew flowers or plants instead of hair. Visually describe something about your personality through the drawing. ​No stereotype daisy flowers!

Make a drawing that illustrates the phrase “I have come to a juncture in my life”.

3

Think of something that is, in your opinion, not pretty. Draw it with great detail. Re-draw the object, but this time, make it pretty.

4

6

Design an intricate and detailed tattoo for a recognizable person like a celebrity, a teacher, a sport figure, or a historical figure.

Use the design of the tattoo to show the person’s character. Your audience should know who you’ve designed your tattoo for without you having to add the person’s name to the drawing. Add color to enhance your meaning.

Design a hit single cover for an imaginary musical group. Visually describe the kind of music and song through your drawing. (no gang signs, peace signs, drug references, trite, unoriginal, or violent imagery will be accepted) Draw a parade celebrating something unusual. Add detail to show sounds, smells, and sights. You may use colored pencils to enhance your drawing.

7

Draw what you think a garden would look like from the viewpoint of an insect.

8

Crumple a magazine photograph or advertisement.

Draw it crumpled up using at least 6 values of gray (darks and lights).

Be sure to pay attention to what you can and cannot see, only draw what you can see.

Draw 15 things that hatch from eggs in one interesting composition.

5

9 10

12

Draw a bird, cat, dog, fish, snake, leopard, and lobster doing something together. Make your audience believe that these animals belong together in the same composition.

Create a series of water sketches on the same sheet of paper. Draw moving water in a stream.

Draw a drop of water into a still puddle. Combine moving and still water into a drawing.

Lie on your stomach and draw everything you see at that eye level. Be sure to add all details, textures, shading and highlights.

13

Draw an apple, banana and a wrench. Be sure to overlap the objects and show the reason these objects are grouped together in your composition.

14

Using one piece of paper, make a drawing that is totally truthful. Then, make a drawing that lies all over the place. Finally, make a drawing that is completely impossible.

Draw the Brooklyn or San Francisco Bridge with lots of detail. Draw the Bridge over a small body of water (i.e. bathtub, puddle, creek).

11

15 16 17

Draw yourself as a little kid. Show yourself engaging in one of your favorite childhood activities. Then, draw yourself as an elderly person engaging in the same activity.

Draw a person sleeping. Draw a person dreaming. Draw a person waking up. Show something important about the personality of the person you draw.

18

Draw yourself as an original cartoon character. Make sure to include yourself doing something expressive of your personality.

DUE DATES: Quarter ____:

Quarter ____:

Due

Grade

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

8th Grade Sketchbook Assignments ● ● ●

Sketches must be ​complete, well drawn, and fill the space​. Plan on ​45 minutes to 1 ½ hours​ to complete each drawing. Use the provided rubric to guide your mastery.

If you don’t understand a word in the instructions, look it up. If you still don’t understand, ask your teacher.

You must have a minimum of ____ completed drawings in your notebook by the end of each quarter. Additional drawings will count as an extra formal assessment grade. Do not complete extra drawings unless you have time to follow the instructions carefully to completion.

#

Sketchbook Assignment

1

Draw a portrait of yourself as an insect. Visually describe how the insect you choose reflects your personality.

2

4

Cut out a photo from a magazine.

Cut the picture into small pieces and arrange them in some other order.

Glue the scrambled pieces onto the left side of the page, and then draw the arrangement onto the right side of the page.

Show at least 6 values of gray in your shading and highlighting.

Draw a ​translucent​ apple, pear, and a banana. Make the contours and details as accurate as possible. Give a purpose as to why these objects appear together in your composition.

Draw a reflection of your reflection in a store window.

5

Copy the Mona Lisa. Recompose the Mona Lisa and draw it again to suit you. Recompose the Mona Lisa to suit your art teacher.

6

Make a drawing that is pure propaganda using any issue you feel strongly about.

7

Make a drawing that illustrates the phrase “There is an insufficiency of intellect.” You may use colored pencils to enhance your drawing if you wish.

8

Draw detailed portraits of your best friends as cards; the king, queen, and jack as the suits of your choice (hearts, clubs, spades, and diamonds).

Capture something about each friend’s personality in your drawings.

Draw at least four studies of your hands in a variety of positions. Draw your hand holding an object in at least 2 of the drawings. Use rich detail to create strong studies. NO TRACING! Draw at least four studies of your feet with no socks or shoes. Use rich detail to create strong studies. NO TRACING!

3

9 10 11

14

Draw your greatest fear, your biggest hope and your dream for the future in a single composition. Show how the drawings relate and use rich detail.

You may use colored pencils to enhance your drawing.

Draw an idea that came into your head through your ears.

Draw an idea that came into your head through your fingers.

Draw an idea that came into your head through your feet.

Get out your favorite T-shirt and wad it up. Draw it with rich detail, pay attention to the lights and dark areas in the folds. Show at least 6 values of gray in your shading and highlighting.

Draw an egg that is fully shaded and highlighted. Then imagine you are a cookbook designer. Show at least three ways to cook eggs.

15

Draw the inside of a coffee shop. Visually describe the people, smell, and feeling of your surroundings.

12

13

16

Visually describe your favorite color without using any color.

17

Draw a woman wearing a big hat and a man wearing a mask (not a superhero). Visually describe why these 2 people are in the same composition.

18

Draw what you look like when you first wake up in the morning. Reveal how you feel an addition to how you look.

DUE DATES: Quarter ____

Quarter ____

Due Grade

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Journal/Sketchbook Prompts (additional prompts may be developed using Essential questions found in the Lesson Plan area) There are many careers in art. For example, some artists choose to Imagine that sounds emanate colors. What color(s) would a child’s be art teachers, golf course designers, glass blowers, or museum laughter make? A car crash? A waterfall? Make a list of 10 directors. Make a list of at least 20 art related careers. sounds and the colors you associate with each sound.

Create a T chart. On one side, list things you can see but cannot feel/touch. On the other side, list things you can feel/touch but cannot see.

Pretend Crayola has hired you. Create 20 new names for crayon colors.

Use a photographic reference to illustrate a dream, an illusion, or fantasy. Use a variety of images on which to base your work.

Describe the journey that has taken you furthest from home. Use your 5 senses to make the journey real to the reader.

Why are art museums important?

Which quality is more important to an artist: creativity or skill?

Explain why you think so.

Examine the following quote: The journal of a thousand miles must begin with a single step. Explain how this quote relates to you as an artist.

Study the painting Starry Night by Vincent van Gogh. Create a poem, at least 8 lines in length that describes the painting.

How is the art of making a collage like having a daydream?

Must a work of art be beautiful to be successful? Why or why not?

Support your answer.

A creative block is a fear about the future, a wall we erect to ward off the anxiety we think we will experience if we sit down to work.

How can one overcome a creative block?

All of us do a better job of pointing a finger at someone else rather than admitting our own faults. Take the first step and write down your flaws and defects. What can you do starting now to become a better artist and human being?

Find lyrics to a song you identify with. Illustrate with images.

Design a bumper sticker that states your position in an environmental issue.

Without looking at anyone’s eyes, create a drawing of a human eye.

Now look closely at a classmate’s eye and create a second drawing. Write about how the two drawings differ.

Create a list of things you can do with a paperclip aside from clipping papers together.

Make a list of 20 things you want to do before you die.

In his notebooks, Leonardo da Vinci wrote that people should be able to look at stains on a wall and see marvelous images. What surfaces have you stopped and studied? What did you see?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Journal/Sketchbook Prompts Fine arts reflects our culture. What does the music that is popular with people your age say about your generation? How would you show this in a visual work of art?

Make a list of 20 good things people have said about you. Do you notice a pattern? Do people see you differently than you see yourself?

Write an acceptance speech for your Oscar, Tony, Nobel Peace Prize or other important award you will win.

Use only text to create an artwork. Add color, texture, pattern, unity (and/or other elements and principles) for expression.

Some people feel the best works of art are very realistic. Others prefer abstract art. Which type of art do you think is best? Explain your answer.

Back in their ancestral country, most families had a crest or coat of arms. It often depicted the family’s line of work or special attributes (such as courage or valor or whatever made them stand out).

Design your own family crest.

One of the most basic graphic design forms is the poster. List some In order to be creative, an artist has to be aware of his or her important qualities of an effective and eye-catching poster. senses and emotions. How does it feel to have the sun warm you?

Express this feeling in words and in a non objective sketch.

Which of the following do you think most influences a person to become an artist: desire, talent, practice, environment, or During his career as an artist, Ben Shahn showed his concern for encouragement? Explain why you think so. society by drawing and painting works of art that depicted social issues involving politics and tragedies. What messages do you feel Invent something that would make your life as a middle school are important for artists to portray? Why? better. Draw your invention, label its parts and write a sales pitch If you were a common household utensil, what would you be and for it. why?

Art is an important part of our daily lives. From a newspaper to a milk carton, art is all around us. List as many everyday things as you can think of that art is a part of.

There must be something that really bugs you, something that’s been eating at you for months. Instead of silently stewing, write a letter to the editor.

Write down 10 fortunes you’d like to find in a Chinese fortune cookie.

Create a new daytime game show. What is the name of the show?

What are the rules? What are the prizes?

React to a class activity using only images. What did you think of the project, demonstration or test? What is of value to you?

If you were a common household utensil, what would you be and why?

Make a list of 20 good things people have said about you. Do you notice a pattern? Do people see you differently than you see yourself?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Journal/Sketchbook Prompts How do you feel about showing your artwork to a family member?

A friend? A stranger? What makes one experience different than another?

Create a new daytime game show. What is the name of the show?

What are the rules? What are the prizes?

Design your own family crest.

Invent a toy you wish you had as a kid. What would it look like?

What would it do?

In his notebooks, Leonardo da Vinci wrote that people should be able to look at stains on a wall and see marvelous images. What surfaces have you stopped and studied? What did you see?

Some people feel the best works of art are very realistic. Others prefer abstract art. Which type of art do you think is best? Explain your answer.

In order to be creative, an artist has to be aware of his or her senses and emotions. How does it feel to have the sun warm you?

Express this feeling in words and in a non objective sketch.

(Show students a few Impressionistic paintings) Some Impressionistic paintings were considered shocking during the 19th century. What would you say to a person living in the 19th century who thought these paintings were strange?

Discuss what you believe makes a work of art great.

Back in their ancestral country, most families had a crest or coat of arms. It often depicted the family’s line of work or special attributes (such as courage or valor or whatever made them stand out).

The best artists are very observant. They take careful notice of everything they see, such as the sun shining through a cloud or the texture of a leaf. Write about one vivid visual experience you have had. Describe all the details you can remember.

Imagine that you are only six inches tall. Describe what a walk through your locker would look like from this perspective.

History comes alive through art. In what ways do artists interpret and use history?

Architects consider how buildings affect people. They must plan for everything from open spaces to trash container locations. Do you Empathy is a quality that most artists possess. It is the ability to feel think your school as well designed? Why or why not? What how others feel. How do you think a tree feels when children are improvements would you make to its design? climbing on it? When a hurricane is blowing? When it is being chopped down? Tell why you think so in each case.

As artist uses tools he/she can best express ideas with. What is your favorite artist’s tool?

Think of the type of business you would like to open someday.

Design a business card and logo for the business.

How does a face change as it ages? Draw a picture of what you believe your face will look like at age 20 and again at age 70.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Journal/Sketchbook Prompts When an artist paints a portrait, he/she attempts to capture the spirit and character of the person, not just the likeness. If an artist were to create a portrait of you, what would it look like?

(Show students a few paintings by Vincent van Gogh) Vincent van Gogh died penniless in 1886 yet his paintings sell for millions of dollars today. Many artists, like van Gogh, and their works do not become famous until after the artists have died. Why do you think this is so?

New technology allows us to explore deeper areas of the ocean than we ever have before. We now know about new types of fish and other sea creatures that we did not know existed. Describe a type of sea creature that might be discovered someday, then create a sketch of the creature.

Illustrate or write about the scariest nightmare you have ever had.

What scene would you choose as the background for a self-portrait?

A drummer can produce different rhythms by tapping the drums at different rates. Describe how different rhythms can be produced in art.

The introduction of cameras changed the demand for realistic portraits in paint. How do you think computers and other technology will affect future art and artists?

Texture is how something feels when you touch it, such as fuzzy or rough. List as many different textures as you can.

How do artists help us see life in new ways?

Some West African women create patterns and symbols on the outsides of their homes for good luck, to show family identity, or to make visitors feel welcome. Describe a design you could put on the outside of your bedroom door and explain its purpose.

Describe or draw yourself as a fanciful creature.

What are some of the reasons that people create works of art?

Artists are usually well-rounded individuals because the teachings of art apply to so many other areas of learning. For example, learning how to draw a 3-D cylinder helps you understand geometry. Tell how you might use what you have learned in art to help strengthen your knowledge in science, social studies, language arts, and math.

Name a time from the past when you would have liked to live as an artist. Explain why you chose that time, and write a description of the kind of art you would have created.

Write a list of dos and don’ts for using a paintbrush, magic marker, or set of oil pastels.

(Show students a print of Rodin’s The Thinker) The Thinker is a famous sculpture. It shows a person deep in thought. Describe a sculpture you would make with one of the following names: The Troublemaker, The Writer, The Joker.

What would you say to someone who has told you he/she plans to become an artist?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Journal/Sketchbook Prompts How can artists help us understand other people?

Some scientists say that our creativity is the one thing that sets people apart from animals. Do you agree or disagree with this statement? Support your answer with examples and research.

Imagine that you have just created the most delicious snack ever.

Design the package for this tasty treat.

Some artists focus on the overall visual quality of our environment.

Think of an unattractive area nearby. Make suggestions for improvements and changes in landscaping to make this area more pleasing.

Cave artists didn’t have art supplies like we do. What might they have used as paint and brushes? How were early cave artists similar to and different from many artists today?

What are some ways artists represents things we cannot see or touch, such as emotions?

Some colors can be aggravating. Name a color you strongly dislike and explain why?

Describe or sketch a piece of furniture that could qualify as a work of art. Why would it be considered art?

(Show students works by Grandma Moses and Michelangelo) Grandma Moses painted for pleasure. Michelangelo was a professional painter who worked for money. Do you think one reason is better than the other? Why? How might the reasons these people created art affect the final work?

The same work of art can mean different things to different people.

This is called perception. What factors influence a person’s perception of a work of art?

Describe what you think a day in the life of an artist is like.

What would life be like if on Friday people could only wear yellow?

(Show students a painting by Wassily Kandinsky) Artists send wordless messages through their use of lines, shapes, and colors.

Describe the messages you get when looking at this painting.

List some things you think are beautiful that other people may not.

Explain why you feel the way you do.

If you could meet any artist, living or dead, who would you choose to meet? Why?

Compare and contrast poetry and painting. Do you think you could express more feeling in a painting or a poem? Tell why.

How do you think the classical artists would feel about using technology to create art?

Some valuable paintings are sold at auction. List the qualities an auctioneer may want to point out in order to raise the selling price of a painting.

Why do you think children seem to be more creative than adults?

What information can you learn about an artist by looking at his/her work?

Imagine you want to open an art store in your local mall. What types of art should you carry in order to be successful?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Journal/Sketchbook Prompts Invent a new holiday. Maybe you want a holiday where everyone honors pie by eating it for breakfast, lunch and dinner. Maybe you’d like to celebrate Shakespeare’s birthday. Come up with some justification for your new holiday (do some research, talk to other people) and write a letter to Hallmark Cards (you don’t have to send it unless you want to) and explain the significance of this new holiday. Hallmark’s address is 2501 McGee, Kansas City, MO, 64108.

When artists came to our continent with early explorers, the artists drew pictures of the new land and people to show everyone in the Old World. In what ways do today’s artists show us new places and times?

Embroidery and quilting are examples of American crafts.

Brainstorm some others.

Rows of trees inspired the Greeks to build repeated columns of the Parthenon. List other objects in nature that suggest patterns you could use in your artwork.

Describe the requirements for a good art class or a good art teacher.

Beauty is in the eye of the beholder. What does this saying mean to you?

Design an invitation to your first art opening.

Sources include: ​ Art Journal Topics​ by McDonald, ​Affirmations for Artists​ by Eric Maisel,​ Art and Soul​ by Pam Grout

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Essential Questions for Visual Arts Essential questions must be open ended, provocative and debatable. They should be answered with evidence. They can be revisited over and over. They should cause students to evaluate, synthesize, and analyze. When writing Essential questions, ask Which one? How? What if?

Should? Why?

DATE EQ What conditions, attitudes, and behaviors support creativity and innovative thinking?

What factors prevent or encourage people to take creative risks?

How can student artwork be unique when everyone in class works from the same set of guidelines/instructions?

How does collaboration expand the creative process?

How does knowing the contexts, histories, and traditions of art forms help us create works of art and design?

How does art expand our thinking?

What is art?

Which is more important, skill or creativity?

Why is art necessary?

How do artists benefit society?

How can I use my artist abilities to benefit my school, community, city, state, nation and/or world?

If you were to leave behind your own legacy for future generations, what would it would be and why?

How can we ensure that conflicts lead to constructive change and a positive outcome for everyone involved?

What qualities and characteristics make a person “mature” and “responsible”?

What role(s) do I play in defining my own future?

In a culture where we are bombarded with other people trying to define us, how do we make decisions for ourselves?

What is the difference between taking inspiration from artwork and copying?

IDEAS FOR LESSON TIE INS e.g. first days of school

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Essential Questions for Visual Arts DATE EQ Why do artists follow or break from established traditions?

How do artists determine what resources and criteria are needed to formulate artistic investigations? How do artists work?

How do artists and designers determine whether a particular direction in their work is effective?

How do artists learn from trial and error?

How does color influence the mood and message of an artwork?

How do artists and designers care for and maintain materials, tools, and equipment?

What responsibilities come with the freedom to create?

How do objects, places, and design shape lives and communities?

How do artists and designers determine goals for designing or redesigning objects, places, or systems? How do artists and designers create works of art or design that effectively communicate?

What role does persistence play in revisiting, refining, and developing work?

How do artists grow and become accomplished in art forms?

What do I need to learn to express my idea?

How do I see the world differently?

What do I have to say through my art?

What inspires me?

How does collaboratively reflecting on a work help us experience it more fully and develop it more completely? Why do people value objects, artifacts, and artworks and select them for presentation?

How does refining an artwork affect its meaning to the viewer?

What role does graphic design play into consumer choices?

How are visual and performing art skills used to help us adapt to an ever-changing technological world, and to construct suitable creative expressions of this world in visual art, dance, theater and music?

IDEAS FOR LESSON TIE INS

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Essential Questions for Visual Arts DATE EQ What is the role of the visual and performing arts in developing interdisciplinary projects that investigate relevant issues in local, national and global communities?

What role does graphic design play in consumers' choices?

How do artists use nature as inspiration?

What criteria are considered when selecting work for presentation, a portfolio, or a collection?

What is the purpose of an art museum?

How does the presenting and sharing of artworks influence and shape ideas, beliefs, and experiences?

How do you know when you are finished with a piece of art?

How does learning about art impact how we perceive the world?

What can we learn from our responses to art?

What is an image?

What would happen if students didn’t have art in school?

What if the cultural revolution had never happened?

How can art be a vehicle for change?

What are the benefits and consequences of questioning/challenging authority?

Why do the public’s opinions about some artist’s works change over time?

In a culture full of ideas and images of what we should be, how do we form an identity that remains true and authentic for the individual?

What ways do we use art in everyday life?

What is the difference between truth and fact?

How do different cultures shape our definitions of good and evil?

What does the term “global community” mean to you and why is sustaining it important?

How do life experiences influence the way you relate to art?

IDEAS FOR LESSON TIE INS

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Essential Questions for Visual Arts DATE EQ Why do we study art to examine our past, present, and future?

How do you define the term “perfection” in contrast to how it is portrayed in our pop culture media?

What is your vision of a “perfect society” and how would you describe it visually?

If you were to leave behind your own legacy for future generations, what would it would be and why?

Are there universal characteristics of belief systems that are common across all cultures? What are they and how can they bring us together?

What makes art worth viewing, and why should we do it?

How can we use art to help solve everyday problems?

How can you make a convincing case about a problem that inspires people to take action?

How does the study of art history help us realize that ideas and actions of individuals and groups have consequences and shape events?

What strategies can you use to make art come alive for a viewer?

How does an artist create meaning in a artwork, and what makes that meaning valid?

What can the art forms of other cultures teach us about ourselves and about life?

When and how do we encounter images in our world?

How do images influence our view of the world?

What is the value of engaging in the process of art criticism?

How can the viewer “read” a work of art?

How does knowing and using visual art vocabularies help us understand and interpret works of art?

How and why might criteria vary?

How is a personal preference different from an evaluation?

How does creating in multi-media enhance the viewer’s understanding of the work?

How does the editing process shape the mood and meaning of a video?

IDEAS FOR LESSON TIE INS

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Essential Questions for Visual Arts DATE EQ How does art help us think about people from the past?

What will art be like 10, 20, 30 years from now?

What inner and outer factors influence how we express ourselves artistically?

What is art and why do individual cultures place so much value on its continuing evolution?

How do artists select subject matter on which to base their work?

What choices must an artist make before beginning a work of art?

Do audiences and consumers have any responsibility towards artists? If so, what are they?

What kinds of responsibilities does an artist have to an audience or a consumer?

What are the fundamental differences between a “thoughtful” and a “thoughtless” critique?

What sparks the creative process?

How will technology change the way images are constructed and interpreted?

What are some sustainable problems in your community and how could you solve them through art?

How can the principle of rhythm (or another principle) be incorporated into an artwork?

How has art changed through time?

Is the artist’s intention relevant to the viewer?

What would happen if there was no art in your community, state, or nation?

What is the purpose of public art?

How can we create a collaborative piece of art that gives viewers information about our home state?

Sources include Essential Questions from National Art Standards and middle school art teachers

IDEAS FOR LESSON TIE INS

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Academic Conversation Teaching students to engage in academic conversation will build their engagement with content; vocabulary usage, knowledge, awareness of different perspectives, empathy, cultural understanding, connections, sustained focus, critical thinking skills and personal voice.. Spending time in conversation will also develop students’ life skills, giving them experience in participating in conversations outside of school and into their adult lives.

The majority of students are taught in situations where the teacher asks a question and the student responds with an answer. Sustained questioning continues the question/response format for several ‘rounds’. In a class that supports conversation between students, the students initiate the questions and together they seek the answer. Students must be taught how to engage in conversation. To practice, broad issues related to content can be initiated. As students learn how to take a stance, provide evidence, and use their speaking and listening skills, more specific and relevant conversations can be implemented.

Guidelines for Hosting an Academic Conversation 1. Establish an environment of respect.

5. Use “ I “ statements.

2. Understand there will be differences of opinions and perspectives.

Students should respect the differences.

6. Understand there is not a ‘winner’ in the conversation. Rather it is an exchange of information to understand and learn from a variety of viewpoints.

3. Students should practice listening skills.

7. If a dialogue becomes negative in nature, a member feels ‘pressured’, or students begin to argue, the conversation should be stopped.

4. Before responding, students should clarify what the other person has said.

See Literacy Integration under Arts Integration for skills to encourage academic conversation.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Academic Conversation Suggested academic conversation question starters: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

What process of art making is most difficult?

Does art help students become critical thinkers?

Should art be made for enjoyment or functional reasons?

No one can make money from studying art Andy Warhol and Keith Haring: Which of the two do you feel better represents the pop art style?

After watching a video and then attending a gallery, defend your position on why or why not art is better viewed live.

Should visual artists be concerned with their impact on the environment?

Today’s students while tech savvy are info gullible - if it’s on line, it’s true.

Is it necessary to research the history of the arts in order to understand the content today?

Should students art work be available for purchase?

If you were teacher for a day, what changes would you make in art class and why?

Should there be a specified art room in every school?

Should students always follow the Art Teacher’s instruction or should the students rely on their own creativity?

Does color affect mood?

Can technology be used to create art?

Why did you choose that title for your work of art and what evidence in your image supports the title?

Take a biography written about an artist and compare and contrast it to a movie made about the same artist. Which do you feel was a better representation?

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What art movement do you feel was the most beneficial to American society? Support your answer Write a letter to school board to argue/justify arts as a requirement for graduation Should art be free or should you have to pay for it?

Is one medium of art more valued than another?

Art has to be realistic to be considered art Does participation in the arts improve student’s outlook on life?

Does studying Art and Music enhance your intelligence?

Which art form is more expressive - collage or painting?

What is your favorite way to learn about something touch, hear, see, or other?

Should school field trips be replaced with virtual field trips?

Choose the arts and other cultural experience be supported by government or private (public) venues?

Why would you choose a specific medium or style for a specific work Does art need a audience?

What style of art best represents your family culture and why?

Is it okay to be taken out of arts classes if you are struggling academically?

Is Jackson Pollack a real artist?

Are the arts becoming dependent on technology?

How does this artwork make you feel? Explain/support our claim Is digital art as creative as doing a painting?

Did cubism or impressionism have a bigger impact on the way people viewed art?

Which artist has been most influential in the 20th century?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Academic Conversation Suggested academic conversation question starters: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Do you think that the number of Arts credits for graduation should be increased? Why or why not?

When an artist makes a print, should their assistants be considered artists too?

Do all artists need to have formal training?

Would graffiti art and body art be considered part of the visual arts community?

What do you feel is the best way to evaluate art?

How do you define art?

Can our environment affect your art?

Should ta money be used for public art?

Would you rather own a famous piece of art or meet and discuss the art with the artist?

Should the arts be mandatory to incorporate in other academic courses?

Students should have performance-based tests in visual and performing arts.

What grade do you deserve on your assignment? Give three reasons to support your answer Arts are not as important as the Core curriculum. Agree?

How do warm colors make you feel and why?

Should a student be able to choose what he/she does in art class?

Which art movement do you think influenced the art world more: Impressionism or Cubism?

Should the arts be a tested subject?

Describe why the art creates mood.

Who decides if art is good?

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Can involvement in the arts help teens stay out of trouble.

Are computer generated graphics authentic work for the 21st century student?

Can artists be inspired by music to create art?

Should we teach Digital or Analog Photography?

Would masterpieces be used in advertisements?

Censorship is sometimes justified.

Arts for art's sake: why are the arts essential to a child’s education?

Do video games have a positive or negative impact on mind and body?

Argue why a work of art that you do not like is successful.

Does art need to be beautiful?

Which is better to use: recycled materials vs. new materials?

Does art enhance your life?

Can movies or videos influence a culture?

What makes a new art form credible and should everyone be recognized in their own genre?

Only art that looks realistic can be considered good.

Using information gathered, which state would you rather live in: North Carolina or another state you studied? Justify your answer based on geography, weather, economy, and cultural arts availability.

Should students be allowed to take online art classes in place of face to face art classes?

Do the arts make you a better person?

Are tattoos really art?

Should art be required in all elementary schools?

Does art enhance learning in all subjects?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Academic Conversation Suggested academic conversation question starters: ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Do you feel that copyright laws within the arts are fair and equitable?

Is graffiti vandalism or art?

Should graffiti be included in museum exhibits?

Do graphic novels make students better readers?

Are graphic novels art or literature?

Do you consider the wrapping objects in material a form of art?

Art can be made without elements and principles> How is point of view integral to the work?

Are internet posts copyright protected?

Compare and contrast surrealist artists to fiction authors.

After completing your own design, defend your position on why copyright laws should or should not be followed.

Can an animal be considered an artist?

Should government fund the arts?

Should artists be able to borrow creative ideas from others and use it as their own work?

Choose your favorite artist and explain why you like them.

Which art form allows an individual to express himself/herself the most freely?

Discuss the life of an artist and how this influences their art.

Debate how their art might have been different if their lives were Do you feel visual arts should be more focused on aesthetics, technique or personal voice?

Is performance art “art” or “theater”?

Is advertising information or manipulation?

An artist is only as good as his or her imagination.

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If you have a choice, would you rather be an author or illustrator and why?

Is art important in daily life?

What would happen if arts education was not available?

Do reality shows have a positive impact on the popularity of the arts?

Does participation in the arts increase graduation rates?

Has the media affected the appearance of Art and its usage?

Which do you think is more important creating or sharing a creation?

Do you have to be a professional artist to teach in your subject?

What skills do you have to have to be an artist? Explain.

Do art museum visits help students relate to a historical event?

What effect does the media/pop culture have on the arts?

Defend your position.

Realistic art is easier to comprehend than abstract art.

Compare and contrast specific works by same artist.

Does participating in the arts have a negative or positive impact on your education?

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation The object of art is not to reproduce reality, but to create a reality of the same intensity. --Alberto Giacometti

Great art is as irrational as great music. It is mad with its own loveliness. --George Jean Nathan

Painting from nature is not copying the object; it is realizing one’s sensations. --Paul Cezanne

When my daughter was about seven years old, she asked me one day what I did at work. I told her I worked at the college and that my job was to teach people how to draw. She stared back at me, incredulous, and said, You mean they forget? --Howard Ikemoto

With the most primitive means the artist creates something that the most ingenious and efficient technology will never be able to create.

--Kasimir Malevich

It has bothered me all my life that I do not paint like everybody else.

--Henri Matisse

The triumph of anything is a matter of organization. --Kurt Vonnegut The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. --Albert Einstein

We learn to do something by doing it. There is no other way. --John Holt

The nature of the work is to prepare for a good accident. --Sidney Lumet

Even beauties can be unattractive. If you catch a beauty in the wrong light at the right time, forget it. I believe in low lights and trick mirrors. I believe in plastic surgery. --Andy Warhol

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks. --Emil Nolde

The true mystery of the world is the visible, not the invisible. --Oscar Wilde

Art is the stored honey of the human soul, gathered on wings of misery and travail. --Theodore Dreiser

Though a living cannot be made at art, art makes life worth living. It makes living, living. It makes starving, living. It makes worry, it makes trouble, it makes a life that would be barren of everything--living. It brings life to life. --John Sloan

When my daughter was about seven years old, she asked me one day what I did at work. I told her I worked at the college and that my job was to teach people how to draw. She stared back at me, incredulous, and said, ‘You mean they forget’? --Howard Ikemoto It has bothered me all my life that I do not paint like everybody else.

--Henri Matisse

Don’t be an art critic, but paint, there lies salvation. --Paul Cezanne What is drawing? How does one come to it? IT is working through an invisible iron wall that seems to stand between what one feels and what one can do. How is one to get through that wall--since pounding at it is of no use? In my opinion one has to undermine that wall, filing through it steadily and patiently. --Vincent van Gogh

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation We learn to do something by doing it. There is no other way.

--John Holt

An artist cannot speak about his art any more than a plant can discuss horticulture. --Jean Cocteau

There are two men inside the artist, the poet and the craftsman. One is born a poet. One becomes a craftsman. --Emile Zola

If you are not skillful enough to sketch a man jumping out of a window in the time it takes him to fall from the fourth story to the ground, you will never be able to produce great works. --Eugene Delacroix

Art is a collaboration between God and the artist, and the less the arts does the better. --Andre Gide The people who make art their business are usually imposters. --Pablo Picasso Always use the sketch to feel your way, and go ahead confidently when it comes to executing the picture. --Eugene Delacroix Truths are more likely to have been discovered by one man than by a nation. --Descartes All art is a revolt against man’s fate. --Andre Malraux

It is the mission of art to remind man from time to time that he is human, and the time is ripe, just now, today, for such a reminder. --Ben Shahn You can learn a lot from people who view the world differently than you do. --Anthony D Angelo If a man wants to be sure of his road he must close his eyes and walk in the dark. --St. John of the Cross To see is to forget the name of the thing one sees. --Paul Valery Art washes away from the soul the dust of everyday life. --Pablo Picasso

We have art in order not to die of the truth. --Nietzsche Be not astonished at new ideas; for it is well known to you that a thing does not therefore cease to be true because it is not accepted by many.

--Spinoza Doroga k Zvjozdam Otkrita (The way to the stars is open) --Serge Koroljov

Art is an attitude towards life. If you aim your work and your life high, keep your scene harmonious, the you’re an artist and your life is art.

--Gage Taylor Art, like morality, consists of drawing the line somewhere.

--G.K. Chesterson Art is a form of catharsis. --Dorothy Parker

Our lives are dyed the colors of our imagination. --Marcus Aurelius The voyage of discovery is not in seeking new landscapes but in having new eyes. --Marcel Proust

Where those who are not creative are trying to close the book, the artist opens it and shows there are still more pages possible. --Robert Henri Art is a lie that makes us realize the truth. --Pablo Picasso

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation A little nonsense now and then, is cherished by the wisest men.

--Roald Dahl from Charlie and the Chocolate Factory

Now there’s nothing wrong with a trap if you have the courage to just leave it. --David Hockney

Art is food for the hands and mind. --Curt Weathersbee The painter draws with his eyes, not with his hands. --Maurice Grosser Art is either plagiarism or revolution. --Paul Gauguin Life beats down and crushes the soul and art reminds you that you have one. --Stella Adler

Art is the most intense mode of individualism that the world has known.

--Oscar Wilde In the future, everyone will be famous for fifteen minutes.

--Andy Warhol One does not discover new lands without consenting to lose sight of the shore for a very long time. --Andre Gide

If my husband would ever meet a woman on the street who looked like the women in his paintings, he would fall over in a dead faint. --Mrs. Picasso

Poor is the pupil who does not surpass his master.

--Leonardo da Vinci

A painting is never finished. It simply stops in interesting places. --Paul Gardner

In art the hand can never execute anything higher than the heart can inspire. --Ralph Waldo Emerson

An artist is a creature driven by demons. He doesn’t know why they chose him and is usually too busy to wonder why.

--William Faulkner It takes a very long time to become young. --Pablo Picasso

In our time there are many artists who do something because it is new; they see their value and their justification in this newness. They are deceiving themselves; novelty is seldom the essential. This has to do with one thing only; making a subject better from its intrinsic nature.

--Henri de Toulouse-Lautrec

There are poets and grownups. --Jean Cocteau

Painting is just another way of keeping a diary. --Pablo Picasso

The artist is the antenna of the race. --Ezra Pound

With an apple I will astonish Paris. --Paul Cezanne

The art of a people is a true mirror of their minds.

--Jawaharlal Nehru

I can’t teach you to be an artist; all I can do is help you learn to see.

--J.P. Loveless

All great art is by its very essence in conflict with the society with which it coexists. --Erich Fromm

Art disease is caused by a hardening of the categories.

--Adina Reinhardt

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation Learning to draw is really a matter of learning to see correctly and that means a good deal more than merely looking with they eyes.

--Kimon Nicolaides We don’t make these pictures to make money. We make money so that we can make more pictures. --Walt Disney Art is not an end in itself, but a means of addressing humanity.

--Modest Mussorgsky We work not only to produce but to give value to time.

--Eugene Delacroix What is real is not the external form, but the essence of things it is impossible for anyone to express anything essentially real by imitating its exterior surface. --Constantin Brancusi The true work of art is but a shadow of the divine perfection --Michelangelo Art is an effort to create, beside the real world, a more human world.

--Andre Maurois

Red protects itself. No color is as territorial. It stakes a claim, is on the alert against the spectrum. --Derek Jarman Some see things and say, Why? But I dream things that never were and say, Why not? --George Bernard Shaw Keep away from people who try to belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great. --Mark Twain Though we travel the world over to find the beautiful, we must carry it with us or we find it not. --Ralph Waldo Emerson All passions exaggerate; it is because they exaggerate that they are passions. --Sebastien-Roch Nicolas de Chamfort For me, art isn’t something you carry up to an East Side Manhattan apartment in an elevator. --James Turrell We are much informed of a writer’s genius by what he selects as by what he originates. --Ralph Waldo Emerson

A hunch is creativity trying to tell you something. --unknown Example moves the world more than doctrine. --Henry Miller If, when looking at a work of art, you feel an emotion, even if that emotion is disgust, then the item has passed the first test.

--Hieronymous Bosch Art tis the expression of an enormous preference.

--Wyndham Lewis I’m in tune with the right vibrations in the universe when I’m in the process of working. --Louise Nevelson

It is difficult to stop in time because one gets carried away. But I have that strength; it is the only strength I have. --Claude Monet One type of concentration is immediate and complete, as it was with Mozart. The other is plodding and only completed in stages, as with Beethoven. Thus genius works in different ways to achieve its ends.

--Stephen Spender

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation Architecture is inhabited sculpture. --Constantin Brancusi If there is no struggle, there is no progress. --Frederick Douglass Mistakes are the portals of discovery. --James Joyce

Helped are those who create anything at all, for they shall relive the thrill of their own conception. --Alice Walker I paint not by sight but by faith. --Amos Ferguson The artist is the world’s scapegoat. --Jacob Epstein

It was important that I learn that what I wanted was no different from what other artists wanted; confidence that I could be my own censor, audience, and competition. --Beverly Pepper

The hallmark of courage in our age of conformity is the capacity to stand on one’s own convictions. --Rollo May

Go on working, freely and furiously, and you will make progress.

--Paul Gauguin

People ask for criticism but they only want praise.

--W. Somerset Maugham

There are some days when I think I’m going to die from an overdose of satisfaction. --Salvador Dali

I, too, find the flower beautiful in its outward appearance; but a deeper beauty lies concealed within. --Piet Mondrian

Art is a delayed echo. --George Santayana

Paint the essential character of things. --Camille Pissarro

Good art won’t match your sofa. --Fred Babb

I don’t want to discount talent and ability, but I still maintain that a lot of it is just sheer desire. --Don Henley

Let not the author eat up the man, so that he shall be all balcony and no house. --Ralph Waldo Emerson

Every man prefers belief to the exercise of judgement. --Seneca

When I am working on a problem, I never think about beauty. I think only how to solve the problem. But when I’ve finished, if the solution isn’t beautiful, I know it’s wrong. --Buckminster Fuller Something awful happens to a person who grows up as a creative kid and suddenly finds no creative outlet as an adult. --Judy Blume Putting off an easy thing makes it hard, and putting off a hard thing makes it impossible. --George Lorimer

Doubt is what gets you an education. --Wilson Mizner Always dream and shoot higher than you know how to. Don’t bother to just to be better than your contemporaries or predecessors. Try to be better than yourself. --William Faulkner It may be that those who do most, dream most. --Stephen Leacock Painting is no problem. The problem is what to do when you’re not painting. -- Jackson Pollock

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation The very freedom and expressiveness we find missing in life we find present in art. --Nicholas Wolterstorff

The superior man understands what is right; the inferior man understands what will sell. --Confucius

Life is a series of collisions with the future. --Jose Ortega y Gassett

Painting is a self-disciplined activity that you have to learn by yourself.

--Romare Bearden

How do you paint yellow wheat against a yellow sky? You paint it jet black. --Ben Shahn I have always been more interested in creating a character that contains something crippled. I think nearly all of us have some kind of defect. --Tennessee Williams I’ve spent my life making blunders. --Pierre-Auguste Renoir

Doubts must be resolved alone within the soul. Otherwise one would profane one’s own powerful solution. --Wassily Kandinsky The first key to wisdom is assiduous and frequent questioning. --Peter Abelard I’ve handled color as a man should behave. You may conclude that I consider ethics and aesthetics as one. --Josef Albers

Let us proclaim that the sidewalk can climb up your table, that your head can cross the street, and that at the same time your household We teach people how to remember, we never teach them how to lamp can suspend between one house and another the immense spider grow. --Oscar Wilde web of its dusty rays. --Umberto Boccioni I still have an insane drive to create and express myself, and it’ll never stop because I don’t know how to stop it. --Graham Nash I dip my pen in the blackest ink, because I am not afraid of falling into my inkpot. --Ralph Waldo Emerson Believe nothing, O monk, merely because you have been told it.

--Siddhartha Painting is easy when you don’t know how, but very difficult when you do. --Edgar Degas I cannot expect even my own art to provide all the answers--only to hope it keeps asking the right questions. --Grace Hartigan Criticism comes easier than craftsmanship. --Zeuxis There is neither painting, nor sculpture, nor music, nor poetry. The only truth is creation. --Umberto Boccioni

If an artist has no experience before he makes a painting or a sculpture, he is not an artist. --Naum Gabo

The heart to conceive, the understanding to direct, and the hands to execute. --Junius

The spectacle of the sky overwhelms me. I’m overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun.

--Joan Miro

Craft must have clothes, but truth loves to go naked. --Thomas Fuller

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation Interest in the changing seasons is a much happier state of mind than being hopelessly in love with spring. --George Santayana

I am very depressed and deeply disgusted with painting. It is really a continual torture. --Claude Monet

This is the last of the human freedoms--to choose one’s attitude in any given set of circumstances, to choose one’s own way. --Viktor Frankl

There are moments on most days when I feel a deep and sincere gratitude, when I sit at the open window and there is a blue sky or moving clouds. --Kathe Kollwitz

My work has always been involved in exposure. The subject matter is the paint the the paint speaks of human needs. --Jany Snyder I get asked to shows--women’s shows, black shows--but I won’t be bought until I’m asked to be in shows without race and gender adjectives in the title. --Maren Hassinger I have the feeling that I’ve seen everything, but failed to notice the elephants. --Anton Chekov How much has to be discarded before reaching the naked flesh of feeling? --Claude Debussy

Artistic growth is, more than anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the great artist knows how difficult it is. --Willa Cather The defining function of the artist is to cherish consciousness.

--Max Eastman I hope I shall be able to make some drawings in which there is something human. --Vincent van Gogh All the really good ideas I ever had came to me while I was milking a cow. --Grant Wood

Art is idea. It is not enough to draw, paint, or sculpt. An artist should be able to think. --Gurdon Woods

All ideas are to some extent subversive. --Albert Gerard

What if imagination and art are not frosting at all, but the fountainhead of human experience? --Rollo May

Every aspect of the universe is a swirling caldron of possibility.

--Joseph Chilton Pearce

A man becomes creative, whether he is an artist or a scientist, when he finds a new unity in the variety of nature. He does so by finding a likeness between things which were not thought alike before.

--Jacob Bronowski

If your heart is pulling you in a direction that has mystery and wonder, trust it and follow it. --David Wilcox

The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a passing shape, from a spider’s web. --Pablo Picasso

Never ask whether you can do something. Say instead that you are doing it. Then fasten your seatbelts. --Julia Cameron The painting has a life of its own. I try to let it come through.

--Jackson Pollock

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation One life is frittered away by detail...Simplify, simplify!

--Henry David Thoreau Less is more. --Arni Ratia All art, and most knowledge, entails either seeing connections or making them. Until it is hooked up with what you already know, nothing can ever be learned or assimilated. --Ralph Caplan The world of reality has its limits; the world of imagination is boundless.

--Jean Jacques Rousseau

A love of nature is a consolation against failure. --Berthe Morisot The Louvre is a good book to consult but it must only be intermediary.

The real and immense study that must be taken up is the manifold picture of nature. --Paul Cezanne The originality and inventiveness of the solution depend as much on talents for finding and formulating problems as on the technical skills for solving the problems once they are found. --J. W. Getzels

What I intended to express was dynamic movement in equilibrium.

--Piet Mondrian

The sublime and the ridiculous are often so nearly related, that it is difficult to class them separately. One step above the sublime makes the ridiculous, and one step above the ridiculous makes the sublime again. --Tom Paine

A spark is yet to come to transform the inert elements of design into a composition with life of its own. That spark is the idea. --Paul J. Grillo

The person who wants to enhance his creative processes must indulge in the practice of catching similarities. --Sylvano Arieti

The artist is not a different kind of person, but every person is a different kind of artist. --Eric Gill

Nothing in the entire universe ever perishes, believe me, but the things vary, and adopt a new form. --Ovid

A ship in port is safe, but that’s not what ships are built for.

--Grace Hopper

The real achievement in discoveries is seeing an analogy where no one saw one before. --Arthur Koestler

There’s as much risk in doing nothing as in doing something.

--Trammell Crow

We can never understand a picture unless we grasp the ways in which it shows what cannot be seen. --W. J. T. Mitchell

No one ever achieves greatness by playing it safe. --Harry Gray

Nothing is more dangerous than an idea when it is the only one you have. --Emile Chartier

If you spend too much time warming up, you’ll miss the race. If you don’t warm up at all, you may not finish the race. --Grant Heidrich A doctor can bury his mistakes but an architect can only advise his client to plant vines. --Frank Lloyd Wright

If you do not expect the unexpected you will not find it, for it is not to be reached by search or trail. --Heraclitus

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation Try? There is no try. There is only do or not do.

--Yoda, in ​The Empire Strikes Back What marks the artist is his power to shape the material of the pain we all have. --Lionel Trilling Every artist dips his brush in his own soul, and paints his own nature into his pictures. --Henry Ward Beecher It does not matter how badly you paint, just so long as you don’t paint badly like other people. --George Edward Moore Once you concentrate on organizing, ideas fall into place with an almost audible click. --Jane Harrigan The rule that precedes all others is: Follow the rule before breaking it.

--John Nevison

Beauty is brought about by judgement of the eye. --Shakespeare Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun. --Pablo Picasso A work of art is made primarily to be appreciated, not criticized.

--Stephen Pepper Our hopes are so far ahead of our abilities. When we are satisfied, perhaps we haven’t aimed high enough. --Rex Brandt No great thing is created suddenly any more than a bunch of grapes or a fig. If you tell me that you desire a fig, I answer you that there must be time. Let it first blossom, then bear fruit, then ripen. --Epictetus Form ever follows function. --Louis Sullivan Beauty is the purgation of superfluities. --Michelangelo

Take an object. Do something to it. Do something else to it.

--Jasper Johns There is a kind of perspective called aerial perspective which depends on the thickness of the air. --Leonardo da Vinci The whole business is largely a confidence trick. Half the battle in learning to draw is believing and knowing that you can.

--Rowland Hilder You don’t get hung up on the scalpel if you’re a surgeon. You get hung up on what the scalpel will do. --Artie Shaw

We work not only to produce but to give value to time.

--Eugene Delacroix The merit of originality is not novelty; it is sincerity. --Thomas Carlyle Once a mere collection, the art museum is by way of becoming a sort of shrine, the only one of the modern age. --Andre Malraux In the evening I go up in the desert and spend hours watching the sun go down, just enjoying it, and every day I go out and watch it again. I draw some and there is a little painting and so the days go by.

--Georgia O’Keeffe

The painting is usually finished before you are. --Rex Brandt Plan like a turtle, paint like a rabbit. --Ed Whitney

The painter must leave the beholder something to guess.

--E. H. Gombrich

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation The art of being wise is the art of knowing what to overlook.

--William James If arithmetic, measuring, and weighing be taken out of any art, that which remains will be not much. --Plato Perspective is to painting what the bridle is to the horse, the rudder to the ship. --Leonardo da Vinci Painting is only a bridge linking the painter’s mind with that of the viewer. --Eugene Delacroix

Take nothing for granted as beautiful or ugly. --Frank Lloyd Wright People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.

--Roy Lichtenstein Art is a jealous mistress, and if a man has a genius for painting, poetry, music, architecture, or philosophy, he makes a bad husband and an ill provider. --Ralph Waldo Emerson Inspiration may be a form of super consciousness, or perhaps of subconsciousness--I wouldn’t know. But I am sure it is the antithesis of self-consciousness. --Aaron Copland

No one can draw more out of things than he already knows. A man has Nobody sees a flower--really--it is so small it takes time--we haven’t no ears for that to which experience has given him no access. time--and to see takes time, like to have a friend takes time.

--Nietzsche --Georgia O’Keeffe Q: Monsieur Matisse, how do you see an orange?

A: It depends on if I’m going to buy it, eat it, or paint it.

A true work of art can stand many seeings, revealing anew at each seeing. --John Marin Adventures don’t begin until you get into the forest. That first step is an act of faith. --Mickey Hart Beauty is that which excites the soul. --Gage Taylor Only when he know longer knows what he is doing does the painter do good things. --Edgar Degas

To live a creative life, we must lose our fear of being wrong.

--Joseph Chilton Pearce Painting is an attempt to come to terms with life. There are as many solutions as there are human beings. --George Tooker Chance is always powerful. Let your hook be always cast; in the pool where you least expect it, there will be a fish. --Ovid I have made my world and it is a much better world that I ever saw outside. --Louise Nevelson

Perhaps someday everyone will have neurosis. --Vincent van Gogh

Art is everywhere, except it has to pass through a creative mind.

--Louise Nevelson

You often find your destiny on the path you take to avoid it. --Chinese Proverb

My originality consists of putting the logic of the visible to the service of the invisible. -- Odilon Redon

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Quotes for Art Journals & Academic Conversation It is better to know some of the questions than all of the answers.

--James Thurber Culture is the sum of all forms of art, love, and thought which has enabled man to be less enslaved. --Andre Malraux

Shoot for the moon, even if you miss you will land among the stars.

--Les Brown The universe will reward you for taking risks on its behalf.

--Shakti Gawain

I am enough of an artist to draw freely upon my imagination.

Imagination is more important than knowledge. Knowledge is limited.

Imagination encircles the world. --Albert Einstein

Artists who see perfection in everything are those who cannot attain it in anything. --Eugene Delacroix

What lies behind us and what lies before us are tiny matters, compared to what lies within us. --Ralph Waldo Emerson

It takes courage to grow up and be who you really are.

--E. E. Cummings

Like an ability or a muscle, hearing your inner wisdom is strengthened by doing it. --Robbie Glass

Creativity is the marvelous capacity to grasp mutually distinct realities and draw a spark from their juxtaposition. --Max Ernst

Experience, even for a painter, is not exclusively visual. --Walter Meigs

All thing, regardless of their dissimilarity, can somehow be linked together, either in a physical, psychological, or symbolic way.

--Buckminster Fuller

What doesn’t kill me makes me stronger. --Albert Camus Undoubtedly, we become what we envisage. --Claude M. Bristol I merely took the energy it takes to pout and and wrote some blues.

--Duke Ellington A nation in which a congressman can seriously ask, “Do you think the artist is a special person?” is a nation living in cultural jeopardy.

--James Thurber Art enables us to find ourselves and lose ourselves at the same time.

--Thomas Merton

First I have tried to achieve the highest quality of technical facility possible so that I have at my fingertips the availability to create anything I want. Then I paint. --Audrey Flack The dignity of a nation will not be judged by her ability to make money, but by her ability to produce art. --Willi Schmidt Man’s mind, stretched to a new idea, never goes back to its original dimensions. --Oliver Wendell Holmes How vain is it to sit down to write when you have not stood up to live.

--Henry David Thoreau

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Four Paragraph Art Critique PARAGRAPH ONE

PARAGRAPH THREE

DESCRIPTION: ​ ​If you had to fill out a “missing artwork report” at the police

INTERPRETATION: ​ ​If you had to give a meaningful name to this artwork,

station, how would you describe the work? Report the facts as accurately and completely as possible. What do you see? How can you identify this artwork?

Hint:​ It may help you to consider the following information: Size Medium Used (e.g. pencil, oil pastel, india ink, crayon, colored pencil, clay, tempera paint, chalk) Process Used (e.g. drawing, painting, collage, sculpture, printmaking, batik, resist) Subject Matter (e.g. self-portrait, landscape, cityscape seascape, design study, people, animals, buildings, wildlife, plants, non-objective)

what would you call it? Explain the reason for your choice.

Hint:​ It may help you to consider the following questions: What is happening?

What is the theme?

What ideas are being expressed?

What does it mean to you?

What moods/feelings are expressed?

What do you think the artist is trying to communicate?

How does the artwork relate to you or an experience in your life?

PARAGRAPH TWO

PARAGRAPH FOUR

ANALYSIS: ​ ​Continue your “missing artwork report” to include information

JUDGMENT:​ ​ Prove that the artwork is successful according to one or more

about how the artist has used the lines, shapes, colors, forms, textures, space.

Map out the basic parts of the artwork. Tell what, where, when, who, why, and how many.

Hint:​ It may help you to consider the following information: What lines, shapes, colors are used the most?

Which objects stand out the most and why?

Are some parts of the artwork repeated in a pattern? Where?

What textures do you see?

Does the artist use a color scheme? If so, what is it?

Does the artwork look balanced or unbalanced?

Does the artist show a sense of rhythm or movement?

How has the artist applied unity?

of the following established art theories:

Imitationalism: ​ All art should imitate what we see in the real world. The most important part of the work is the illusion of reality.

Formalism:​ All art should be interesting in its use of textures, colors, lines, shapes, and other elements and principles of art. The most important part of the work is the planned organization of the elements and principles of art.

Emotionalism:​ All art should speak to the viewer through her or his emotions. The most important part of the work is the purposeful mood the artist communicates.

Hint:​ Start your paragraph with​ “I think this artwork is successful because… it is realistic OR ...it has a sense of rhythm OR ...it makes me feel” depending on what theory you are trying to prove. Then, prove your theory using specific details from the artwork.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Inquiry-Based Art Critique Student Name: Date:

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Copyright and Plagiarism Guidelines for Artists What is Copyright Infringement?

Copyright:​ a form of legal protection prohibiting others from copying one’s creative work without permission.

Copyright infringement occurs when an artist copies another’s work without asking the original artist first.

What is Plagiarism?

Plagiarism:​ failing to cite sources and engaging in the act of passing someone else’s work or ideas off as one’s own Plagiarism occurs when an artist turns an artwork in (for a class project or a contest) knowing that the original idea was someone else’s. Even after you ask permission to use someone else’s artwork, you STILL have to give that artist credit.

Did You Know?

1. Most people understand that images published in a book, magazine, or newspaper are copyright protected. Unfortunately, many people do not believe the same rights extend to the internet. ​Just because you find an image/artwork online, that does not give you

permission to use it.​ Contrary to popular belief, MOST images and artworks that can be found on the internet are copyright protected.

The safest way to see if you ​have permission to​ use a particular image on the internet is to access the ​Search Tools​ function in Google Images.

After selecting ​Search Tools​, select ​Usage Rights​. You will then be directed to search for images that are ​labeled for reuse​ or ​labeled for reuse with modification​.

2. ​Copying a protected image without permission is unlawful. ​ You may only use a work of art if the original artist gives you permission and you cite the work when submitting it for grading or for competition/contests. The only exceptions to this is if the work falls into the Fair Use​ category or if it is in the ​Public Domain​.

Fair Use:​ Using pieces or portions of copyrighted images or artwork without permission when they are considered “fair”.

Fair Use​ is based on the nature of the original work, the circumstances in which it will be used (e.g. for educational purposes), and whether the work will be changed/transformed significantly. Because images are so readily available on the internet, ​Fair Use​ has gotten very complicated and is best decided by a lawyer. If you are not sure that ​Fair Use​ applies to the artwork you wish to use, assume that it does not and ask permission. The following flowchart helps to explain fair use on the internet: ​http://visual.ly/can-i-use-picture

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Copyright and Plagiarism Guidelines for Artists Public Domain:​ ​refers to creative materials that are not protected by copyright, trademark, or patent laws. Works in the ​public domain​ are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. In other words, the ​public​ owns these works, not an individual author or artist.

Although anyone can use a ​public domain ​work without obtaining permission and no one can ever own it, someone CAN own the rights to the photograph or reproduction of the work.​ Therefore, if you plan to copy the Mona Lisa to use in your work, you will most likely require permission from the person/company who photographed or reproduced the work.

Note: Even if you are given permission to use another artist’s work, most art teachers and art contest officials generally frown on this practice because the resulting artwork would probably not be original or inventive.

3. ​There is no set percentage of a work that can be safely copied to avoid copyright and plagiarism issues.​ It is always better NOT to copy a recognizable work without significantly changing/transforming it, creating what is known as ​transformative work​.

It may be tempting to draw upon something you see on Pinterest, Etsy, Deviantart, Tumblr, or Flickr. These sites contain endless pieces of artwork that may, at first glance, seem anonymous. If you are browsing ideas here, assume many other artists are as well.

Transformative work: ​ work that is based on another existing work where the result has new meaning, adds to the existing meaning, or transforms (changes) the art in a significant manner Ways to​ transform ​your work may include combining parts of several images into a new image that uses pieces and parts of all of the images you collected. The book, Design Synectics, contains information on how to use design “triggers” (see book called Design Synectics by Nicholas Roukes). These triggers can help you transform your work into something new.

4. ​ Changing the colors, size, and/or medium of an original work can still lead to copyright and plagiarism issues. ​ This creation is considered ​derivative work​. For example, you can’t take a photograph you found on the internet and create a collage based on it, even though the colors and media may be different.

Derivative Work:​ work that is based on (derived from) another existing work

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Copyright and Plagiarism Guidelines for Artists What are some safe ways to find images? ●

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USING PHOTOS AS REFERENCES:​ You ARE allowed to use generic photos as a reference for a larger piece of work. For example, you could look at multiple photos of buildings in one-point perspective before creating an original one-point perspective drawing; look at multiple types of horizon lines before painting a landscape; look at multiple photos of a horse to analyze its body structure before creating a collage.

OBSERVATIONAL SKETCHING:​ Get into the habit of taking your sketchbook everywhere. Sketch out anything you see, especially if you think you might use it later for creating your artwork.

DIGITAL DOCUMENTATION: ​Take lots of photos, print them and/or upload them to a folder on Google Drive (or use Google Images).

Note: If you take photos of people you don’t know, you need to ask permission first.

COPYRIGHT FREE IMAGE SEARCH:​ Search for copyright free image sources. The internet has a wide variety of sites and there are many printed source books that you can access. ​Note: Even if you are using copyright free images, it is always better NOT to copy a recognizable work without significantly changing/transforming it.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Elements of Art & Principles of Design Elements of Art & Principles of Design are considered the basic language of art much like the letters of the alphabet. The first strand in the North Carolina Standard Course of Study is ​Visual Literacy​ which relates to the language of art, how it is organized, and how it is used to communicate as a language of its own. One of the Essential Standards that crosses all grades is “ Use the language of art to communicate effectively”. Under that Essential Standard are several Clarifying Objectives which address the Elements of Art and Principles of Design. The Elements are not meant to be taught in isolation through working with technique sheets. Rather, students should be taught the elements, a variety of applications, and how they work together to create the Principles of Design. Best practice is to teach this through analyzing art and applying the elements and principles when creating art.

ELEMENTS OF ART Line

Shape and Form

Texture

Space

Use of Line produces movement/ rhythm; creates pattern; and defines shape and space. A line can vary in direction and change in quality. Line can show depth, stimulate texture, indicate stress and produce excitement. It can be sketchy, emphatic, searching, controlled or free.

Shapes appear as two dimensional and occupy an enclosed space on a plane.

Form appears three dimensional and encloses volume.

Shape and form are often illustrated by lines, but can be created by texture or color. They can occupy positive and negative space in a drawing. They can be outlined or solid, produced by a line or brush in any media.

Overlapping shapes can create new shapes and establish special relationships. Arrangement of shapes or forms can create rhythmic patterns.

Textures can be actual or simulated. Drawing on certain papers or gessoed surfaces will provide an overall textured feeling.

However, most drawn textures are an illusion produced on a flat surface by the artist.

Texture and pattern can be discussed as surface quality of materials. The differences between tactile and visual qualities of texture and how pattern is different from texture can be explored.

Spaces are areas or voids surrounding shapes and masses.

The importance of negative shapes and spaces, as well as, positive shapes and spaces should be emphasized.

Spatial perspective can be accomplished by changes in: ● Overlapping ● Size ● Placement ● Detail ● Color ● Converging LInes (See technique sheet) Types of Space: 2-D Space 3-D Space Depth One point Two point Vanishing Point

Line Varieties: Vertical Horizontal Diagonal Curved Implied Zigzag Broken Jagged Thin Thick Dark

Shape Varieties: Natural Organic Geometric

Types of Textures: Tactile Visual Implied Applied Pattern Surface

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Elements of Art & Principles of Design ELEMENTS OF ART Line​ (continued from previous page)

Light Scribble Hatching Crosshatching Pointillism Variation Movement Natural lines Implied lines Actual lines Converging Diverging Contour Gesture Ascending Descending

Shape/Form ​ (continued from

Texture ​ (continued from

Space​ (continued from previous

previous page)

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Abstraction Figure/Ground Positive/Negative Non-Objective Curvilinear Angular Emotional Impact

Surface Quality: Rough Smooth Dull Sharp Soft Slick Furry Scaly Hairy Dimpled

Linear Perspective Positive Space Negative space Picture plane Spatial Perspective Composition Point of View

previous page)

Shape Quality: Heavy Light Smooth Textured Repetition Rhythm Dominance Pattern

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Elements of Art & Principles of Design ELEMENTS OF ART Color The study of color is a process of understanding the mechanics of color mixing, the dynamic of the color wheel, and the development of sensitivity to the interaction of colors. Color is only seen as light reflects from surfaces. The properties of color are hue, intensity, and value.

Color can be used for visual expression and communication. It can affect our feelings and influence our attention. It affects the apparent size of objects, their spatial positions, and the sharpness of their outlines.

Sources of Color Natural Artificial Properties of Color Hue Value Intensity Color Wheel Primary Secondary Tertiary

Value (property of color)

Hue (property of color)

Intensity (property of color)

Value is used to create form, volume, contrast and movement.

It defines the position of an object; creates mood; and illustrates perspective. Value refers to the lightness and darkness. ● Value is the degree of light or dark in color and in black and white ● Use white to lighten a hue and black to darken a hue. ● High values increase apparent size, but strong contrast with backgrounds can have similar effect ● Low values advance while high values recede ● Marked contrasts in value bring an object forward. ● Contrasts in value emphasize outlines ● Extremely high or low values attract attention ● High values are cheering.

Low values restful to depressing ● Tints: White and a color ● Shades: Black and a color

Hue is the name of a color, such as red, blue or yellow. ● Warm hues increase apparent sizes of object ● Warm hues bring objects forward. Cool hues make objects recede ● Warm hues soften outlines slightly more than cool hues ● Contrasting hues make outlines clearer than related hues ● Warm hues attract more attention than cool hues ● Contrast of warm and cool attracts attention ● Warm hues are stimulating. Cool hues are quieting ● Warm and cool together give a balanced effect

Intensity describes any color’s degree of purity or strength. This is determined by the quantity of the dominant hue. The higher the purity, the higher the intensity.

The more the intensity has been neutralized, the lower the intensity. ● Mixing a hue with its complementary hue lessens the intensity ● Full intensity increases apparent size and decreases apparent distance ● Contrasts in intensity will emphasize outlines ● Full intensities attract attention, especially when contrasted with neutrals or complementaries ● High intensities are heartening, strong, and exciting. Low intensities are peaceful and relaxing

Color definitions: ● Primary hues: Red, Yellow, and Blue ● Secondary Hues: Green, Orange, and Violet

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Elements of Art & Principles of Design ELEMENTS OF ART Color ​(continued from previous page) Categories of Color Warm Cool Neutral Tints Shades Color Harmonies Monochromatic Analogous Complementary Transparent Translucent Opaque

Value​ ​(continued from previous page)

Lightness Darkness Shading Value Scale Hatching Cross-Hatching Value contrast

Hue​ ​(continued from previous page) ●

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Tertiary/Intermediate hues: Mixture of a primary and secondary hue and are hyphenated names in which the primary color is named first:: yelloworange, yellow-green, blue-green, blue-violet, red-orange, red-violet Analogous hues: Three to five colors adjacent on the color wheel. For example: blue, blue-green, green Complementary hues: Opposites on the color wheel. (Blue and orange, Red and green, Yellow and violet, Yellow-orange and blue-violet) Complementary colors mixed in proper amounts will produce a grayish neutral tone. If placed next to each other, each hue will seem brighter Monochromatic:: Use of one hue and the tints and shades of that one hue

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Elements of Art & Principles of Design Principles of Design are the arrangements of the elements to create a successful composition. The first strand in the North Carolina Standard Course of Study is Visual Literacy which relates to the language of art, how it is organized, and how it is used to communicate as a language of its own. One of the Essential Standards that crosses all grades is “ Use the language of art to communicate effectively”. Under that Essential Standard are several Clarifying Objectives which address the Elements of Art and Principles of Design. The Principles are not meant to be taught in isolation through working with technique sheets. Rather, students should be taught how the principles of design are achieved and affected by the application of the elements. Students should develop an understanding that how the Principles are used is how a composition is developed. Best practice is to teach this through analyzing art and applying when creating art.

PRINCIPLES OF DESIGN

Repetition/Pattern

Movement/Rhythm

Emphasis

Balance

Combining elements to produce the appearance of organized movement in art. Repeating objects or elements throughout the art. Repetition can aid in the creation of unity.

Creating a sense of motion in the art so the eye moves around the art. Implied movement created by the use of the elements causes the viewer’s eye to move in a pathway across the art. Variety is essential to create an active rhythm

A dominant element that attracts more attention than anything else in the composition. Can be achieved through contrast

Creating stability in art through the distribution of the visual weight of the elements

Contrast

Proportion

Harmony/Unity

Differences in elements to create a variance in line, color, texture, value, shape, or size

Elements relate well to each other, usually to create unity Can also commonly refer to one part of an object’s size when compared to another part or the whole or the size of objects when compared to other objects

Arrangement of elements that fit well together and create a sense of wholeness

Center of interest Isolation Focal Point

Types of balance​: Asymmetrical Symmetrical Radial

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Drawing Drawing in the middle school is a foundation for performance in all art forms. The process of learning to see and giving visual order are concepts reinforced through the study of the art elements: line, shape texture, value, space, and color. Additional reinforcement is achieved through the application of the principles of design: balance, emphasis, contrast, pattern, rhythm and unity. Students are encouraged to search the creative potential of several media as it applies to the individual problem-solving process. Drawing is a way of communicating and expressing, and is an essential tool for the student to search out their world and record ideas in visual form. Students develop a new visual awareness through sequential drawing exercises. The application of design principles is stressed as a means of giving visual order and expression to student work. Students should establish a measure of confidence in work with line and value before tackling the intricacies of color orchestration. Students are familiarized with the capabilities and limitations of drawing media through their own experimentation.

Contour

Flat Shape

Negative Space

Observational

Contour drawings are done with smooth, even, continuous-looking lines. Hand-eye coordination is built as the artist slows down to observe the subject very carefully.

These drawings describe the interior and exterior linear qualities of a subject. Contour drawings are ones that combine the sense of touch and the sense of sight for a new visual awareness. This is an excellent introductory drawing exercise that is continually reinforced and sophisticated during the course of study.

Use different media such as pencil, charcoal, pastels, markers, colored pencils, etc. on different types of paper for more variety of lines.

Flat Shape is a drawing process that combines a sense of contour with an awareness of positive and negative shapes. The object or image is broken up into a series of flat shapes that are adjacent to each other. It is almost like a paint by number image without the numbers. The drawing process can be sophisticated according to the maturity of the student.

A drawing process that focuses on the ‘holes’ or negative space within or around an object. The student draws the negative space rather than the object. Select a subject (positive shape) such as a chair, which has holes (negative space). Instruct students to lightly push away (shade) the negative shape as if they are chiseling away basic shapes for a piece of sculpture The drawing must progress as a unit, moving from a general to a very specific description of the negative space.

The placement of shapes on the page are important for the composition. The range of values used can produce emphasis to make a more dynamic finished drawing.

Drawing what you see is observational drawing. Drawings made from observation tend to be more realistic than drawings from memory.

Figure and portrait Figure drawing is usually of the body while a portrait is thought to be of the face. Proportion is key.

Foreshortening makes parts of the figure larger to make them appear closer.

Outline An outline defines a shape and reflects the outer edge of an object.

Aerial, Spatial, Atmospheric perspectives All are drawn to show space in a drawing. There are several techniques with placement and size that can be implemented to show distance, foreground, middleground, and background.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Drawing Perspective

Linear perspective

Landscape

Cartoon

Drawing with different types of perspective gives the illusion of three dimensions on a flat surface.

To make a drawing more interesting you can change the view point.

Eye Level​ is what you see if you were sitting or standing and looking at an object.

Below eye level​ is sometimes called an ant or worm view. It is getting down on the ground to look at an object.

Above eye level​ means drawing from above an object such as when standing in on top of a roof or hill or when looking from a tall building.

Aerial or bird’s eye view​ is a drawing made as if the artist was flying directly above the object and looking down on top of it.

One point Drawn with parallel lines which appear to move towards a horizon line and meet at a single vanishing point.

Two point Drawn with two sets of parallel lines that appear to meet at two different vanishing points placed far apart from one another, these images depict three dimensional objects that are usually viewed at an angle Three point A three point linear perspective is the combination of a two point linear drawing while drawing above or below the eye level.

Landscape drawings are typically of a view of the outside. They usually include a horizon line, foreground, middleground, and background. Alternate landscapes are cityscapes and seascapes.

Image or series of images that is intended for humor, caricature, or satire. Traditionally they are simple, line illustrations. Comics, Graphic Novels, and Political Cartoons are types of Cartoons.

Shading Techniques Shading is used to make two-dimensional shapes look like a three-dimensional forms.

Types of shading include: Hatching Crosshatching Blending Stippling

Gesture This is a quick drawing, sometimes drawn with a scribble or circular motion, to capture the movements of a body. Emphasis is not on the body itself, but the movement of the body.

Still Life A still life is a drawing of stationary objects used as primary subjects.

Still lifes help train the eyes to see the shapes of real object and to study their three-dimensionality.

Cross Contour

Blind Contour

This type of drawing illustrates form by using lines to create the illusion of a third dimension of depth. Most often used with lines that are stacked on each other to ‘wrap’ the form, showing all the indentations and extrusions.

Drawing a contour drawing but concentrating on looking at the object. During a blind contour drawing the artist does not look at the drawing itself. The drawing instrument is not lifted until the drawing is finished. This type of drawing greatly increases observation skills over time, along with hand and eye coordination.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Drawing Student Vocabulary Line Shape Form Implied Texture Pattern Color Volume Composition

Contour Blind Contour Cross Contour Flat shape Positive Space Negative Space Gesture Observational

Continuous Line Figure Foreground Middleground Background Blind Contour Shading Still Life

Pencil Charcoal Oil Pastel Chalk Pastel Colored Pencil Marker Ink Landscapes

Proportion Figure Foreshortening Perspective Linear Perspective Spatial Perspective Aerial Perspective Outline

Thumbnail Sketches Shadow Highlight Shading Cartoon Viewpoint Portrait Self-Portrait

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Painting Painting fuses the mark making of drawing with the element of color. Color can serve to create emphasis and balance, express volume and space, and add to the emotional content of the painting. Painting can explore value and the illusion of texture. It can emphasize shape as two dimensional and form as three dimensional. Color can elicit an emotional response, create emphasis and balance, and express volume and space on a flat surface. Using color in painting can increase understanding of the interrelatedness of hue, value, and intensity as it relates to the total design and expression of the students’ work. Stressing texture can promote an understanding of tactile and visual texture as an element in works of art to create emphasis, rhythm, and unity.

Watercolor

Tempera

Acrylic

In watercolor painting, emphasis is placed on the qualities of freshness and spontaneity and exploration of the translucent qualities. Layering colors adds to the depth of the painting.

Techniques include wash, dry brush, flat and graded washes, and wet in wet. Experimentation with combining watercolor with crayon, tempera, collage, inks and resists, as well as different types of surfaces such as watercolor paper, rice paper, and butcher board paper, create interesting visual effects. Watercolor is usually done only on paper.

The emphasis in tempera painting is on mixing colors, using different brushes and strokes, and exploring the opaqueness of the paint. White paint is used (rather than the paper, as in watercolor).

Tints and shades are mixed.

Techniques include dry brush, flat areas, overlapping of color, ‘dabbing stroke’, pointillism.

Because of its opacity, tempera paint can be used to paint over sections to change colors or add texture. Tempera is water soluble and dries quickly with a matte finish.

Acrylic paint is a water-based synthetic paint that dries much quicker than oil paint, and has a shiny, plastic finish. It can be mixed with water to act as a watercolor or with a polymer to make it thicker than oils.

Oil Oil paints are pigment mixed with linseed oil that dries very slowly to allow for the freedom to blend color and great a variety of effects.

Oil paints can be used thick like plaster or thin like watercolor. Oil painting is typically done on canvas.

Student Vocabulary Color Value Texture Form Color Intensity

Tint Shade Primary Secondary Tertiary

Flat Color Dry Brush Wet-on-Wet Wash Transparent

Paintbrush Ferrell Brushstroke Watercolor Tempera

Monochromatic Perspective Polymer Translucent Opaque

Hue Graduated Color Analogous Complementary Acrylic

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Printmaking Printmaking is the process of producing multiple images from a plate. A print is made when paper is pressed against an inked plate and the ink is transferred to the paper. There are different processes that can be completed using a variety of materials. Printmaking reinforces drawing and design skills through the unique qualities of each type of process. Emphasis is placed on developing an effective dark and light composition with a variety of shapes, contrast, pattern, texture, and line. Light and dark values must be planned in a preliminary drawing. Thumbnail sketches are helpful in the planning of the light and dark masses. Varying the types of plates, colors of ink, and kinds of paper can produce different results.

Mixing printing inks provides better color harmonies. Printing light values on top of dark values or on different colors of paper can change the effect of the color. Printing surfaces can range from watercolor washes, tissue paper collages, magazine pages, wrapping paper, vellum, or fabric, such as cotton, muslin, burlap, or silk.

Relief Prints In general, the relief printing process prints from a raised surface. Cardboard, mat board, yarn, thin foam, rubber or wood can be cut into shapes and glued to another piece of board to form a paper relief plate. It can be made waterproof by coating with several layers of polymer medium. For color printing, shapes can be made removable for separate inking.

Collagraph​ is similar in that material is glued to a board, ink applied, and a print made. Effect achieved varies with the depth and texture of the materials. Textiles, sandpaper, bubble wrap, plastic, string, and leaves are examples.

This can be printed by hand, but to achieve full effects, a printing press can be used.

Linoleum, Styrofoam​ and soft rubber blocks are all materials that can be incised with linoleum cutters or simple tools. The ink is applied to the plate using a brayer.

The incised portions remain the color of the paper when printed.

The negative space becomes the printed portion.

Woodcut​ is a specific kind of relief where the plate is made from soft wood. The artists can carve into the wood as in linoleum. An alternative is to hammer hard objects into the wood to create shaped indentions.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Printmaking Planography

Intaglio

Serigraph

Reduction

This process prints from a flat surface. A common technique is a monoprint which involves applying ink or paint to a flat surface and transferring the painted image to the paper. As the name implies, only one print can be made. Artists can experiment with line, tone, and texture by using a variety of materials that possess a textural surface such as rags, sticks, fingers, Q-tips, and stiff brushes.

This process prints from an incised surface. One safe method to use is solar plate etching. A solar plate is steel plate prepared with a light sensitive polymer surface. A photograph, drawing, or other graphic image, created on a transparent surface such as transparency film or glass, is laid on top of the plate and exposed to UV rays. The image is then ‘etched’ onto the plate. When the ink is applied to the plate, it goes into the etched lines. When the plate is pressed, usually with a printing press, onto paper, the image transferred.

This process utilizes a stencil to block part of the paper. Simple stencils made from posterboard or cardstock can be used in conjunction with a small sponge to apply the paint inside of the stencil.

Screen printing uses the stencil to block the printing surface (paper, fabric). A mesh covers the open space within the stencil. A blade is used to fill the mesh with ink.

As the blade presses the mesh onto the printing surface, the ink is transferred to the surface.

A reduction print using multiple colors of ink can be made by printing multiple prints of the lightest color first before reducing or carving away at the image to print the second color on the same prints. Then the artist carves away more of the image to print the third color on the prints. The process continues until the darkest and final color is printed.

Signing a print ● ● ● ●

The print edition number goes on the far left under the print. The first number is the order of the print in the series. The second number is the total number of prints in the series. For example, 3/9 is the third print in a series of nine prints.

The title goes in the middle under the print.

The artist’s signature goes on the far right under the print.

Prints are usually signed and numbered in pencil.

Student Vocabulary Line Texture Contrast Linoleum

Ink Solar Relief Collagraph

Serigraphy Stencil Intaglio Etching

Engraving Incised Series Print edition Signature

Linoleum Woodcut Planography Monoprint

Silk Screen Brayer Plate

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Sculpture Sculpture is presented as a process of organizing solid masses and volumes as a means of expression. Students develop the ability to clarify and intensify expression through the use of contour, form, volume, texture, and color in three-dimensional space. Finishing, mounting, and the total presentation of the finished works are emphasized as part of the sculpture process.

Wire

Cardboard

Paper

Recycled or found object

Wire, playing the role of line, may be bent to enclose space, to create a shape, to represent a figure, or to give a feeling for action.

Cardboard sculpture can emphasize repetition of one shape to create unity, balance created by even distribution of the masses, and a mastery of the construction technique of slotting and fitting.

Paper can be manipulated in a variety of ways to create 3-D forms from a 2-D medium: ● Cutting ● Scoring ● Bending ● Rolling ● Pleating ● Gluing ● Stapling

Using recycled materials or found objects creates a unique opportunity to think creatively about everyday objects. Viewing them as their basic form and thinking critically how to join multiple forms together to create a sculpture can test students problem solving skills. Small found objects can be used as modular units to create a sculpture.

Mobile sculptures are excellent for addressing balance, shape, and movement. They naturally integrate science concepts related to physics.

Cardboard models can be translated into a more permanent material such as light sheet metal or plexiglas. Application of paint or polymer can also create more stability.

Relief paper sculpture​ can be created from a variety of heavy weight paper Modular sculptures​ are where a unit is repeatedly built and then joined together.

Covering the sculpture in paint, plaster, tape, paper or other unifying medium can add another layer to the concept of the sculpture.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Sculpture Plaster

Soft Sculpture

Casting

Installation

Plaster sculptures lend themselves to be used with the subtractive process.

Plaster mixtures: ● Plaster and vermiculite in equal parts ● One part plaster and two parts sand ● One part plaster, one part cement, and one part sand, and four parts vermiculite ● One part sand, one part cement and three parts vermiculite.

Using cloth, the outline of an object is cut in duplicate. The two pieces of material are sewn together and then filled with a soft material such as cotton or polyester fiber fill.

Casting involves creating a 3-D mold and pouring a liquid or semi-liquid into the form. The liquid is allowed to harden and then is removed from the mold.

Fabric, plastic, reed, wire, and other manipulated media can be installed into an environment.

Clay Mold clay into forms. Hollow out the form from the bottom.

Details can be added by creating shapes or forms through stitching; painting; and adding embellishments.

Combinations: Creating the mold from clay, firing, and then adding kiln wash to the surface. Then filling the mold with glass pieces or marbles. Firing the mold. The kiln wash prevents the glass from sticking to the mold.

It can be removed for a stand alone cast sculpture A form can be created with clay and then pressed into wax or plaster to form a mold. Once the mold is dry, the form can be removed. Subsequent sculptures can be created using clay pressed into the wax or plaster molds.

Once people come into the environment they interact with the sculpture that changes the way a person moves, sees, or experiences the environment.

This type of sculpture is conducive to developing the collaboration skills of the artists, whether they are collaborating with other artists, property owners, managers, maintenance, or security personnel.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Sculpture Processes Additive

Assemblage

Subtractive

Manipulative

Additive process is done simply by adding pieces together to create a sculpture. Usually a piece is created separately out of the same medium and then added to the main form.

Assemblage is a type of additive process. The difference is that this process unites already formed objects together.

Subtractive process involves taking or carving away sections of the sculpture to create negative space. This can be done simply by cutting shapes into a slab or be more complex by carving organic forms from a solid 3-D form.

Using a sculptural media that is soft enough to allow for manipulation and forming without subtracting can allow for more in-depth analysis of the form and allow for more experimentation.

During this process it is necessary to turn the form constantly so that all sides are worked simultaneously. Encourage study of the image at each stage and from multiple perspectives (sides, above, and below).

Clay, plasticine, modeling clay, or air dry clay are mediums that lend themselves to this process.

Student Vocabulary Balance Form Texture

Subtractive Additive Manipulative

Carve Relief Sculpt

Abstraction Non=Objective Environmental

Soft Sculpture Casting Assemblage

Perspective Color Sculpture

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Ceramics Ceramics is presented as a process of making art objects out of clay. Sometimes ceramics have a utilitarian purpose. Students develop the ability to clarify and intensify expression through the use of contour, form, volume, and texture by creating three-dimensional forms. Using clay for pottery or sculpture is an economical method for teaching ceramic and sculptural techniques. All schools are provided with a kiln. Students should have the opportunity to create with clay at least once during each course.

Six Stages of Clay 1. Plastic: Wet and Malleable 2. Leatherhard: Cool to the touch but still somewhat flexible 3. Bone Dry: Most fragile state. Lighter in color. Dry 4. Greenware: Bone dry and is ready to be bisque fired.

5. Bisque Fire: First firing to remove all water 6. Glaze Fire: Final firing with glaze

Wedging Clay

Joining Clay

Making slip

Clay should be wedged to remove air pockets and combine layers of harder and softer clay before it is modeled. After clay has been wedged, form it into a ball, cut it in half; and twist it open with your hands; slam the two pieces of clay back together; repeat a few times until there are no air pockets showing on the surface.

If you want to join separate pieces of clay: -Roughen or ​score ​the two areas to be joined with a ceramic tool or fork by making a series of hatched or cross-hatched lines into each piece to be joined.

Place a small quantity of clay into a jar, lid, or bowl, add a few drops of water and mix it really well to form the liquid clay.

The clay ordered from the district warehouse somes already wedged, so it only takes a few minutes to re-wedge it.

-Press both pieces together and gently ​slide​ back and forth slightly to allow for suction.

-Place ​slip ​(liquid clay) onto both areas to be joined together

-Use the finger to ​smear​ the joining line together, erasing it from sight.

-Use the fingerpad to ​smooth​ the clay to the joint does not show.

Drying Clay - Greenware After a clay piece has dried for approximately twenty-four hours, it will become rigid. This state is referred to as l​eather hard​. It must be handled with extreme care as it is fragile at this state.

It can be decorated at this time, but one must be careful.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Ceramics Pinch

Coil

Slab

Slump molds

The pinch forming method is an excellent introductory technique for the student to become acquainted with clay. The thumb and forefinger can be use to pinch out small shapes or ridges.

Unique patterns can be made with fingers.

Pinch pots can be joined at the lip, side by side, at different heights or turned at different angles.

Coling can be used as a basic forming technique for many types of clay work.

Coils can be added onto pinch pots or slab pieces to build strength and dimension.

Slab building is a forming process that will allow the builder to create structures with flat sides. Slabs may be be cut into straight measured strips, which can be arranged in cylindrical, triangular and other shapes; attached by scoring and applying slip.

Textures and other impressions can be created in the slab by pressing objects into the flat surface.

Molds made from bowls, boxes, or plaster can be used to help create forms through slumping or pressing clay into these molds.

Care must be taken that the clay does not completely dry on the mold as the shrinkage of the clay may prevent the clay from being removed from the mold.

Glazes

Glaze Techniques

Underglaze​ is basically colored slip and can be applied to greenware or bisque ware. It can be applied as ‘paint’ to add a decorative image as it typically doesn’t run. It is not food safe.

Mixing Painting Dipping Pouring Spraying Dry footing

Glaze​, or overglaze, contains minerals and sand, and when heated to high degrees forms a glass like shiny finish. Some specialty glazes produce crystal or metallic finishes. If it is not made with lead, the majority of glaze is food safe.

Student Vocabulary Shape Texture Form Volume Color

Relief Carve Pinch Coil

Greenware Leatherhard Bisque Score Geometric

Fire Kiln Glaze Underglaze Design

Slip Smear Smooth Matte

Slab Slump Mold Wedge Organic

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Mixed Media/Collage Mixed Media/ Collage is presented as a process for students to explore abstract, representational, and non-objective imagery through a variety of techniques and materials. Mixed Media/Collage projects allow for the application of most elements and principles, the strengthening of compositional techniques, and the experimentation with them. Although pure collage is a legitimate medium unto itself, mixed media collage often incorporates, drawing, painting, fibers, and elements of sculpture.

Abstraction

Making Paper

Abstraction exercises allow students to convey a concept, idea, or feeling through design.

Emphasis is on selecting design factors that best support the desired expression. Abstraction may also include simplifying a realistic image into basic shapes, textures and patterns, or using a viewfinder to pinpoint an interesting piece of an image to collage.

Papers can be prepared before collaging when a specific pattern, texture or color is desire. Paper preparation methods include:

Photomontage Photomontage offers students an opportunity to combine still photography with the collage process. Mixed media can also be used to add additional elements to a photograph.

Mosaics Using a mosaic technique in combination with collage materials can lead to interesting textural images.

Painting Marbleizing Embossing Printing Tearing Cutting Staining Bleaching Blotting

Recycled Paper Recycled papers can be used to create collages. Some types of recycled papers include: Blueprint paper Newspaper Bathroom tissue Napkins Paper bags Envelopes Greeting cards Magazine Maps Food labels Corrugated cardboard Wrapping paper Photographs Writing Sheet music

Mixed Media The mixed media approach to collage allows students to enrich the surface both before and after collage papers are adhered.

Students may add media such as wood pulp, sand, or texturizing mediums to the background surface before collage papers are adhered. They may also paint, draw, glaze, and or add 3-D elements after the surface is collaged with paper. Surfaces can be embellished with fabric, yarn, and /or natural objects.

Other materials could include: Slides Beads Plastic wrap Bottle caps Burlap Metal foil Fabric Leaves Metals Shells Wire Feathers Yarn Sandpaper Thin wood Tape Pencil shavings

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Mixed Media/Collage Student Vocabulary Collage Mixed Media Balance Unity

Symmetry Asymmetry Positive/Negative Space

Organic Geometric Detail Variety

Glue Hot Glue Adhesive Polymer

Texture Composition Focal Point Resin

Movement Harmony Recycled

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Technology Technology can include digital photography, film-making (including stop-motion animation), and technology-assisted art.

Digital Photography Basic Camera Skills

Technology-assisted Art

Exploration of camera as a creative tool

Computers, laptops and iPads have provided exciting modern art tools for creative expression.

Technology-assisted art is introduced through student experimentation

Emphasis is on creating fine art photographic images instead of candid snapshot photography.

Composition Basic composition techniques are strengthened by using a 35mm, point and shoot, smart phone camera, or disposable camera.

Manipulation of camera Activities that include manipulation of focus, shutter speed, aperture, and/or depth of field increase students’ awareness of the versatility of the camera while providing opportunities for students to control the medium.

Using Available light This enhances the desired photographic effects and is another way of controlling the image

Manipulation of the photographic image The retrieval and manipulation of photographic images with digital camera and basic software like Photoshop or Pixlr Editor allows students to further control the image.

If a darkroom is available, students may also process film and print from negative in the darkroom.

Exploration of computer hardware and software Emphasis is on familiarization with tools, the creation of successful compositions using the elements and principles, and the manipulation/transformation of ready-made images.

Manipulation of Images Activities that include digital collaging and layering of elements in software programs or apps increase students’ awareness of the functions and tools within the program/app while providing opportunities for students to control the medium and create expressive works.

Digital Drawing and Painting Emphasis is on exploration of the hardware/software tools to create original drawings and paintings.

Composition

Film-making

Basic composition techniques emphasizing the elements and principles of design are strengthened by using digital editing software (Photoshop, Pixlr Editor) and iPad apps (ProCreate, 1 2 3-D Sculpt, Paint Sai Pro)

Activities that include using cameras (video, point and shoot and/or smartphones) to create and edit short films increase students’ awareness of the medium of moving photography and the idea of expressive storytelling.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Technology Student Vocabulary Software Hardware Mouse Keyboard Stylus Depth of field

Pixel Jpg Png Tiff Mpeg Mp4

Digital camera Flash drive CD Zip disk Stop-motion animation

Digital tool bar Digital collage Manipulation AVI Aliasing Aperture Shutter

Storyboard Bokeh Clone stamp Compression Dodge Burn

Film editing Long exposure Lasso tool Resolution Rule of thirds Unsharp mask

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Contemporary Crafts Craft has a long history within the United States. North Carolina has played a major part in the production of craft and is home to many craftspeople, artists who work in clay, fiber, metal, wood, and glass. In our art education program, craft is celebrated and taught in conjunction with design thinking. In middle school, students should be provided a variety of opportunities to experience craft in its contemporary forms: Textiles, Surface Design, Fibers, Weaving, Metal and/or Jewelry, Wood/Paper/Book Arts

Textiles: Surface Design/Fabric Decoration Fabric decoration is creating designs to be applied to the surface of a piece of fabric.

Stitchery

Quilting

Dye

Paint/printing

Process of creating designs on fabric with thread.

Basic stitches : Running Chain Couching Satin Blanket Cross Feather

Process of sewing layers of fabric together with a decorative stitch.

Layers usually consist of Pieced top Batting backing

Process of dyeing the fabric.

Various materials can be used to create patterns and resist: Rubberbands Yarn Stones Folds Clamps

Process of directly applying fabric paint which may be used directly from the bottle or diluted for more transparent effects Stenciling Stamping Linoleum

Batik

Applique

Paper Stitching

Unique process in which wax and dye are used to create the characteristic crackle effect.

Crayons can be used instead of wax.

Process of joining fabric together on top of each other

Process of creating design on heavy paper with thread or yarn.

Variety may be achieved by the texture and color of the background; weight and color of the thread, yarn, embroidery floss or jute; or by combining one or more of these processes.

Student Vocabulary Stitchery Embroidery Applique

Wax Resist Mask

Stenciling Stamping Batik

Yarn Ply Wool

Cotton Polyester Dye

Quilting Fiber Fabric Paint

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Contemporary Crafts Fibers: Fiber Construction Fiber Construction presents opportunities for design experiences in weaving and coiling

Weaving

Basketry

Coiling

Felting

Process of creating cloth by interlacing warp threads and weft threads at right angles to each other.Traditionally, yarn is wrapped onto a loom to form the warp threads. The weft yarn is then woven through the warp in a left and right motion.

Variations can occur by altering the woven pattern, types and color of yarn used, and shape of loom.

Process of weaving a three dimensional container using reed, yarn, paper or other linear materials.

Twining and Plaiting are two techniques used in basketry.

Process of stitching over a foundation and attaching rows of work together as the stitching progresses to form a basket structure. Coiling material is typically made from rope. The yarn is wrapped around it to add color and texture. The coils are then stitched together in concentric circles.

Process of creating fabric from wool by combing, layering, agitating, and compressing fibers.

Wet felting is done by adding hot water to the fibers and agitating them to hook together. Needle felting is done by using barbed needles to tangle the fibers together.

Student Vocabulary Loom Cardboard loom Frame loom Warp Weft

Twill Basketry Reed Base

Coil Stitching Wrapping Wool

Fabric Needle Eye (of needle) Yarn Shed

Side Wall Rim Spoke Stake

Cotton Felting Ply Scissors Beating

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Contemporary Crafts Metal/Jewelry The study of metal craft can take many forms by using a variety of metal material such as wire or foil. Jewelry is usually associated with metal , however jewelry can also be created by using fibers, clay, glass, plastic or found materials.

Wire

Foil

Jewelry

Aluminum or other thin gauge wire can be bent and formed to create sculpture. It also can be used to wrap stones or objects. Very thin wire can be coiled or formed to make small components that can be used in conjunction with each other.

Metal foil, made from malleable metal such as aluminum or copper, can be pressed or wrapped around cardboard or wood to give the impression of metal relief.

Creating jewelry is an opportunity for students to think about design of human adornment. Using a combination of individually and commercially produced components opens up avenues of exploration. Beads can be made from clay, fiber, or found objects and strung on commercial chain.

Pendants can be made from glass, plastic, or clay and hung from ribbon, leather, or yarn.

Metal embossing Process where the metal sheet is placed on a foam surface and a design is pushed into the metal, creating a raised surface on the other side.

Student Vocabulary Wire Aluminum Copper Gauge

Foil Wrapping Embossing Relief

Beading Adornment Jewelry

Plastic Design Commercial production

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Contemporary Crafts Wood - Paper - Book Arts Experiencing the use of wood in art, either in natural or finished form, provides students an opportunity to learn the characteristics of this medium.

Creating objects with paper, or making paper, allows students to explore the connections between wood, plants, and fiber. Creating books provides an opportunity to link engineering, design, writing, and reading together.

Wood

Paper

Books

Books

Natural wood, such as bark or sticks, can be used in mixed media or as hangers for weavings.

Manufactured forms of wood such as toothpicks, shaped wood pieces, and dowel rods can be used for sculpture and jewelry.

Paper pulp can be made using recycled paper, glue or paste, water, and a blender. The pulp can be placed in molds to create small relief sculptures that can be used in mixed media or fibers.

Accordion, Pamphlet stitch, and Japanese stab-binding books are simple forms that can be created and then used for sketchbooks, journals, or storytelling.

Sculptural or pop-up books integrates the techniques of paper sculpture and engineering. A wide range of mechanisms can be employed to address different ability levels.

Accordion Pamphlet Stab-Binding Sculpture

Pop-up Mechanisms Page Binding

Cover Signature End page Text Illustrations

Student Vocabulary Wood Natural Pulp Fiber

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration Our mission in the CMS Visual Arts Department is “To provide a comprehensive K-12 arts education program for each of the arts disciplines through arts instruction, arts exposure, and arts integration. “ Within our vision, arts integration is defined as collaboration with other curricular areas to provide relevant and authentic connections between the arts and other subjects. In CMS, the definition of arts integration is aligned with one from the Southeastern Center for Education in the Arts: Arts Integration is instruction combining two or more content areas, wherein the arts constitute one or more of the integrated areas. The integration is based on shared or related concepts, and instruction in each content area has depth and integrity reflected by embedded assessments, standards, and objectives.

When teachers create curriculum that successfully integrates arts content and concepts with that from other subject areas, students are fully engaged in a multisensory learning experience through the application of multiple intelligences

Why is integration a component of the plan? Why should we integrate? ●

Increased student learning

●

Uses complex cognitive skills

●

Addresses Multiple Intelligences

●

Implements problem solving

●

Reflects the real world

Do we need to integrate with every lesson? No, not necessarily. Do we have to teach the subject at the same time it is being taught in other classes? No. Integrated content can be used to introduce, align, or reinforce learning.

When should we integrate? ● ●

Connections are natural and significant Integrity of each area is upheld

● ●

Active learning and inquiry takes place Integration fosters a range of perspectives

●

Clear objectives in each content area and authentic assessment of each objective are taught

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration When discussing arts integration, there are many different words used interchangeably, each with a nuance of difference. If picturing these words on a scale, teachers may land at different points based on the lesson they are teaching or on their overall philosophy. The goal is to move towards authentic integration of concepts from two different content areas.

DEGREES OF INTEGRATION Integration: A collaboration between the arts

Interdisciplinary: A connection is made

Transdisciplinary: Studying a problem

and other curricular areas. Objectives from both areas are of equal importance.

between the arts and another objective. A thematic unit.

using knowledge from other disciplines to solve the problem.

Standards based. (e.g. A class is learning about Escher’s tessellations. In art, the students learn the math terms and skills of angles, degrees, rotation, and reflection. They then apply them in creating their own tessellations.)

Standards based. (e.g. In science students study about geological formations of North Carolina; in Social Studies they study the culture of people in the different regions; in Language Arts they read stories set in the different North Carolina regions; and in art they create a painting about one of the regions.

The information is learned in the different content areas, but students can apply the information learned in the different courses)

eg: Creating a mural of 9’x 12’ mural of a coral reef

Pluridisciplinary: Studying two disciplines

Multi-disciplinary: The learning objective is

Crossdisciplinary: Viewing one discipline

that are assumed to be more or less related

based in one content area. The subject of the lesson represents a learning objective from another curricular area, but teaching/learning about that objective does not take place.

from the perspective of another

eg:: Drama and Language

e.g. Studying ocean life in science and in art

Arts Integration In Elementary Schools, Maney, Cheryl L. 2004

eg: History of math

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration

How do we integrate? ● ●

Select a collaborator Carefully select standards and objectives from the content areas involved

● ●

Plan a unit that teaches the objectives from each area Plan assessment the measures student growth for each objective

●

Determine how students can transfer the knowledge or skill to new situations

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration The North Carolina Educator Effectiveness Rubric addresses integration under Standard III: Teachers Know the Content They Teach: Element IIIa.Teachers align their instruction with the North Carolina Standard Course of Study.

Element IIIc.Teachers recognize the interconnectedness of content areas/disciplines.

‌.They develop and apply strategies to make the curriculum rigorous and relevant for all students and provide a balanced curriculum that enhances literacy skills. ... Middle and high school teachers incorporate literacy instruction within the content area or discipline.

...Teachers understand how the content they teach relates to other disciplines in order to deepen understanding and connect learning for students. Teachers promote global awareness and its relevance to subjects they teach.

The North Carolina Visual Arts Standards include two Essential Standards addressing integration under the Contextual Relevancy Strand.

CX 1. Understand the global, historical, societal, and cultural contexts of the visual arts.

CX 2. Understand the interdisciplinary connections and life applications of the visual arts.

Clarifying Objective 1.1 at each grade level is directly linked to the Social Studies curriculum.

Clarifying Objective CX2.2 at each grade level examines connections between life skills, visual arts, and other content area.

Quick Reference Guides are available for download from the North Carolina Department of Public Instruction. These guides are divided by grade for kindergarten through eighth grade. Each guide contains the standards for all of the content areas taught in a particular grade.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration Literacy Integration In Charlotte Mecklenburg Schools, extensive training has been provided on literacy integration. An overview is provided on the following pages.

Resources for a more in-depth study are available.

Text : anything that communicates using language or symbolic means (written, oral, or graphic).

Anything that can be seen, viewed, or heard in order to gain information.

CMS subscribes to the above definition promoted in Reading Apprenticeship, a research validated approach for improving subject area literacy.

Text is not only words. Text can be images, sculptures, maps, graphs, photographs, music, dance, scenes, etc. Authors can be artists, musicians, choreographers, script writers, and cartographers. When reviewing the information provided, keep these descriptions in mind.

Five instructional strategies are employed within CMS for literacy instruction:

Complex Text Quantitative

This is the ‘readability’ of a text. In ‘word’ text, the level is measured by a software program. Common examples are Lexile Levels and Fountas & Pinnell

Qualitative

Author’s purpose, levels of meaning, structure, language conventionality, and knowledge demands

e.g: A realistic image would be at a lower level than an abstract image. A pastoral scene at a lower level than a surrealistic one.

Reader and Task

Refers to students’ knowledge, motivation, and interests, as well as, the rigor of the task asked of the student

e.g: Realistic self-portraits and Conceptual self-portrait are at two different performance levels.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration Literacy Integration (continued from previous page) Close Reading Close reading refers to reading a text multiple times to uncover the meaning of the text. A different purpose is determined for each reading.

Chunking

Breaking text down into smaller pieces to improve paraphrasing skills and ability to identify key information

In looking at images, suggested chunks could be elements and principles; composition; subject and meaning

Annotating

Making personal and meaningful connections with the text by noting key words, phrases, meanings and definitions. Techniques include underlining, circling, and writing notes in the margin.

This can be done individually or as a group using technology, post-it notes or erasable markers on laminated prints. Analyzing the art to look for implied lines, compositional grids, specific elements, techniques or symbols

Vocabulary

Identifying words or text that need defining, are used in a different context, or are pertinent to comprehension

This applies to vocabulary within a reading of an image, not just instruction of vocabulary words. Looking for application of particular elements or techniques just as high contrast to create emphasis or how lines are used to create optical illusions/op art

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration Literacy Integration (continued from previous page) Text Dependent Questions and Tasks To answer a Text Dependent Question (TDQ), students must have read and understood the text. The question cannot be worded to allow a general answer. The answer must be backed with evidence from the text. While teachers may develop the questions, the goal is for students to generate the questions as they read. This will develop their engagement with the text.

Performance of a Text Dependent Tasks requires that students had gathered specific information from the reading of the text. The information is then needed in order to perform the task.

Basic

Answers are literal, drawn ‘word for word’ from text, global questions, gist of text

Questions about clearly visible parts of the text, such as: What colors are used?, What shapes are used? Where is the horizon line?

Key Details

Questions about specific details, nuances in the text, details to support main idea

Questions regarding specific components such as: What details help tell the story in this narrative image?

Vocabulary and Text Structure

Questions about how text structure aids in communicating the main idea of the text. Questions about specific sections or words

Questions regarding the composition and technique: How is color used to draw attention to the subject? How does the technique aid in communicating the message? How does the environment affect the installation?

Author’s Purpose

Questions about the Point of View

Questions that focus on the artist, such as: What social justice issue is the artist highlighting in the poster? Why did the artist choose to paint the subject as if it was only 2 inches away?

Inferences

Questions that ask students to look for implications or connections. Students must ‘read between the lines’

Questions that focus on meaning, such as: What is the mood depicted in the print? How does the materials used in the collage aid in communicating the message?

Opinions and Arguments

Students must take a stance or give an opinion based on and referencing the text.

Questions that require personal thought, such as: Compare and Contrast works of art to determine the ‘best’, Critique student art; or Complete a self-assessment

Resource used for information: Text Dependent Questions: Pathways to Close and Critical Reading; Fisher, Douglas and Frey, Nancy; 2015

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Arts Integration Literacy Integration (continued from previous page) Academic Conversations Engaging in sustained, purposeful dialogue regarding content. Students should be speaking about content using proper vocabulary and relevant ideas. Students should be active listeners in order to carry a conversation further. Skills to focus conversations include: Elaborate and Clarify

Providing more information

Questioning and restating to ensure understanding

Support Ideas

Use examples to support the claims or information

Provide evidence from text, related texts or life

Build on or Challenge ideas

Responding to a portion of the conversation

Pick a relevant point, challenge thinking, or adapt an idea

Paraphrase

Condensing information in own words

Clarifies meaning and focuses the conversation

Synthesize

Bringing bits of information together

Comes to a conclusion over relevant ideas shared

➢ See more in Academic Conversations. Resource used for information: Academic Conversations; Zwiers, Jeff and Crawford, Maire; 2011

Academic Writing Pre-writing

Quick, short writing exercises to identify topic, select audience, and determine key points. Research and quick writes also occur before the first draft.

Research for information, both in word and visual images; Eg: determining subject, style, medium; brainstorming; and sketching

Writing to Learn

Short, spontaneous, exploratory, personal, unedited Types: Lists, notes, doodles, sketches, journaling, reflective, instant messages, free writes, diagrams, planning

The reader chooses the information to write down to aid in comprehension and retention of ideas.

Eg: Sketches, diagrams, artistic journals

Writing to Communicate

Substantial, planned, conventional, composes, edited Types: Reports, proposals, persuasive essays, literary criticism, letters, poems, novels, plays, reviews, analyses, historical accounts

Defining ‘writing’ as creating, in words or images Eg: examples in art could include: artist statements; curator’s notes, written critiques, reviews of exhibits, social justice images, photographs, sculptures, weavings etc.

Resource used for information: Content Area Writing: Every Teacher’s Guide, Daniels, Harvey, Zemelman, Steen, Steineke, Nancy; 2007

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Resources

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Concept and Subject Narrative/Allegory

Symbolism

Expressionism

Nature

Fantasy/Surrealism

Abbott, Berenice

Hockney, David

Biggers, John

Arp, Hans

Adams, Ansel

Arcimboldo, Giuseppe

Amos, Enna

Homer, Winslow

Chicago, Judy

Beckmann, Max

Art Deco Period

Bosch, ​Hieronymus

Bearden, Romare

Hopper, Edward

Christensen, James

De Kooning, William

Audubon, John James

Chagall, Marc

Benton, Thomas Hart

Lange, Dorothea

Cornell, James

Dubuffet, Jean

Bonheur, Rosa

Dali, Salvador

Bingham, George

Master of Flemalle

Gauguin, Paul

Ernst, Max

Chihuly, Dale

Ernst, Max

Bosch, ​Hieronymus

Michelangelo

Kahlo, Frida

Heckel, Erich

Church, Fred

Escher, M.C.

Botticelli, Sandro

Mantegna, Andrea

Munch, Edvard

Kandinsky, Wassily

Constable, John

Kahlo, Frida

Bruegel, Pieter the Elder

Neiman, Leroy

Rauschenberg, Robert

Kirchner, Ernst

Corot, ​Jean-Baptiste-Camille Klee, Paul

Chicago, Judy

Pippin, Horace

Redon, Odilon

Klee, Paul

Durer, Albrecht

De Chirico, Giorgio

Christensen, James

Raphael

Rousseau, Henri

Kollwitz, Kathe

Gainsborough, Thomas

Miro, Joan

Copley, John Singleton

Remington, Frederic

Saar, Betye

Krasner, Lee

Hokusai

Oppenheim, Meret

Degas, Edgar

Renoir, Auguste

Skoglund, Sandy

Lange, Dorothea

Homer, Winslow

Rousseau, Henri

Delacroix, Eugene

Ringgold, Faith

Symbols in Religions

Marc, Franz

Hudson River School

Sendak, Maurice

Eakins, Thomas

Rivera, Diego

Van Eyck, Jan

Motherwell, Robert

Impressionist Period

Skoglund, Sandy

Fuseli, Henry

Rockwell, Norman

Munch, Edvard

Lorrain, Claude

Tanguy, Yves

Gericault, Theodore

Romanticism Era

Nolde, Emil

Millet, ​Jean-François

Uelsmann, Jerry

Hayden, Palmer

Scholder, Fritz

Pechstein, Max

Moran, Thomas

Magritte, Rene

Henry, John

Wood, Grant

Pollock, Jackson

Morris, William

Hicks, Edward

Wyeth, Andrew

Rothko, Mark

O’Keeffe, Georgia

Schwitters, Kurt

Rousseau, Henri

Trompe l’oeil and Photorealism Close, Chuck

Flack, Audrey

Levine, Marilyn

Rosenquist, James

Estes, Richard

Hanson, Duane

Peale, Raphaelle

Harnett, William

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Concept and Subject Still Life

Drawing Reflective Light

Genre Painting

Political/Social Themes

Cezanne, Paul

Caravaggio

American Realists

Daumier, Honore

Bearden, Romare

Lange, Dorothea

Chardin, Jean-Baptiste

da Vinci, Leonardo

American Scene/Regionalists

Hopper, Edward

Botero, Fernando

Picasso, Pablo

Courbet, Gustave

de la Tour, Georges

Anguissola, Sofonishba

Impressionists

Chicago, Judy

Riis, Jacob

Corot, Jean-Baptiste

Eddy, Don

Ashcan School/The Eight

Millet, Jean Francois

Daumier, Honore

Shahn, Ben

Dutch Masters

Escher, M.C.

Bonheur, Rosa

Sheeler, Charles

Goya, Francisco

Flack, Audrey

Estes, Richard

Bruegel, Pieter the Elder

Vermeer, Johannes

Hogarth, William

Social Realists-Rivera, Orozco, Siqueiros, J.Lawrence, R. Marsh

Harnett, William

Fish, Janet

Chardin, ​Jean-Baptiste

Manet, Edouard

Flack, Audrey

Marandi, George

Goya, Francisco

Dali, Salvador

Renaissance Artists

Arneson, Robert

Modigliani, Amedeo

Picasso, Pablo

Hopper, Edward

da Vinci, Leonardo

Whistler, James Abbott McNeill

Catlin, George

Neel, Alice

Gestural Painters

Kollwitz, Kathe

De Chirico, Giorgio

Wood, Grant

Close, Chuck

Picasso, Pablo

Ashcan School

Massys Family

Durer, Albrecht

Limbourg Brothers

Cunningham, I

Raphael

Cezanne, Paul

Michelangelo

Escher, M.C.

Mantegna, Andrea

da Vinci, Leonardo

Rembrandt

Daumier, Honore

Monet, Claude

Ghiberti, Lorenzo

Medieval Artists

Dine, Jim

Sargent, John Singer

Degas, Edgar

Nolde, Emile

Giotto

Picasso, Pablo

El Greco

Sherman, Cindy (photo)

Dufy, Raoul

Rembrandt

Grandma Moses

Piranesi, G.B.

Gainsborough, Thomas

Stuart, Gilbert

Luks, George

Van Eyck, Jan

Hopper, Edward

Hals, Frans

Van Eyck, Jan

Monet, Claude

Vermeer, Jan

Historical Periods/Styles

Van Gogh, Vincent

Tobey, Mark

Van Gogh, Vincent

Grandma Moses

Holbein, Hans

Vilion, Jacques

Hicks, Edward

Ingres, Jean A.D.

Warhol, Andy

Johnson, William

Kahlo, Frida

Wiley, Kehinde

Rousseau, Henri

Magritte, Henri

Wyeth, Andrew

Twombly, Cy

Kiefer, Anselm

Perspective/Architectural Focus

Primitive

Portraiture

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Elements Line

Shape

Color/Value

Texture/ Pattern

3D Space/Form/Sculpture

Aboriginal Art

African Masks

Caravaggio

Biggers, John

Archipenko, Aleksandr

Judd, Donald

Boccioni, Umberto

Bearden, Romare

Close, Chuck

Close, Chuck

Architectural Studies

Koons, Jeff

Giacometti, Alberto

Britto, Romero

Delaunay, Robert

Durer, Albrecht

Arneson, Robert

Lin, Maya

Goya, Francisco

Cubists

Derain, Andre

Grandma Moses

Arp, Jean

Lipchitz, Jacques

Haring, Keith

Diebenkorn, Richard

Dufy, Raoul

Japanese Woodcuts

Boccioni, Umberto

Marisol

Japanese Ink Drawings

Duchamp, Marcel

Fauves

Kandinsky, Wassily

Brancusi, Constantin

Moore, Henry

Kandinsky, Wassily

Egyptian Sarcophagi

Frankenthaler, Helen

Klimt, Gustav

Butterfield, Deborah

Morales, Jesus

Klee, Paul

Hartley, Marsden

Hofmann, Hans

Mackintosh, Charles ​Rennie

Calder, Alexander

Morris, William

Kline, Franz

Indiana, Robert

Impressionists

Matisse, Henri

Chicago, Judy

Nevelson, Louise

Mondrian, Piet

Kandinsky, Wassily

Johns, Jasper

Morris, William

Chihuly, Dale

Noguchi, Isamu

Motherwell, Robert

Lawrence, Jacob

Kollwitz, Kathe

Ringgold, Faith

Christo

Oldenburg, Claes

Pollock, Jackson

Matisse, Henri

Louis, Morris

Stella, Frank

Donatello

Picasso, Pablo

Riley, Bridget

Mondrian, Piet

Marin, John

Thiebaud, Wayne

Duchamp, Marcel

Rauschenberg, Robert

Rivera, Diego

Murray, Elizabeth

Matisse, Henri

Warhol, Andy

Duchamp-Villon, Raymond

Remington, Frederic

Rodin, Auguste

O’Keeffe, Georgia

O’Keeffe, Georgia

Weber, Max

Giacometti, Alberto

Rodin, Auguste

Rouault, George

Riley, Bridget

Pollock, Jackson

Goodacre, Glenna

Saar, Betye

Seurat, Georges

Rothko, Mark

Rothko, Mark

Graves, Nancy

Schwitters, Kurt

Shahn, Ben

Seurat, Georges

Stella, Frank

Grooms, Red

Segal, George

Stella, Joseph

Severini, Gino

Vlaminck, Maurice

Hanson, Duane

Smith, David

Van Gogh, Vincent

Shahn, Ben

Hepworth, Barbara

Smithson, Robert

Whistler, James Abbott

Shapiro, Miriam

Houser, Allan

Stella, Frank

Stella, Frank

Jimenez, Luis

Tanguy, Yves

Stella, Joseph

Cultural Sculpture​--African, Oceanic, Meso American, Native American

Vasarely, Victor Warhol, Andy Weber, Max

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Medium and Format Drawing

Mixed Media/Collage

Watercolor

Printmaking

Beardsley, Audrey

Kandinsky, Wassily

Bearden, Romare

Audubon, John James

Barlach, Ernst

Canaletto, Giovanni

Klee, Paul

Braque, Georges

Bearden, Romare

Cassatt, Mary

Cassatt, Mary

Kline, Franz

Cornell, Joseph

Boudin, Eugene

Catlett, Elizabeth

Cave Paintings

Kollwitz, Kathe

Day, Arless

Burchfield, Charles

De Chirico, Giorgio

Courbet, Gustave

Masson, Andre

Duchamp, Marcel

Cezanne, Paul

Durer, Albrecht

da Vinci, Leonardo

Matisse, Henri

Gris, Juan

Delaunay, Robert

Escher, M.C.

Daumier, Honore

Michelangelo

Johns, Jasper

Demuth, Charles

Hokusai, Katsushika

Degas, Edgar

Miro, Joan

Kiefer, Anselm

Durer, Albrecht

Hopper, Edward

Delacroix, Eugene

Nolde, Emil

Masson, Andre

Eakins, Thomas

Kollwitz, Kathe

Durer, Albrecht

Picasso, Pablo

Oppenheim, Meret

Feininger, Lyonel

Orozco, Jose Clemente

Eakins, Thomas

Rauschenberg, Robert

Picasso, Pablo

Fish, Janet

Rembrandt

Early Cave Drawings

Rembrandt

Quick-to-See Smith, Jaune

Grosz, George

Warhol, Andy

Egyptian Papyrus Drawings

Rivera, Diego

Saar, Betye

Hassam, Childe

Escher, M.C.

Rubens, Peter Paul

Rauschenberg, Robert

Homer, Winslow

Glackens, William

Seurat, Georges

Ray, Man

Kandinsky, Wassily

Gainsborough, Thomas

Sloan, John

Ringgold, Faith

Klee, Paul

Goya, Francisco

Tintoretto

Rosenquist, James

Marin, John

Hokusai, Katsushika

Titian

Schwitters, Kurt

Moran, Thomas

Hopper, Edward

Toulouse-Lautrec, Henri de

Shapiro, Miriam

Nolde, Emil

Ingres, Jean-Auguste

Van Dyck, Anthony

Shaw-Clemmons, Gail

O’Keeffe, Georgia

Japanese Ink Drawings

Van Gogh, Vincent

Stella, Frank

Prendergast, Maurice

Wyeth, Andrew

Sargent, John Singer Turner, Joseph M.W. Wyeth, Andrew

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Medium and Format Pastels/Chalk/Charcoal

Latest Trends/Installation/Conceptual/Street Art

Cassatt, Mary

Redon, Odilon

Abramovic, Marina

Holsenbeck, Bryant

Paik, Nam June

Fish, Janet

Riesing, Thomas

Banksy

Holzer, Jenny

Rubins, Nancy

Homer, Winslow

Reiss, Winold

Beecroft, Vanessa

Mesa-Bains, Carmen

Sherman, Cindy

Hopper, Edward

Seurat, Georges

Chicago, Judy

Messager, Annette

Skoglund, Sandy

Kollwitz, Kathe

Severini, Gino

Fairey, Shepard

Nauman, Bruce

Tinsdale, Danny

Morisot, Berthe

Watteau, Jean-Antoine

Garza, Carmen Lomas

Nerdrum, Odd

Tretchikoff, Vladimir

Martinez, Cesar

Graham, Dan

Orsler, Tony

Wiley, Kehinde

O’Keeffe, Georgia

Hirst, Damien

Osorio, Pepon

Wilkins, Mike

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Art and Artists with Charlotte Connections Mint Museum- Randolph Road

Mint Museum - Uptown

Bechtler Museum

Lightrail Art and Architecture

Romare Bearden Park

McColl Center for the Arts

Harvey Gantt Museum

The Museum of the New South

Downtown Library-Mosaic

Jean Tinguely ”La Cascade”-In Carillon building in Charlotte

Butterfly Garden Memorial Sculpture -- Jewish Community Center

Murals on Tryon Street

Jaume Plensa “Ainsa III” at UNC Charlotte Center City

Niki de Saint Phalle "The Firebird" Dana Gingras “Ascension” in front of the Bechtler Museum sculpture at East W.T. Harris Boulevard and North Sharon Amity

Arnaldo Pomodoro “Grande Disco” Dennis Oppenheim sculpture on Tryon uptown “Deconstructed Dwelling” on Tyvola

NoDa area -- several galleries and Ned Kahn “Wind Veil” at 5th and public murals and sculptures Trade streets in the Gateway Village

Ballantyne Corporate Center -several public sculptures

Ben Long frescos at Bank of Paula Smith "Sedgefield Totem," America corporate building uptown on Marsh Road between South Boulevard and Park Road

UNCC campus -- several public sculptures

Hoss Haley “Integrity” Sculpture at the Mecklenburg Government buildings uptown

Robert Mariani “El Caballo” sculpture at the Catalyst apartment building uptown

See this link for over 500 public pieces of art found in the Charlotte area: https://www.google.com/maps/d/viewer?mid=1cOH2oS6Nv-c3P04WXHrZD2qei54&ll=35.221880096823696%2C-80.85710930886705&z=12

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Artists with North Carolina Connections Collage Bearden, Romare

Painting

Sculpture

Photography

Alston, Charles

Mangum, William

Alston, Charles

Hochbaum, Tama

Barnes, Ernie

Marling, Jacob

Burke, Selma

Masa, George

Baker, Matt

Bartram, William

McIver, Beverly

Chiltoskey, Goingback

Morton, Hugh

Billingsley, Ray

Bass, Sam

Noland, Kenneth

Crowe, Amanda

Rice, Isaiah

Galifianakins, Nick

Brown, Samuel Joseph

Pittman, Hobson

Daugherty, Patrick

Ullman, Doris

Latour, Jason

Browne, William Garl, Jr

Rees, Mary De Berniere Graves

Hall, Jack

Wootten, Bayard

Parker, Jeff

Daingerfield, Elliott

Rivers, Haywood

Gibson, Helen

Funderburk, Thomas Brent

Timberlake, Bob

Littleton, Harvey

Allanstand Cottage Industries

Bigmeat, Charlotte Welch

Jackson, Herb

Wilson, J. Chris

Littleton, John

Black Mountain College

Craig, Burlon

Little, Willie

McKoy, Grainger

Brasstown Carvers

Trottman, Bob

Catawba Valley Historical Society

Vogel, Kate

John C. Campbell Folk School

Illustration

Pottery

Craig, Don

Folk Art

Murals

Organizations

Luck, Sid

Evans, Minnie

Alston, Charles

Owen, Ben

Simpson, Vollis

Biggers, John

Queen, Joel

Stephenson, Q.J.

LIndquist, Greg

Bradley, Nancy

North Carolina Pottery Center, Seagrove

Long, Ben

Suddeth, Billie Ruth

Penland School of Crafts

McLean, James Augustus

Wolfe, Eva

Qualla Arts and Crafts Mutual

Seagle, Daniel Stephen, Walter Benjamin

Weaving Goodrich, Frances Louisa Morgan, Lucy

Basketry

Jugtown Pottery

Southern Highland Craft Guild

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Artists with North American Connections The ​Artists with North Carolina Connections​ (see previous page) as well as the following artists have connections with North America.

Painting

Sculpture

Moses, Grandma

Benton, Thomas Hart

Pollock, Jackson

Johns, Jasper

Remington, Frederic

Remington, Frederic

Eskridge, Robert Lee

Guston, Philip

Flack, Audrey

Calder, Alexander

Henri, Robert

Demuth, Charles

Motherwell, Robert

Dine, Jim

Duchamp, Marcel

Luks, George

Davis, Stuart

Greene, Stephen

Estes, Richard

Nevelson, Louise

Glackens, William

Rockwell, Norman

Wyeth, Andrew

Stella, Frank

Cornell, Joseph

Sloan, John

Douglas, Aaron

Thiebaud, Wayne

Fish, Janet

Noguchi, Isamo

Hartley, Marsden

Shahn, Ben

Tooker, George

Close, Chuck

Smith, David

Stella, Joseph

Gottlieb, Adolph

Diebenkorn, Richard

Smith, Jaune Quick-to-See

Bourgeois, Louise

Dove, Arthur

Rothko, Mark

Kelly, Ellsworth

Rothenberg, Susan

Catlett, Elizabeth

Hofmann, Hans

Alston, Charles

Lichtenstein, Roy

Wyeth, Jamie

Twombly, Cy

Weber, Max

Krasner, Lee

Rivers, Larry

Schnabel, Julian

Oldenburg, Claes

Bellows, George

Gorky, Arshile

Pearlstein, Philip

Scharf, Kenny

Arneson, Robert

Hopper, Edward

Neel, Alice

Frankenthaler, Helen

Basquiat, Jon-Michel

Escobar, Marisol

O’Keeffe, Georgia

Parsons, Betty

Held, Al

Fairey, Shepard

Graves, Nancy

Albers, Josef

De Kooning, Willem

Warhol, Andy

Chihuly, Dale

Pippin, Horace

Kline, Franz

Frank, Helen

Kruger, Barbara

Cassatt, Mary

Rivera, Diego

Catlin, George

Borglum, Gutzon

Audubon, John James

Vonnoh, Bessie Potter Antoni, Janine Asawa, Ruth Burke, Selma

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Focus on Art and Artists Architecture

Artists with North American Connections ​(continued from previous page) Photography

Illustration/ Graphic Art

Cartooning

Mixed Media

Wright, Frank Lloyd

Rinehart, Frank

Wyeth, NC

Goldberg, Rube

Rauschenberg, Robert

Fuller, Buckminster

Stieglitz, Alfred

Rockwell, Norman

Thurber, James

Saar, Betye

Johnson, Phillip

Cunningham, Imogen

Gnagy, Jon

Disney, Walt

Ringgold, Faith

Gehry, Frank

Ray, Man

Kruger, Barbara

Pei, IM

Strand, Paul

Longo, Robert

Parish, Clara Weaver

Lin, Maya

Lange, Dorothea

Haring, Keith

Shahn, Ben

Bearden, Romare

Pereira, William

Adams, Ansel

Bearden, Romare

Wesselmann, Tom

Installation Art

Printmaking

Red Grooms

Collage

Bourke-White, Margaret

Paik Nam June

Warhol, Andy

Schwitters, Kurt

Wegman, William

Ono, Yoko

Max, Peter

Ray, Man

LeWitt, Sol

Kruger, Barbara

Christo

Haacke, Hans

Sherman, Cindy

Smithson, Robert

Nampeyo, Fannie

Kruger, Barbara

Leibovitz, Annie

Chicago, Judy

Arneson, Robert

Pacific Northwest Coastal Style

Brecht, George

Avadon, Richard

Beever, Julian

Wood, Beatrice

Hudson River Valley School

Denes, Agnes

Arbus, Diane

Martinez, Maria

Navajo weavings

Noguchi, Isamu

Cochiti Pueblo clay storytellers

Craig, Burlon

Low Country Basketry

Conceptual Art

Abbott, Berenice

Ceramics

Weaving Sudduth, Billie Ruth Navajo Weavings Low Country Basketry

Hoch, Hannah

Regional

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Art Movements Note: This is not an exhaustive list of art, movements, and artists. This chart should be used to guide the teacher towards deeper study.

Time Period and Art Movement 25,000 BC Stone Age

3500 BC - 539 BC Mesopotamian

2940 – 1070 BC Egyptian

2800 - 31 BC Greek and Hellenistic

750 BC - 476 AD Roman

653 BC - 1900 AD Indian, Chinese, and Japanese

476 - 1453 AD Byzantine and Islamic

400 - 1450 AD Middle Ages

Characteristics

Defining Art and Artists

Cave painting, fertility goddesses, megalithic structures

Lascaux Cave Painting, Woman of Willendorf, Stonehenge

Warrior art and narration in stone relief Art with an afterlife focus: pyramids and tomb painting Greek idealism: balance, perfect proportions; architectural orders (Doric, Ionic, Corinthian)

Standard of UR, Gate of Ishtar, Stele of Hammurabi’s Code Imhotep, Step Pyramid, Great Pyramids, Bust of Nefertiti Parthenon, Myron, Phidias, Polykleitos, Praxiteles

Roman realism: practical and down to earth; the arch

Augustus of Primaporta, Colosseum, Trajan’s Column, Pantheon

Serene, meditative art, and Arts of the Floating World

Gu Kaizhi, Li Cheng, Guo Xi, Hokusai, Hiroshige

Golden Byzantine mosaics; Islamic architecture and amazing maze-like designs; blended Roman, Greek, and Oriental influences; flat stiff figures, and religious themes Celtic art, Carolingian Renaissance, Romanesque, Gothic

Hagia Sophia, Andrei Rublev, Mosque of Cordoba, the Alhambra

St. Sernin, Durham Cathedral, Notre Dame, Chartres, Cimabue, Duccio, Giotto

Connections Ice Age ends (10,000 BC - 8,000 BC); New Stone Age and first permanent settlements Sumerians invent writing (3400 BC); Hammurabi writes his law code (1780 BC) Narmer united Upper/Lower Egypt (3100 BC); Rameses II battles Hittites (1274 BC) Athens defeats Persia at Marathon (490 BC); Peloponnesian Wars (431 BC); Alexander the Great’s conquests (336 323 BC) Julius Caesar assassinated (44 BC); Augustus proclaimed Emperor (27 BC) Diocletian splits Empire (292 AD); Rome falls (476 AD) Birth of Buddha (563 BC); Silk Road opens (1st c BC); Buddhism spreads to China (1st - 2nd centuries AD) and Japan (5th century AD) Justinian partly restores Western Roman Empire (533 - 562 AD); Iconoclasm Controversy (726 -843 AD); Birth of Islam (610 AD); Muslim Conquests (632 - 732 AD) Viking Raids (793 - 1066); Battle of Hastings (1066); Crusades I - IV (1095 1204); Black Death (1347 - 1351); Hundred Years’ War (1337 - 1453)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Art Movements 1400 - 1550 Early and High Renaissance

1430 - 1550 Venetian and Northern Renaissance

1520 - 1600 Mannerism

1590 - 1790 Baroque

1700 - 1800 Rococo MODERNISM

1800 - 1900 Romanticism

1820 - 1970 Neo-Classicism

1850 - 1880 Realism

1870 - 1880 Impressionism

1880 - 1900

Rebirth of classical culture; chiaroscuro, and sfumato

Ghiberti’s Doors, Brunelleschi, Donatello, Botticelli, Leonardo, Michelangelo, Raphael

Renaissance spreads north ward to France, the Low Countries, Poland, Germany, and England Art that breaks the rules; artifice over nature Splendor and flourish for Christianity; art as a weapon in religious wars Decorative, highly ornamental art created for the rich

Bellini, Giorgione, Titian, Durer, Bruegel, Bosch, Jan van Eyck, Rogier van der Weyden Tintoretto, El Greco, Pontormo, Bronzino, Cellini Rubens, Rembrandt, Caravaggio, Palace of Versailles, Vermeer, St Paul’s Cathedral, Velazquez Watteau, de la Tour, Fragonard, Gainsborough, Hogarth, Boucher

The triumph of imagination and individuality; in the US it became the Hudson River School

Caspar Friedrich, Gericault, Delacroix, Turner, Benjamin West,

Art that recaptures Greco-Roman grace and grandeur Celebrating working class and peasants; en plein air rustic painting Capturing fleeting effects of natural light A soft revolt against Impressionism

David, Ingres, Greuze, Canova

Emotion distorting form

Kirchner, Kandinsky, Kollwitz, Nolde, Klee, DuBuffet, Bacon

Post Impressionism Pointillism

1905 -1950 Expressionism

Corot, Courbet, Daumier, Millet

Monet, Manet, Renoir, Pissarro, Cassatt, Morisot, Degas Van Gogh, Gauguin, Cezanne, Seurat

Gutenberg invents movable type (1447); Turks conquer Constantinople (1453); Columbus lands in New World (1492); Martin Luther starts Reformation (1517) Council of Trent and Counter-Reformation (1545 - 1563); Copernicus proves the Earth revolves around the Sun (1543) Magellan circumnavigates the globe (1520 - 1522) Thirty Year’s War between Catholics and Protestants (1618 - 1648)

Reign of Louis XV in France

American Revolution (1775 - 1783); French Revolution (1789 - 1799); Napoleon crowned emperor of France (1803) Enlightenment (18th century); Industrial Revolution (1760 - 1850) European democratic revolutions of 1848

Franco-Prussian War (1870 -1871); Unification of Germany (1871) Curie discovers radium (1898), Belle Epoque (late 19th century Golden Age); Japan defeats Russia (1905) Boxer Rebellion in China (1900); World War I (1914 -1918)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Art Movements 1890 - 1910 Art Nouveau

1898 - 1908 Fauvism

1908 - 1914

Decorative forms, natural forms and curves in art and architecture Intense, clashing colors and flat surfaces with vigorous brushstrokes Redefining of visual space

Klimt, Mucha, Tiffany, Gaudi

Brutal realism featuring street scenes and contemporary urban life (Ashcan) and a gentler portrayal of the same (American Scene) Emphasized the power of the machine in modern life (response to Italy’s “dusty” roots) Geometric art reflecting modern technology

Sloan, Shinn, Luk, Glackens, Henri, Bellows, Benton, Wood, Wyeth, Day

Matisse, Marc, Derain, Vlaminck, Dufy, Rouault, Braque Picasso, Braque

Cubism

1908 - 1940 Ashcan School American Scene

1909 - 1918 Futurism

1913 - 1932 Constructivism 1915 - 1930 Precisionism 1916 - 1922

Sleek urban and industrial forms Art celebrating the absurd

Dada

1917 - 1931 De Stijl

1925 - 1939 Art Deco

1919 - 1933 Bauhaus

“The Style”; eliminated emotion from art Ornamental art, architecture, fashion design, and furniture, opulence Correlation between creative design and modern industry and science

Boxer Rebellion in China (1900); Wrights fly airplane (1903), Einstein announces relativity theory (1905)

Lenin leads Russian Revolution (1917); Henry Ford develops assembly line (1913); American Women win vote (1920); WW I (1914 -1918); Russian Revolution (1917)

Balla, Boccioni, Brancusi, Sant’Elia, Russolo, Severini Tatlin, Malevich, Popova, Rodchenko, Lissitzky, Gabo, Pevsner Sheeler, Demuth, O’Keeffe Duchamp, Arp, Man Ray, Schwitters, Ernst Mondrian, van Doesburg, Bolotowsky Chrysler building, Empire State building, de Lampicka, Erte’

Disillusionment after WW I; Prohibition; flappers; Lindbergh flies solo across Atlantic (1927); US Stock Market crashes (1929)

Albers, Bayer, Klee, Gropius

Post WW I

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Art Movements 1920 - 1950 Surrealism

1928 - 1950 Social Realism

1928 > Modern Photography

1940 - 1960 Abstract Expressionism

1945 - 1960 Postwar Sculpture

1950 - 1964 Op Art

1954 - 1968

Painting dreams and exploring the unconscious Expressed personal views and social commentary

Expressed personal views and social commentary Post-World War II: use abstraction and expression without form Industrial materials and techniques; new forms like assemblage and mobiles Surface kinetics and optical illusions Popular art absorbs consumerism

Pop Art

Dali, Ernst, Magritte, de Chirico, Kahlo, Chagall Wood, Hopper, Shahn, Marsh, Lawrence, Biggers, Tanner, Orozco, Siqueiros, Rivera, Picasso Man Ray, Atget, Cartier-Bresson, Weston, Stieglitz, Lange, Adams, Abbott, Bourke-White Gorky, Pollock, de Kooning, Rothko, Dubuffet, Frankenthaler, Kline, Hofmann, Motherwell Moore, Calder, Smith, Bourgeois, Nevelson Vasarely, Anusziewicz, Riley, Reinhardt, Noland, Poons Warhol, Lichtenstein, Oldenburg, Segal

Disillusionment after WW I; The Great Depression (1929 - 1938); Spanish Civil War begins (1936); WW II (1939 - 1945) and Nazi horrors; atomic bombs dropped on Japan (1945)

First digital computer developed ((1944); US Supreme court outlaws segregation (1954); USSR suppresses Hungarian revolt (1956); USSR launches Sputnik (1957); Cold War and Vietnam War (US enters in 1965); Czechoslovakian revolt (1968)

POST-MODERNISM & CONTEMPORARY

1960s - > Performance Art Installation Art Assemblage Art Kinetic Art Minimal Art Conceptual Art Video Art

Expanding the definition of art to include time, space, the performer's body, or presence in a medium, and/or a relationship between performer and audience

Beuys, Ono, Kaprow, Stella, Noland, Kelly, Held, Smith, LeWitt, Malevich, Tinguely, De Saint Phalle, Marisol, Nevelson, Klein,Calder, Diebenkorn, Rodchenko, Pollock, Max

Berlin Wall erected (1961); Civil Rights Act passed in US (1964); US enters Vietnam War (1965); Cultural Revolution begins in China (1966); Neil Armstrong sets foot on the moon (1968)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Art Movements 1970s - > Environmental Deconstructivism Photo Realism Feminism

1980s - > Neo-Expressionist Art Neo-Pop Sound Art Appropriation Soft Assemblage Graffiti

1990s - > Digital Art New Media YBA (Young British Artists) Western and Central Desert

2000s - > Kitsch Movement Classical Realism Street Art

The Earth as art; artists taking issue or revolting against previous movements; artists using cameras to help them paint

Returning to earlier roots (Neo-Expressionist, Neo-Pop, Appropriation) as well as stretching the definition of art again to include forcing it into public places (sometimes without permission) with Sound Art and Graffiti From computer generated fractals and algorithms to art made to shock its audience

From returning to classical roots (with a twist) to the art of urban streets

Smithson, Christo, Goldsworthy, Baeder, Estes, Hanson, Rosenquist, Flack, Fish, DeAndrea, Close, Eddy, Blackwell, Chicago, Lacy, Bernstein, Haacke, Borofsky, Abramovic, Beecroft Kiefer, Baselitz, Schnabel, Clemente, Koons, Havadtoy, Done, Cage, Levine, Haring, Basquiat, Kruger, Saar, Ringgold, Longo, Sherman, Fischl

Watergate scandal (1974), Microsoft and Apple computers founded (1976), Socialist Republic of Vietnam founded ending US involvement (1976), Jonestown Massacre (1978), Margaret Thatcher first female prime minister of Britain (1979), AIDS identified (1982); Nuclear freeze movement; Chernobyl disaster (1986), Cold War fizzles; Berlin wall falls (1989), Communism collapses in Eastern Europe and USSR (1989 - 1991)

Fuhrer, Karolos, Skoglund, Quick-to-See-Smith, Chihuly, Johansson, Santaner, Carson, Hirst, Ermin, Aboriginal Artists, Bailey, Arneson, Bickerton, Dine, Paik, Nauman

Nelson Mandela freed, Hubble telescope launched (1990), Desert Storm (1991), genocide in Bosnia (1992), internet grows exponentially (1993), first cloned mammal - Dolly the Sheep - was born (1996), The Euro made its debut (1999)

Nerdrum, Tretchikoff, Pearce, Dorfles, Wiley, Banksy, Fairey, Cartrain, Council, Cutup, Cullen, Rubens, Kruger

First inhabitants arrive at Intl Space Station (2000), bombing of World Trade Center/Pentagon (2001), Iraq War begins (2003), Facebook founded (2004), YouTube launched (2005), Pluto no longer planet (2006), Black Monday (2008)

Sources include ​The Annotated Mona Lisa​ by Strickland, ​Art History for Dummies​ by Wilder, An Usborne Introduction ​Understanding Modern Art

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Viewfinder Design Viewfinder Design: A viewfinder is an index card, a piece of paper, or a piece of posterboard that has a square, rectangular, triangular, or circular opening cut out of the center. The opening can vary in size. The viewfinder isolates an area of an object for close study. Enlarged drawings are made from the isolated areas. Contour and flat shape drawing works best for creating the designs.

Viewfinder Index card with cut-out opening, isolating portion of magazine or other image

Suggestions for using the viewfinder: Isolate areas with the viewfinder and: ●

look for pattern and design in insect forms

●

study the design found in cut vegetables (onion, celery, carrot)

●

study the designs found in lace (actual or photographed), use the viewfinder to isolate a small portion and translate it into a design

●

use old magazine images as areas for study; stay away from small items that create words or recognizable images

As you instruct students, guide them to find a smaller section of a larger image that has a variety of lines and shapes that touch all four sides of the opening in the viewfinder. These guidelines will help students to create an interesting composition.

Drawing Enlarged line drawing adaptation from the image seen through the viewfinder

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Basic Forms Worksheet

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Shading Techniques

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Tints and Shades Directions: Start by painting the center square (pure color) in each row and then create tints by gradually mixing more white to the pure color and painting in each square getting lighter as you move to the left. Repeat with shades of the each pure color getting darker as you move to the right.

Finally, create a gray scale in the bottom row. The left square is white and the square should get darker as you move to the right.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Color

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Color Schemes Worksheet

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Creating the Illusion of Space in 2D Art

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Watercolor Techniques Painters Tape Block

Wet-on-Wet

Use masking tape to cover up specific shapes and lines and place washes over them. When the paint is dry, remove the tape and paint details into the area.

Drops of paint can be applied to damp washes causing blooms of colors as they bleed into each other. This can be an interesting out-of-focus background effect.

Texturize

Eraser

Sponge paint or use wet crumbled tissue paper to apply color onto the paper to create textures. These can be used to suggest leaves.

After the paint is dry, you can lightly soften areas and create fuzzy, gentle tonal variations by erasing.

Lifting

Dry Brush

You can create soft, cloud like textures by blotting a damp wash with tissue. Because paper towel is stiffer than tissue, the blot results in a combination of hard and soft edges that can be used to represent rocks. Laying plastic wrap on wet paint for a few hours and then lifting the plastic wrap up creates texture

Applying watercolor to a dry surface with a dry brush can create fine linear textures that simulate grass, sea oats, shrubs, branches, or tree bark and are usually done as finishing touches to a painting.

Washes

Salt

Washes are transparent, even layers of color used to work into large background areas such as skies and water. You start with damp paper and a loaded brush. Make a firm stroke across the paper, load the brush again and make a second stroke. This is continued until the area is completed. Work quickly and keep the paper damp to avoid harsh lines or stroke marks.

Salt sprinkled into a wash creates starry effects because the salt absorbs the pigment in the paint. This technique works best if the salt is applied before the pigment settles into the paper. Experiment with different kinds of salt -- larger crystals create different effects than smaller crystals.

Wax Crayon Resist

Graded Washes

This may be done with colored crayon or clear wax sticks; you apply wax wherever you wish to repel the watercolor. Since wax resists water, when you paint over a waxed area, the paint beads up and creates interesting textural effects.

Graded washes vary in density and color from one side of the paper to the other. You begin with damp paper and load the brush with paint, stroking evenly across the page. Continue until the color loses saturation. Work quickly and keep the paper damp to avoid harsh lines or stroke marks.

Liquid Maskit is also a type of resist.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Watercolor Techniques Scraping for Light Areas

Rubber Cement Block

It is possible to scrape some of the pigment away after the shine has disappeared from the wash to create lighter values in the wash area, but timing is important... too soon and you will make dark lines; too late and nothing happens.

Same procedure as for masking tape but you must allow the glue to dry before placing washes. The results are looser than tape but the glue is not as easy to control.

Scratching with a Pointed Implement

Crumpled Plastic Wrap

By scoring the paper before or after you lay down a wash, you cause indentations in the paper into which the color from the wash pools, causing fine dark lines, a great technique for fine detail.

Crumpled plastic wrap can be applied to create interesting dark-edged shapes that can be further painted when dry and used to simulate rocks, fields, or sun-dappled foliage.

Softening Edges

Splatter

If you want to blend to create the effect of 3D, after you lay down the color, quickly rinse and wipe your brush, pulling along the wet edge.

Continue to rinse and extend the edge until it has lost its crispness.

This technique is an excellent tool for lending the effect of realism to a painting.

Paint can be applied to a wet or dry wash area by splattering from a toothbrush to create effects such as falling snow, fog, rain, and whitewater.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Composing Effective Photographs Knowing how to operate your camera and equipment prepares you mechanically to make photographs. Using your camera artistically is the next goal. Although some people are described as being born with a photographic eye, learning how to compose effective photos always come with practice. Here are some basic guidelines for taking effective photos:

Photos with a Purpose

Have a Center of Interest

Use the Rule of Thirds

Get in Close

Every photo should have a purpose. A photographer’s composition, or arrangement of the subjects and objects in the photo determine the message viewers get when they see the finished photograph. Always think about the story you wish to tell with your photos.

There should be a main subject or center of interest in every photo. It should attract the viewer’s eye.

Other objects in the photo must not compete with what you intend to be the center of interest/focal point. When taking a photo, consider what is the main subject and if it will be obvious to the viewer.

As a general rule, the center of interest should ​not​ be in the center of your photo. Centered subjects usually are less interesting than those place according to the rule of thirds.

A key rule to remember in photography is to get close to your subject. Fill your viewfinder only with what you want in the finished photo. Move in. Get rid of everything that is not necessary to the story you want to tell. Don’t let unwanted objects distract the viewer.

A Chinese proverb says that “a picture is worth 10,000 words. If that is true, you understand the responsibility you have when squeezing a shutter release button.

Mentally divide the scene in your viewfinder into thirds, both horizontally and vertically like a tic-tac-toe board. Place your main subject along one of the four Try Leading LInes Direct the attention of your viewers imaginary lines or where two of the lines intersect. The subject to the center of interest of your should also face or move ​toward photo with leading lines. Roads, the center of the photo, not away fences, railings, and rivers from it. commonly are used as leading lines. They must lead and direct attention into the picture, never out of it.

Keep the Horizon Straight Keeping the horizon straight in a photo is a simple rule that is often ignored. The result is a distracted viewer who is bothered by an unlevel horizon. When shooting any subject with a horizon, even if it is very distant, check just before you squeeze the shutter release to make sure the horizon is not tilted.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Composing Effective Photographs Continued from previous page…​ Knowing how to operate your camera and equipment prepares you mechanically to make photographs. Using your

camera artistically is the next goal. Although some people are described as being born with a photographic eye, learning how to compose effective photos always come with practice. Here are some basic guidelines for taking effective photos:

Watch the Background

Check All Angles

Frame the Subject

Vary the Format

A poor background is very distracting. One that is cluttered will draw attention away from your main subject. A background that is too busy should be avoided.

Change your camera angle or your subject’s position. Get low and photograph your subject against the sky; it’s plain enough to keep the viewer’s attention in the subject and not the background. Alternately, if the ground is attractive and simple, use it as the background by photographing your subject from a high angle.

Study your subject and check it from all angles. Even a slight change of angle can improve the composition of your photo tremendously. The height of a photographer’s eye is not always the best level for his/her camera.

Kneel down or stand on your tiptoes. Some photographers get low by placing their cameras on the floor or ground. Others climb steps, ladders, and trees.

A natural frame directs viewers toward your main subject. Very common and effective is a tree with an overhanging branch used to frame a scenic photo. Frames are kept in the foreground and give a feeling of depth to photos.

They can surround the subject or just border the top or one side.

Good composition usually calls for tall subjects to be photographed vertically, wide subjects horizontally. Your composition usually improves when you can fill the frame with your subject.

By all means, avoid backgrounds where trees or poles seem to be growing out of people’s heads.

Alert photographers make certain that objects in the background do not distract from their main subjects. A tree growing from a person’s head is a common problem that can easily be avoided.

Photographing up from a low angle makes the subject look imposing and gives a feeling of strength or power. Shooting down from a high angle can diminish the subject and make it appear weak or submissive.

Look around. Windows, natural arches, doorways, and fences are examples of frames that can be used to make your subject stronger.

Look for Patterns and Textures A repeating pattern created by subjects or objects draws a viewer’s attention and then allows the visual impact of the one different element to create a strong center of interest. Patterns also provide texture. An example would be many people looking excitedly while one person yawns.

For variety in your photos, however, vary your format. Don’t shoot everything horizontally. For an interesting effect, occasionally shoot tall objects, like tall buildings or trees, on the diagonal. In the vertical camera position, frame them at an angle running from a top corner to the opposite bottom corner of your viewfinder

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Composing Effective Photographs Continued from previous page…​Knowing how to operate your camera and equipment prepares you mechanically to make photographs. Using your

camera artistically is the next goal. Although some people are described as being born with a photographic eye, learning how to compose effective photos always come with practice. Here are some basic guidelines for taking effective photos:

Include Size Indicators

Include Some Action

Use an object with which the viewer is familiar in the same frame as your subject or center of interest to help viewers comprehend and compare their sizes. For example, if you want to focus on the star basketball player’s height, photograph him next to another object like a doorway or an average-sized student so your viewer will automatically compare the size of one object to another.

Unless you are trying to produce a mood of stillness, include action in your photos. Far too many photographs are static and lifeless. Informal photos of people are always better if the subjects are doing something. Candid shots are more lifelike and reveal natural expressions and action.

Use your Imagination There is no right or wrong way to compose a photo. The creative photographer is one who knows the rules but also dares to bend them once in awhile. Experiment and try different approaches with different subjects. The results may or may not please you but at least you’ve made an attempt to satisfy your curiosity. Everything you see may is a photographic possibility.

Use Good Timing

Too many photographers release their shutters immediately after framing their subject. They fail to wait for the moment of greatest interest or impact. Timing is important to a successful photographer. Good timing takes patience and practice. Study your subjects and figure the best time to photograph them.

Don’t allow your subjects to mug Photographing a second too early, or pose for the camera. Wait until or too late, can make the a subject has almost forgotten why difference between an ordinary you are there to take his/her photo and a remarkable photo. For if possible. You will be more likely example, a golfer blasting out of a to capture true action instead of sand trap is more exciting than someone going through the teeing off. motions.

The time of days is another consideration. The long shadows of early morning or late afternoon often make photos much more effective than if they were taken at noon with the sun overhead.

Consider Color/Value The colors of your subject are important to the success of your photograph. If you plan to edit your photo in color, you should make sure your center of interest is colorful and contrasts itself from the colors of other objects. If you plan to edit your photo so the finished image is black and white, you need to pay attention to the hue, saturation, and brightness of the colors your photograph. The value of each color is important.

Look for contrast areas of light against areas of dark.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Basic Paper Techniques

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Weaving Techniques

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Weaving Techniques 2

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Overshot Weaving Patterns

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Stitching Techniques

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Stitching Techniques 2

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Coiling Techniques

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Artist Statement Steps

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

North Carolina State Symbols Symbol Type

State Symbol

Date Adopted

Symbol Type

State Symbol

Date Adopted

Carnivorous Plant

Venus Flytrap

2005

Art Medium

Clay

2013

Christmas Tree

Fraser Fir

2005

Beverage

Milk

1987

Flower

Flowering Dogwood

1941

Seagrove Area

2005

Wildflower

Carolina Lily

2003

Birthplace of Traditional Pottery

Tree

Pine

1963

Blue Berry

Blueberry

2001

Butterfly

Eastern Tiger Swallowtail

2012

Folk Art

Whirligig

2013

Dog

Plott Hound

1989

Folk Dance

Clogging

2005

Fossil

Megalodon Tooth

2013

Fruit

Scuppernong Grape

2001

Freshwater Trout

Southern Appalachian Brook Trout

2005

Historical Boat

Shad Boat

1987

Popular Dance

Shagging

2005

Frog

Pine Barrens Tree Frog

2013

Red Berry

Strawberry

2001

Horse

Colonial Spanish Mustang

2010

Song

“The Old North State�

1927

Insect

Western Honey Bee

1973

Sport

Stock Car Racing

2011

Mammal

Eastern Gray Squirrel

1969

Tartan

Carolina Tartan

1991

Marsupial

Virginia Opossum

2013

Vegetable

Sweet Potato

1995

Reptile

Eastern Box Turtle

1979

Salamander

Marbled Salamander

2005

Coast

Lighthouses, Wild horses

Saltwater fish

Channel Bass

1971

Piedmont

NASCAR

Shell

Scotch Bonnet

1965

Mountains

Rock

Granite

1979

Blueridge Parkway, Grandfather mountain, Bluegrass music

Stone

Emerald

1973

Regional Highlights

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Resources for Teaching

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Teaching in the 90 Minute Block Though it may seem efficient to give students all of their instructions at the beginning of class and allow them the rest of the class period to create art, it is not the most effective teaching strategy for middle schoolers.

Breaking up the 90-minute instructional block not only fosters student learning, but decreases discipline issues and aids in classroom management by keeping students actively engaged. Include a variety of activities as you divide your daily lessons into instructional segments.

Suggestions for breaking up the 90-minute block: ●

Begin your class with a warm up to focus students

●

Allow students to work in their art journals or sketchbooks for a short period of time at the beginning or end of class

●

Introduce art history by including an Artist of the Week discussion

●

Hold a peer critique at some point during the independent work segment of class; allow students to move around the room to look at each other’s work

●

Plan 2-3 different activities per block

●

Host a whole group discussion on a relevant art topic (e.g.art careers, art criticism)

●

Keep lectures and presentations brief (10-15 minutes is about the length of their attention span!)

●

Have two studio assignments running simultaneously; work for half the period on each

●

When working with a hands-on studio assignment, chunk your lesson into smaller pieces; explain/demonstrate one step, then allow students to practice that step before moving on to the next step

●

Incorporate technology where appropriate (e.g. research relevant art technique How To videos and post for students to watch)

●

Set up an art center/station and schedule 2 or 3 students to visit for short periods of time

●

Incorporate cooperative activities; design activities that allow students to work in pairs or small groups

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Survival Tips for Secondary Art Teachers Before the students arrive ● ● ●

● ●

● ● ● ● ● ● ● ●

Create a course of study outline based on the NC Essential Standards for Visual Arts; plan lessons for the first few days of school.

Make an inventory of the supplies you have; determine what you need based on your lesson plans and number of students.

Go to your financial secretary and find out your total budget, ask for an art supply requisition sheet and order supplies according to your course of study outline (Be ready to defend your supply choices, but be ready to revise your lesson plans if your budget does not support the supplies you need to buy).

Organize your classroom for maximum flow and efficiency. Don’t be tied to your first design; pay attention to traffic jams and long lines for supplies and sinks, change room arrangement if necessary; avoid blind spots in the room.

Display posters describing classroom rules, clean-up procedures, safety procedures, elements and principles and other motivational tools like timeline, art prints, and good examples of student artwork. Make sure the posters are clear, neat, and inviting and words are spelled correctly. (e.g. complement refers to colors and compliment refers to a polite expression of praise or admiration).

Label your art tables and important storage supply areas.

Get a roster of students from scheduling coordinator (or PowerSchool); draw up a seating chart (in pencil); arrange students to promote diversity and to ease attendance procedures for the first few weeks.

Ask EC teachers, the nurse, case workers, ELL teachers and other support staff for lists of students with special needs (504 plans, IEPs, health concerns, and other alerts). Read through the lists and ask questions.

Develop organizational system for lesson plans, parent contact log, student behavior management, and school documents.

Create and copy student interest inventory and parent letter home (which should include teaching philosophy, grading procedures, discipline procedures, supplies needed for class, and contact information).

Plan with other Fine Arts teachers to create a tentative fine arts calendar of events; give dates to your principal/secretary to add to the school calendar as soon as the dates are set.

Make friends with your custodians, secretaries and technology teachers—you will need them many times throughout the year.

Prepare for the “meet and greet” Open House that will more than likely occur during the week of teacher workdays in August; be ready to talk (briefly) to parents about what types of things you will be teaching, as well as what supplies students will need for your class. It is a good idea to give parents the required supplies and your “wish list” in writing.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Survival Tips for Secondary Art Teachers First Day ● ● ●

● ● ● ● ●

As students enter your classroom, show them to their assigned seats (post the seating chart in the room or have names attached to tables so that students can reference it while you are greeting them at the door with a smile!).

Set the tone for class by being prepared and taking charge of the class immediately after the bell rings.

Quickly check attendance by cross-referencing roster with seating chart (correct names, write in corrections as necessary). This is a good time for students to be filling out their student interest inventory as you go around to each table because it gives the students something to do, while also saving students embarrassment if you mispronounce their names.

Distribute and review the parent letter, general course of study/syllabus, expectations, rules, consequences, supplies, grading guidelines, student/parent survey, bathroom use, and other procedures.

Answer any questions students may have about your class.

Start an activity such as a pre-assessment drawing (person, tree, building, free), Right Brain Drawing activity or Sketchbook Cover Design.

Do a quick Getting to Know You exercise (e.g. name game) to help you see the individual interests of your students.

Save pre-assessment drawings for reference, comparison to post assessment work you will save later in the semester. It’s important to have both pre and post assessments in order to accurately measure the growth of your students.

First Week ● ● ● ● ● ●

Check pre-assessment activities to assess general ability level of class and individual level of each student.

Continue to discuss and practice rules, procedures and consequences for your classroom so that they are reinforced; be prepared for some students to test you!

Adjust your seating chart to improve student success and class dynamics (e.g. seat EC students close to you and assign a peer helper).

Discuss the use of student sketchbooks/journals; assign first entry.

Assign first art project (e.g. sketchbook cover, design project, resource worksheets related to project).

With a 90-minute block, it helps to change activities as most middle schoolers do not have the attention span to work on the same activity for the entire block (and keeping them engaged dramatically reduces discipline issues). Activities may include warm ups, journal prompts, demonstrations, student work time, Q&A sessions, peer critiques, or ticket out the door.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Survival Tips for Secondary Art Teachers First Month ● ● ●

●

Assign second project (refer to lesson plans) Learn all of your students’ names and at least one interesting thing about them.

Prepare for Open House/Curriculum Night. Create syllabus/prospectus (if required), display student artwork, clean and organize classroom, create and copy a “wish list” for parents of things you need in your classroom like magazines, table cleaner, or extra pencils. (a PowerPoint presentation is also helpful to keep you focused as you present to parents.) Check with your school-assigned mentor or administrator to see what specific expectations are for your school’s Open House/Curriculum Night.

Observe student seating carefully, make changes if necessary. Watch your peer helpers to see if they need a break.

Beware ● ● ● ● ● ● ●

Don’t fall into the trap of doing an excess of “favors” for other teachers, administrators, and parents. Your services are valuable….would you ask the math teacher to do your taxes for you….for free?

Avoid talking to teachers during your class time. Ask instead for them to meet with you before school, after school, or during a common planning period.

Loan out non-expendable supplies sparingly and record each borrowed item. Keep your art supplies separate from the rest of the school.

Don’t spend everything at once, save a little money in your budget for emergencies.

Don’t spend your own money and expect to be reimbursed—get prior approval and procedures from your financial secretary.

Don’t allow other teachers to “borrow” your art students during class time.

Always have some art work displayed in your school and in the community; participate in as many of the CMS sponsored art exhibits and competitions as you can.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Survival Tips for Secondary Art Teachers Student Rapport ● ● ● ● ● ● ● ● ● ● ●

You are in charge; let your students know that!

Set the tone the very first day by greeting your students with a smile (fake or real) while maintaining a firm but fair demeanor. Learn to love and laugh with your students.

Make your students believe that they are capable of being successful in art.

Hold students accountable for their learning. Art is not a crib course or an easy “A”.

Art is not social time. Quiet voices or complete silence is much more conducive to learning (soothing music is also appropriate).

Have a class non-verbal attention signal and use it when you need to speak. Don’t speak until you have all of your students’ attention (eyes and ears).

Be firm and consistent with discipline for all students (fairness is the number one issue with middle schoolers).

Don’t embarrass students in front of peers, take student to a quiet area when conferencing or disciplining.

Address behavior problems immediately or they will get worse. Students with inappropriate behavior should be assigned another task away from their peers.

Smile as you cordially invite students to lunch detention or after school detention. Do not yell or lose control.

Position yourself so that your back is not to the students as you circulate. Make them think that you are watching them at all times.

Personal Preparedness ●

● ● ● ● ● ●

Make sure you have professional clothing that follows both CMS and individual school dress code (check length, tightness, low cuts, symbols/language). Check how the clothing fits when you are doing job related movements. Be sure to check jeans and leggings policy at your school.

Cell phones should be off and not used during the school day.

Clean up your social media and do not post anything you would not want your students or their parents to see. Do not post confidential comments about your school, students or CMS. Do not give your phone number or becoming social media friends with students or their parents.

Allow extra time in your commute for heavy traffic and bus routes once school starts.

Conduct your personal life so that it does not negatively impact your professional career.

Establish a self-care routine to maintain balance in your life; teaching can be mentally and physically draining. You come in contact with more germs than you ever have before!

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

General List of Supplies for Middle School Art Essentials

Great to have if you can get them

white drawing paper (18”x24”) black construction paper assorted colors construction paper pencils Ebony pencils erasers colored pencils crayons markers (Crayola Classic, Tropical, Bold, Fluorescent) bullet-tip or chisel-tip markers, permanent black tempera paint watercolors paintbrushes glue—Elmer’s and gluesticks scissors rulers masking tape, both wide and narrow tissue paper, assorted colors india ink yarn tapestry needles transfer paper, both graphite and white pen staffs and nibs X-Acto knives chipboard gesso

glazes for clay clay tools oil pastels watercolor pencils charcoal chalk pastels acrylic paint digital cameras and camera cards iPads and drawing/painting apps muslin, batik or fabric painting supplies burlap gloss medium gel markers poster board mat board linoleum, linoleum cutters, bench hooks, brayers, ink better quality brushes

clay****order from CMS warehouse

Vendors Brame Nasco Blick Art Materials Sax Arts & Crafts Triarco Crystal Arts Productions Jerry’s Art-a-rama Other Art Supply catalogs

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Organizational Tips for Art Teachers Organization of CLASSROOM ● ● ● ● ●

Students should have an assigned seat from day 1 Tables should be labeled with numbers (or colors, artists) Each table should have a “captain”; that leadership role should rotate periodically. Alternatively, you could assign each table member a different role (e.g. supply retriever, table organizer, sink cleaner…) and rotate the roles.

Supplies and resources should be organized by table numbers (e.g., marker bins labeled with table numbers, student work organized into large folders by table numbers) Daily procedures and expectations should be in place and enforced to assist with classroom management (e.g., begin each class with a warm-up, table captains assist with distribution and collection of materials)

Organization of SUPPLIES ● ● ● ● ●

Group like media together in storage for easy access and to prevent duplicate ordering Organize art prints by topics Organize teacher and student artwork examples by media or make separate folders for each project Ask for donations of items like tissues, hand sanitizer, hand soap; keep the extras in your storage room so that students don’t waste them Students should not be allowed in storage room or kiln room without your permission. Keep potentially dangerous items (X-acto knives, spray paint, linoleum cutters, sharpies) in this “teacher only” space.

Organization of UNIT PLANS and LESSON PLANS ● ● ● ● ● ● ●

Group Unit Plans according to Media (or Elements/Principles, Artists, Art History, Cultures) Ensure that you are covering all of the Essential Standards at some point during the semester/year as you create your Unit Plan Overview and that you are using a variety of media (see checklist in this guide) Create a chart that is an overview of what you want to teach for each grade level using the Vertical Alignment Chart in this guide as a resource; you can build on this chart each year to give variety to your program (see sample charts on following pages) Do not teach the same lesson to Art 6, Art 7, Art 8--you will be teaching similar concepts with some Essential Standards; make sure the lessons and finished products are different Plan for a variety of finished products to display. Rotate displays at least once a quarter.

Have a plan in place for what students should do if they finish early (e.g., sketchbook assignments, art graphs, independent project) Create Unit Plans and Lesson Plans using a format that is easily accessible (like Google Drive); print hard-copies to have on hand when needed

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Organizational Tips for Art Teachers LESSON OVERVIEW--SEMESTER

Grade:

Lesson Ideas, Notes, and Essential Standards taught:

DESIGN Early finishers​: .

DRAWING Early finishers​: PAINTING Early finishers​: PRINTMAKING Early finishers​: SCULPTURE Early finishers​: FINE CRAFTS Early finishers​:

Number of Classes:

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Organizational Tips for Art Teachers Semester Overview (Add specific lesson ideas into this chart; avoid duplicating specific lessons across grade levels.)

Drawing

painting Printmaking

Mixed media/collage

Sculpture

Contemporary craft & Design

Digital Media arts

Art criticism

Art 6

Art 7

Art 8

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Clarifying Objectives Quarterly Checklists 6th grade Clarifying Objectives Quarterly Checklist Essential Standard

Clarifying Objectives

Q1

Visual Literacy 6.V.1

6.V.2

6.V.3

6.V.1.1

Use appropriate vocabulary to describe art, including Elements of Art, Principles of Design, types of media, various processes, and style.

6.V.1.2

Understand how the Elements of Art can aid in the planning and creation of personal art.

6.V.1.3

Identify artists’ styles.

6.V.1.4

Recognize how artists use the Elements of Art and Principles of Design in creating art.

Apply creative and critical thinking skills to artistic expression.

6.V.2.1

Generate solutions to artistic problems.

6.V.2.2

Use observation skills of the immediate environment to create original imagery.

6.V.2.3

Understand that original imagery is a means of self- expression used to communicate ideas and feelings.

Create art using a variety of tools, media, and processes, safely and appropriately.

6.V.3.1

Use tools and media appropriately to maintain a safe and orderly work space.

6.V.3.2

Create art using a variety of 2-D and 3-D media, including digital.

6.V.3.3

Create art in different media using various techniques and processes

Use the language of visual arts to communicate effectively.

Q2

Q3

Q4

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Clarifying Objectives Quarterly Checklists Contextual Relevancy 6.CX.1

6.CX.2

Understand the global, historical, societal, and cultural contexts of the visual arts.

Understand the interdisciplinary connections and life applications of the visual arts.

6.CX.1.1

Understand the visual arts in relationship to the geography, history, and culture of world civilizations and societies from the beginning of human society to the emergence of the First Global Age (1450).

6.CX.1.2

Analyze art from various historical periods in terms of style, subject matter, and movements.

6.CX.1.3

Analyze the effect of geographic location and physical environment on the media and subject matter of art with an emphasis on South American and European art.

6.CX.2.1

Exemplify how skills and concepts developed in art are part of, and can be applied to, daily life.

6.CX.2.2

Understand the connections between art and other disciplines.

6.CX.2.3

Understand how collaborative planning is used to create art.

6.CX.2.4

Understand the role of art in creating digital images, technological products, and design.

Critical Response 6.CR.1 Use critical analysis 6.CR.1.1 to generate 6.CR.1.2 responses to a variety of prompts.

Generate responses to art using personal preferences, prior knowledge, and relationship to self.

Use formative, self-evaluation strategies and results to improve the quality of art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Clarifying Objectives Quarterly Checklists 7th grade Clarifying Objectives Quarterly Checklist Essential Standard

Clarifying Objectives

Q1

Visual Literacy 7.V.1

7.V.2

7.V.3

Use the language of visual arts to communicate effectively.

Apply creative and critical thinking skills to artistic expression.

Create art using a variety of tools, media, and processes, safely and appropriately.

7.V.1.1

Use art vocabulary to analyze art.

7.V.1.2

Understand how the Principles of Design aid in the planning and creating of personal art.

7.V.1.3

Identify themes in art.

7.V.1.4

Understand the relationship between the Elements of Art and the Principles of Design.

7.V.2.1

Evaluate solutions to artistic problems.

7.V.2.2

Use observation skills of the environment and personal experiences to create original imagery.

7.V.2.3

7.V.3.2

Create original art emphasizing selected elements and principles to express ideas or feelings.

Apply safety knowledge to maintain a safe and orderly personal work space.

Compare media in order to choose the best option to create art.

7.V.3.3

Compare techniques and processes to create art.

7.V.3.1

Q2

Q3

Q4

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Clarifying Objectives Quarterly Checklists Contextual Relevancy 7.CX.1

7.CX.2

Understand the global, historical, societal, and cultural contexts of the visual arts.

Understand the interdisciplinary connections and life applications of the visual arts.

7.CX.1.1

Understand the visual arts in relationship to the geography, history, and culture of modern societies from the emergence of the First Global Age (1450) to the present.

7.CX.1.2

Analyze art from various historical periods in terms of style, subject matter, and movements.

7.CX.1.3

Analyze the effect of geographic location and physical environment on the media and subject matter of African, Asian, and Australian art.

7.CX.2.1

Analyze careers in art and a variety of other careers in terms of the art skills needed to be successful.

7.CX.2.2

Select skills and information needed from other disciplines to solve artistic problems.

7.CX.2.3

Implement collaborative planning and art skills to solve problems.

7.CX.2.4

Interpret visual images from media sources and the immediate environment through the context of art.

Critical Response 7.CR.1 Use critical analysis 7.CR.1.1 to generate 7.CR.1.2 responses to a variety of prompts.

Generate responses to art using both personal and formal criteria.

Implement formative and summative evaluations of personal art.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Clarifying Objectives Quarterly Checklists 8th grade Clarifying Objectives Quarterly Checklist Essential Standard

Clarifying Objectives

Q1

Visual Literacy 8.V.1

8.V.2

8.V.3

Use the language of visual arts to communicate effectively.

Apply creative and critical thinking skills to artistic expression.

Create art using a variety of tools, media, and processes, safely and appropriately.

8.V.1.1

Use art vocabulary to evaluate art.

8.V.1.2

Apply the Elements of Art and Principles of Design in the planning and creation of personal art.

Identify how the Elements of Art and Principles of Design differentiate movements, contemporary styles, and themes in art.

8.V.1.3 8.V.1.4

Analyze the relationship between the Elements of Art and the Principles of Design in art.

8.V.2.1

Create art that uses the best solutions to identified problems.

8.V.2.2

Apply observation skills and personal experiences to create original art.

8.V.2.3

Create original art that conveys one or more ideas or feelings.

8.V.3.1

Apply knowledge of safety and media to maintain and take care of the work space and art.

Use a variety of media to create art.

8.V.3.2 8.V.3.3

Evaluate techniques and processes to select appropriate methods to create art.

Q2

Q3

Q4

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Clarifying Objectives Quarterly Checklists Contextual Relevancy 8.CX.1

8.CX.2

Understand the global, historical, societal, and cultural contexts of the visual arts.

8.CX.1.1

Understand the role of visual arts in North Carolina and the United States in relation to history and geography.

8.CX.1.2

Analyze art from various historical periods in terms of style, subject matter, and movements.

8.CX.1.3

Analyze the effect of geographic location and physical environment on the media and subject matter of art from NC and the United States.

Understand the interdisciplinary connections and life applications of the visual arts.

8.CX.2.1

Compare personal interests and abilities to those needed to succeed in a variety of art careers.

Analyze skills and information needed from visual arts to solve problems in art and other disciplines.

8.CX.2.2 8.CX.2.3

Use collaboration to arrive at effective solutions to identified problems.

8.CX.2.4

Exemplify the use of visual images from media sources and technological products to communicate in artistic contexts.

Critical Response 8.CR.1 Use critical analysis 8.CR.1.1 to generate 8.CR.1.2 responses to a variety of prompts.

Use convincing and logical arguments to respond to art.

Critique personal art based on identified criteria.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Preparing Digital Files of Student Work Camera Get a good quality digital camera with at least 8 megapixels. Using a digital camera will allow you to customize your settings according to your environment and needs. If you cannot afford a digital camera, the camera on most newer cell phones will most likely take acceptable photos.

Lighting ● ● ● ●

Natural light from the sun is the best for photographing artwork.

Make sure the flash is turned off on your camera. The flash causes a glare on the photograph and washes out the image.

Try to photograph your art midday to avoid side shadows. If the sun is too bright, find a shaded area. Partly cloudy days tend to work best because you don’t have to work against harsh glare or intense shadows.

If you are forced to photograph indoors, do it near a large window, or in the center of a room with a window on each side, so the light is spread evenly. Make sure the sun’s rays are diffused in some way, maybe through curtains.

Note: If your goal is to emphasize the texture of the artwork, light the artwork more heavily on one side (with a direct side light if possible). This will draw attention to the textural elements of the work because it creates small shadows across the surface.

Artwork Setup There are several ways to set up your artwork to photograph and the specifications vary depending on whether the work is 2 dimensional or 3 dimensional.

2D Pieces: ​ Avoid skewing the work by placing it in a position where it can be photographed directly over or in front and not at an angle.

Otherwise, you will end up with non-parallel outside edges of the work. ​ mall work:​ Lay the piece on the ground or floor so that it is flat. Photograph the work by standing directly over it. Be careful that your S shadow is not cast on the work. ​ arge work: ​ Prop/secure the work up against a wall or on an easel set perpendicular (90 degrees) to the floor.

L

3D Pieces: ​ Place the work in a position where it is separated from all background elements -- preferably against a black or white backdrop.

The color you choose should enhance the work and create a contrast between the work and the backdrop. ​ Small work:​ Position the artwork on an L shaped piece of cardboard/foam board that has been covered with paper or cloth.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Preparing Digital Files of Student Work Large work: ​ Secure a large piece of paper or cloth to a wall. The backdrop should be long enough to pool on the floor so that you can stretch it out to create a seamless unit of color. Position the artwork on the paper/cloth cover floor. Separate the work from the background enough to create contrast.

Camera Setup Ensure that the camera can be placed in a proper position to eliminate blurry photos. The best way to do this is to place the camera on a tripod or other sturdy surface.

Adjustable tripod: ​ Attach the camera to the tripod and adjust the tripod so that the camera is in line with the artwork. Tripods are relatively cheap, but if you cannot buy one right now, borrow it or refer to the second option.

Stool/Box/Table: ​ Use a stool, box, or table that is the proper height. You may have to use books to further adjust the height. Remember, your photography setup is not what matters here, it is the result that you are hoping to achieve.

Note: No matter what your camera set up, make sure the camera is placed right in the center of the work and is not tilted or skewed. This is so that the resulting photographs will not be distorted in any way. Fill the viewfinder with the work.

Editing the Photographs If you follow the guidelines above, you will not need to do much, if any, editing of your photographs. If you need to crop your work, lighten it, or remove a color cast that occurred because of the lighting you used, these edits can be done using free online software like Pixlr Editor, Pixlr Express, or PicMonkey. There are also many free apps you can get with your phone.

Note: Most work you are submitting for contests prohibit extensive editing. It is considered unethical to use editing software to change the quality of the artwork.

Naming Digital Files Right click and rename….change the format to jpg or pdf within a photo editing program (like Photoshop or PixlrEditor) by changing file extension

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

How to Prepare Artwork for Display Two dimensional work can be mounted or matted, depending on the kind of display or contest.

Mount artwork on colored construction paper or poster board with 2 to 3 inch border for in-house display.

For best results, use rubber cement, double stick tape, or glue stick to mount artwork.

Double mounting looks best if possible. Choose dominant colors from the artwork, preferably a warm and cool color. 1st color should be approximately 1” larger than the work on all 4 sides. The second piece should be 2” larger than the work on all 4 sides.

Student labels should be placed on the lower right corner and should not extend below the edge of the work. Labels should have the student’s name, grade level and title on it.

When you display student work, it is a good idea to write a brief statement that describes what the students accomplished and the Essential Standard(s) you taught to be displayed along with the artwork.

Labels should be typed or printed.

Adhesive labels work well if available. Mount labels on contrasting paper approximately 3 x 5” and attach to the bottom right area of the mounting border.

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

How to Prepare Artwork for Display Some two dimensional work may be matted if the display or contest specifically calls for it. Use the guidelines below for best results.

Measure the height and width of your image. If the image goes to the edge of the paper, subtract .5” to give you room to tape the image into place.

Choose a border width and multiply by two for each side. (Usually a 2.5”-3” mat works well.) This will give you the overall size of the piece of matboard you will need.

Use your paper cutter to cut outside measurements of the mat board to the correct size.

Set the guide on your mat cutter to the border width you used in your calculations.

Lay the mat board face down on your mat cutter and trace the edge of the mat for each side with pencil so that you will know where to start and stop cutting.

Start cutting just above where the pencil lines intersect to ensure that you cut all the way to the corner. Do this step for each side.

If the mat board did not cut completely, gently and carefully use a single-edge razor blade to finish cutting. You can file rough edges with an emery board or fine sandpaper.

Tape the artwork from the back. Masking tape usually works best; you may need packing or duct tape for heavier work.

To add stability, tape the leftover piece from the mat opening over the artwork on the back.

If you are trying to fit a mat into an existing frame, this Blick video link shows you how to measure and cut the mat: ​https://www.youtube.com/watch?v=mTI4sG6MPy4

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

How to Prepare Artwork for Display There are several acceptable ways to display three-dimensional work.

Enclosed display case: use sturdy boxes of various heights and widths covered with cloth or bulletin board paper so that all three-dimensional pieces aren’t sitting on the same level, giving interest to your display Countertop displays--Media Center, Office, other areas: three-dimensional work in these areas may sit flat on the countertop, but make sure that the artwork will not be damaged by fingerprints; in spite of the best “please do not touch” signs, people will still touch the work Ceiling display: mobiles and some sculptures are light enough to be suspended from the ceiling tiles using appropriate weight fishing line anchored in several places; make sure the sculpture in front of an alarm sensor that might be triggered with air movement Relief sculptures: thumbtacks or t-pins can be used to secure the work to a bulletin board, without puncturing the sculpture District and regional displays: you will receive specific guidelines for how work should be prepared for each exhibit; follow the rules closely so that the work of your students is not disqualified Name tags: cardstock, or even drawing paper, folded in half like a tent and placed beside the sculpture works well for identifying student work in many cases Use 6x5 paper to create “tents” for 3D pieces

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

My Notes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms AVI

(Audio Video Interleaved) a sound and motion picture file that conforms to the Microsoft Windows Resource Interchange File Format (RIFF) specification

abstract

an abstract artwork is usually based on a subject that can be identified, but the artist leaves out details, simplifies, or rearranges some elements so they may or may not be recognized

accent

to give emphasis to a specific area within a composition

acrylic paint

a fast-drying synthetic paint made from acrylic resin

actions

a series of automated steps created to perform various functions in Photoshop

adhesive

glue or other sticky substance used to join materials together

aesthetics

the study or theory of the beautiful, in taste or art

aliasing

In computer-generated images, a stepped edge or staircase that appears along lines that are not perfectly horizontal or vertical

American Scene Painters

1908-1950; a term for artists who portrayed American life in a direct, simple manner

analogous colors

colors which are closely related because they have one hue in common (for example--blue, blue-violet, violet); analogous colors are side-by-side on the color

analysis

Identifying and examining separate parts as they function independently and together in creative works and study of visual arts

angle

the position of the camera that helps set the tone and mood of a photo or film shot. Examples include ​Low angle​: A low angle places camera below the subject. ​Dutch angle​: This shot is tilted and is used when something crazy is about to happen.​ High angle​ (also called bird’s-eye view): The camera looks down at a subject.

animation

the process of giving motion to an image

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms anti-aliasing tool

a Photoshop tool that smoothes the jagged transition between text and an image by averaging the colors of the pixels at a boundary

aperture

the size of the opening in the lens of a camera

applications

the software you use to create documents and files

applique

a process by which one or more materials are applied to a common surface

appropriation

the use of pre-existing objects or images with little or no transformation applied to them

architect

an artist who designs buildings and other structures

architecture

the art of designing and planning the construction of buildings, cities, and bridges

armature

a skeleton-like framework used to support other materials

art criticism

the process and the result of thinking carefully about art; involves description, analysis, interpretation of artwork

artisan

a person skilled in making handmade objects

aspect ratio

the ratio of the height to width in an image

assemblage

a three-dimensional work of art consisting of many pieces joined together; art made by combining a collection of three-dimensional objects into a whole

asymmetrical

a type of visual balance in which the two sides of a composition are different, yet balanced; the two sides are equal without being the same

attribution

giving credit to the source

BMP

An extension that refers to a paint file (or bitmap)

background

the part of an artwork that looks farther away in the distance of a scene

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms balance

a principle of design that describes the arrangement of parts in an artwork; an artwork that is balanced seems to have equal visual weight in all areas

Baroque

art period that came after the Renaissance marked by swirling curves, ornate elements, and dramatic contrasts of light and shade, 1590-1790

batik

a process of fabric decoration and dyeing in which waxes are used on fabrics as resists

bisque

clay that has been fired once but not glazed

bit

The smallest unit of information storage on computers

block

printmaking: a piece of flat material such as wood, linoleum or metal used to make a print. sculpture: any solid material that can be used for carving

bokeh

the orbs created when lights are out of focus in an image; created through the use of a wide camera aperture

brayer

a small, hand-held rubber roller used to apply ink to a surface before printing

brush

In graphics software, a defined point used to create lines, shapes and paint effects

brushstroke

a line, shape, or texture created by putting paint on a surface with a paintbrush

burn

a technique in photo developing which causes an image to be more exposed and therefore appear darker

burnish

to smooth a surface by rubbing it with a tool that has a hard, smooth surface

byte

A unit of information composed of consecutive bits, usually 8 or 16. One byte is treated as a unit by the computer.

Byzantine

period in art from 475-1453; blended Roman, Greek, and Oriental influences; characterized by rich color (especially gold), flat stiff figures, and religious themes

calligraphy

art of beautiful writing

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms camera shot

the way the video camera is placed to create a desired composition. Examples include ​Close-up​: The subject is as large as the frame. ​Medium shot:​ A camera shot from a medium distance, usually showing the characters from the waist up; allows the audience to see body language. ​Wide shot ​: Establishes location.

caricature

a drawing in which a person’s or animal’s features are different, larger, smaller than they really are; caricatures can be funny or critical and are often used in political cartoons

cartoon

a sketch or drawing, usually humorous, symbolizing, satirizing, or caricaturing some action, subject, or person; also a full size drawing used for painting or tapestry weaving

CD-ROM

delivery or storage. 800MB, Optical

ceramics

the art of making objects out of clay, glass or other minerals by firing them at high temperatures in a kiln

channels

features in graphics programs that are like containers for storing information. Channel describes either red, green, or blue

charcoal

a drawing stick or pencil made from charred wood

chiaroscuro

Italian word meaning light and shadow; the gradual or sharp contrasts in value that make something look three-dimensional on a two-dimensional surface; also called modeling or shading

chroma

the intensity of a color; the brightness of a hue

citation

a short note recognizing a source of information or of a quoted passage

cityscape

artwork that shows a city or skyline as the main subject

clay

a natural, moist earth substance used in making bricks, tile, pottery, and ceramic sculpture

classical

art inspired or influenced by ancient Greek or Roman art; usually shows perfect form and proportion, little emotion; seem ideal rather than real

clone stamp

a tool in Photoshop that allows users to repeat a pattern from one part of an image to another part

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms coils

long snake-like pieces of clay

collage

artwork made by pasting pieces of paper, fabric, photographs, or other materials to a background surface

collagraph

a print made from a collage; a relief plate created with an assortment of pasted or glued items such as pieces of paper, cardboard, cord, string, and other found objects

color

an element of art. Also referred to as hue. The way something looks, when light strikes it, apart from its size and shape

color family

a group of colors obtained by either darkening or lightening the original color

color scheme

a plan for selecting and organizing colors to give harmony or contrast in a composition; examples include warm, cool, monochromatic, analogous, complementary, split-complementary, triad, and neutral

color wheel

a chart that shows primary, secondary, and intermediate colors in an order that illustrates relationships among colors and progression through the spectrum

complementary colors

colors that are found opposite each other on the color wheel; example--red and green

composition

the organization of elements and principles in the pictorial space; may also refer to any works of art.

compression

The process by which a computer file is reduced to create more space

concave

a form that has a hollow area like the inside of a bowl

concept

an abstract general notion; an idea

cones

slender pyramid forms made of clay and specific fluxes which bend and melt at given temperatures; the cone measures the heat of the clay body and glaze during the firing of the kiln

contemporary craft

ceramics, fibers, jewelry, works in wood, paper, and other materials that were traditionally created for utilitarian purposes, but are now created as works of fine art

contour

a line which shows or describes the edges, ridges or outline of a shape or form

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms contrast

the difference between two unlike things, such as a dark color and a light color

converging lines

actual or implied lines that seem to point toward a central place in space; a technique related to linear-perspective

cool colors

related colors that range from green through blue and violet; cool colors bring to mind cool objects, places, and feelings

copyright

a legal concept, enacted by most governments, giving the creator of an original work exclusive rights to it, usually for a limited time

crayon etching

a technique in which crayon is applied heavily to a surface then covered with more crayon or an opaque ink or paint; designs are then scratched (etched) through the covering material to reveal the crayon below

crayon resist

a drawing made with wax crayon and covered with a thin coat of paint--since water does not stick to wax, the paint will not cover the crayoned areas

crop

the act of resizing an image or section of video by removing edges from the image or video clip

cylinder

a tube-like three-dimensional form

Cubism

1908-1914; an abstract style of art in which the subject is divided into shapes and forms and then recombined so that each part of the subject is shown from a different point of view

Dada

1916-1922; movement in which artists created work based on chance; artists often used ready-made objects to create new forms

De Stijl

1917-1931; Dutch for “the style�; developed by Piet Mondrian and others; believed that pure abstract art should be based only on vertical and horizontal flat areas along with a limited color palette of primary colors, black, white and gray

depth

the illusion of space or distance

depth of field

in photography, the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image

design

the plan, organization, or arrangement of elements in a work of art

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms diminishing size

a process of showing depth within a composition by reducing the size of objects as they get closer to the horizon line

distortion

an unnatural appearance of a subject or object by changing its shape or size

dodge

a technique in photo developing which causes an image to be less exposed and therefore appear lighter

dry brushing

refers to broken, uneven marks left on artwork by a blotted semi-dry brush

dry media

pencil, chalk, crayon, and other media that are not wet and do not require the use of a liquid

dye

a colored liquid that soaks into a fabric or other material and stains it

DVD-ROM

delivery or storage. 4.75GB sl, 9GB dl, Optical

easel

a stand or frame for displaying or supporting artwork

edition

the total number of impressions made from one printing plate

elements of art

those components that make up a composition; line, form, space, texture, shape, value, color

emphasis

area in a work of art that catches and holds the viewer’s attention; area usually has contrasting sizes, shapes, colors or other distinctive features

engraving

process of incising or scratching into a surface to produce an image or design

enlargement

copy or reproduction of a picture that is larger than the original

exhibit

temporary show or display of a group of artworks

exposure

how light or dark an image is after being exposed to light within the camera

Expressionism

1905-1950; style of art in which the artist expresses his or her own subjective experiences and emotions

fabric

cloth made by knitting or weaving together pliable fibers such as threads

fantasy art

artwork that reflects imaginary objects, persons, or scenes

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms fair use

the conditions under which you can use materials that are copyrighted by someone else without paying royalties

Fauves

1898-1908; French for “wild beasts”; a group of painters led by Henri Matisse who used brilliant colors and bold distortions in a surprising way

felting

process of making non-woven fabric from fibers through the application of heat, moisture, and pressure

fiber art

artwork created out of yarn, thread, or cloth; examples are stitchery, weaving, and soft sculpture

figure

general term for any shape or form that we see as separate from a background; also a human form in a work of art

film editing

making changes to raw film footage in order to enhance mood and meaning

film transitions

a small piece of footage that visually connect one shot to another Examples include ​Cut:​ A transition that shifts abruptly from one shot to another. ​Dissolve:​ A transition in which one shot appears to dissolve into the next shot, with the images of the second shot gradually replacing the first shot. ​Wipe​: A transition where one shot appears to wipe over and fully replace the previous shot, defined by a definite border that moves across or around the frame.

final presentation

the way in which artwork is mounted or displayed

firing

the ceramics process of placing a clay object in the high heat of a kiln n order to harden it permanently

focal point

an area of an artwork that attracts the viewer’s attention

focus

in photography, whether an image reveals light rays converging from an object (in focus) or not converging (out of focus)

folk art

traditional art made by people who have not had art training in a school; may use art styles and techniques handed down through generations

foreground

the part of an artwork that seems to be nearest the viewer, or in the front of a scene

form

any three-dimensional object

formal balance

a type of balance in which the visual elements are arranged the same way on both sides of a central line; also called symmetrical balance

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms freeform

a shape having an irregular contour

Futurism

1909-1918; style named by Italian artists to describe their interest in the future; artists were especially interested in the force of motion at high speed (dynamism) and rapid changes in technology in the twentieth century

GIF image

Graphic Interchange Format (GIF) is the image format used commonly for Web images. Images are transferred pixel by pixel over the Internet, and have a maximum of 256 colors

gauge

a system for measuring the thickness of metal; a higher number means a thinner metal

genre

subjects and scenes from everyday life

geometric

term used to describe shapes or forms that are mathematically defined or regular in appearance

geometric forms

forms such as the sphere, cube, and pyramid

geometric shapes

shapes that are precise and mathematical, such as circles, squares, triangles, ovals, and rectangles

gesture drawing

quick scribbles or marks designed to show movement or actions, not details

Gigabyte (GB)

1024 MB (1,073,741,284 bytes)

glaze

a mixture of mostly oxides which, when applied to clay and then fired in a kiln, create a thin, glassy coating

Gothic Art

1100-1400; a period of change in art in Europe during the late middle ages; cities developed for the purpose of trade; cities often built near large cathedral

gradation

a gradual, smooth, change as in from light to dark, from rough to smooth, or from one color to another

graphic design

the art of communicating messages with images and lettering, usually in commercial art such as advertisements, signs, and book jackets

graphic designer

someone who creates commercial art

greenware

dry, unfired clay artwork or pottery

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms ISO

In photography, it determines how sensitive the camera is to light. For example, an ISO of 100 means the camera isn’t very sensitive—great for shooting in the daylight. An ISO 3200 means the camera is very sensitive to light, so you can use that higher ISO for getting shots in low light

harmony

the placement of elements of a composition in a way that is pleasing to the eye; similar to harmony in music

hieroglyphics

picture writing, especially that used by ancient Egyptians

highlight

the area on any surface that reflects the most light

histogram

a visual representation of the distribution of blacks, whites, and grays within an image

horizon

line created in an artwork by the meeting of sky and ground usually on the viewer’s eye level

hue

another word for color

illustration

drawing for explanatory purposes; e.g, illustration for a novel, technical illustration

image

a physical likeness or representation of a person, animal, or object, photographed, painted sculpted; a thought from the imagination made visible

Impressionism

1870-1880; a style of painting which gives a quick, true glimpse of the subject, and often shows the momentary effects of light on color

informal balance

a type of balance in which two sides of an artwork are not alike but carry nearly equal visual weight; also known as asymmetrical balance

intaglio

the technique of printing in which the image to be printed is cut or scratched into a surface

Intellectual property

a legal concept which refers to creations for which exclusive rights are recognized

incising

cutting or carving thin lines on the surface of a material

Industrial designer

an artist who creates designs for automobiles, appliances, dishes, toys, telephones, and other products that are usually mass-produced

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms India ink

a waterproof ink made from lampblack

Industrial design

the design of objects created and sold by industry, such as automobiles, appliances, dishes, toys, and telephones

intaglio

a printmaking process in which the image is carved into the surface; the lines hold the ink

intensity

the strength, brightness, or purity of a color

interior

the inside of a building or another hollow form, such as a box

interior designer

an artist who plans the interior spaces of buildings

intermediate colors

colors made by mixing primary and secondary colors on the color wheel; for example, mixing red and orange to get red-orange

JPEG image

Joint Photographic Experts Group (JPEG) is a compression algorithm for condensing the size of image files by subdividing and simplifying complex images. JPEG images are commonly used for photographic quality images over the Internet

jewelry

ornaments or personal adornments

kiln

a furnace for firing ceramic products

kilobyte (kB)

1024 bytes. 1K of memory would hold about one page of text

kinetic

pertaining to motion

landscape

an artwork that shows natural scenery such as mountains, valleys, trees, rivers, and lakes

landscape architect

person who designs natural settings, such as parks, for people to use and enjoy

lasso tool

a Photoshop tool which allows a user to free-hand select an area of an image

leatherhard

the condition of unfired clayware when most of the moisture has evaporated, leaving it still soft enough to be carved or joined to other pieces

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms line

a mark on a surface, created by a drawing implement. Lines vary in width, length, direction, color, and degree of curve, and can be two-dimensional or implied; line is an element of art

linear perspective

technique that makes use of line to create the illusion of depth on a two-dimensional surface

logo

a visual symbol that identifies a business, club, or other group; often made of a few artistically drawn letters or shapes

long exposure

a camera image that has been exposed for a long time, or uses a long shutter speed; technique useful for shooting still objects in low light, or rendering moving objects into an artistic blur

loom

a frame or related based used for weaving

MPEG

Digital, video, and audio compression file format (MP3 and MP4 are most common)

magic wand tool

a tool in Photoshop used to select an area of continuous color with a certain number of shades on each side

maquette

a small model of a larger sculpture

mash-up

a digital media file containing any or all of text, graphics, audio, video, and animation, which recombines and modifies existing digital works to create a derivative work

mask feature

a feature in Photoshop that acts as a stencil to protect part of an image

matboard

thick cardboard used to mat works of art for display

matte

having a dull texture; not glossy or shiny

media/medium

materials used to create art; the singular of media is medium

megabyte (MB)

1024 KB (1048576 bytes). About 175,000 words

middle ground

the part of an artwork that is between the foreground and the background

mixed media

artwork created by using a variety of different materials

mobile

a sculptural artwork with parts that can be moved, especially by air currents

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms mock up

a full-sized structural model built to scale chiefly for study, testing, or display; a working sample (as of a magazine) for reviewing format, layout, or content

model

someone or something an artist uses as an example when creating artwork; a small scale replica of a larger object; to create an artwork by shaping a malleable substance such as clay

mold

a negative shape or form from which a positive cast can be made

monochromatic

a color scheme that uses different values of a single hue by showing tints and shades of the same hue

monoprint

a print made from a printing plate that can only be used once

montage

a collage made from pieces of other pictures--magazines, newspapers, or photos

monumental

large or extremely large compared to the size of a human

mood

the feeling or emotion created in a work of art

mosaic

artwork made by fitting together tiny pieces of colored glass or tiles, stones, paper, or other materials; these small materials are called tesserae

motif

the main idea or theme in an artwork; a repeated design or pattern

movement

the direction or flow in artwork through the use of lines, colors, and shapes

mural

a large-scale artwork, usually a painting, executed on or affixed to a wall

museum

a place where works of art are displayed, studied and cared for

negative space/shape

the empty space surrounding shapes or solid forms in a work of art

neutrals

the description of tints and shades of black, white, gray, and brown

nonobjective

a style of art that does not have a recognizable subject matter

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms one-point linear perspective

a technique for showing depth and dimension on a two-dimensional surface by using a vanishing point

Op Art

1950-1964; style of art based on optical illusions meant to confuse, raise, or expand visual sensations, especially sensations of movement

opaque

not allowing light to pass through; the opposite of transparent

optical illusion

a description of when the eye is fooled by an unusual placement of lines, colors, shapes, or images, to see something different from what is actually in the artwork

organic shape

refers to free form shapes, which look like living things; opposite of mechanical or geometric

origami

the art of Japanese paper folding

original

artwork that is very distinctive from other artworks; also the actual artwork as opposed to a print or reproduction of it

overlapping

the positioning of one object partially in front of another object

PDF document

Portable Document Format (PDF) is a file format created by Adobe Systems in order to provide a platform where documents may be shared over the internet regardless of operating system.

PNG image

Portable Network Graphic (PNG) is a bitmapped image format that employs lossless data compression. PNG was created to improve upon and replace GIF as an image-file format not requiring a patent license

palette

a flat surface on which an artist mixes colors; the colors an artist chooses

papier-mache

paper pulp mixed with wheat paste and molded into three-dimensional forms

paper making

the process of creating paper using water, fibers, or recycled papers

pastel

a crayon-like coloring medium made from chalk or a combination of oil and chalk

pastel colors

a description of soft, delicate shades of color, such as pink, rose, light blues, or pale greens

pastoral

artwork depicting the rural countryside or rural life

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms pattern

the regular repetition of lines, colors, shapes, and textures in an artwork; also a model, guide, or plan used for making something

perception

visual and sensory awareness, discrimination, and integration of impressions, conditions, and relationships with regard to objects, images, and feelings

perceptual awareness

knowing, discerning as a result of perceiving or insight, intuition

perspective

a way to show three-dimensional forms on a two-dimensional surface

photography

the art or process of producing images by the action of light on surfaces sensitized by chemical processes

Photorealism

1970-present; a style of painting in which the distortions and special effects of photography are shown or used for ideas

pinch method

a method of handbuilding pottery or sculpture by pressing, pulling, and pinching clay

pinhole camera

a camera, usually handmade, that uses a pinhole aperture in place of a lens

pixels

dots that make up a digital image

plagiarism

a piece of writing that has been copied from someone else and is presented as being your own work

plasticity

the elastic quality of clay that allows it to be manipulated and modeled

point of view

the angle from which the viewer sees an object or a scene

Pointillism

1880-1900; a style of painting developed by Seurat in which small dots of color are placed side-by-side; when viewed from a distance, the eye tends to see the colors as mixed

polygonal lasso tool

a tool in Photoshop that allows users to select a portion of an image using lines that form a polygon

Pop Art

1954-1968; a style of art based on subject matter from popular culture

portfolio

a sample of an artist’s works put together for others to review

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms portrait

artwork, which usually consists of the face or figure of a person

portrait bust

in sculpture, the head, neck, and shoulders of a person

positive space/shape

the objects in a work of art, not the background or the space around them

Post-Impressionism

1880-1900; period immediately following Impressionism; stressed substantial subjects and a conscious effort to design the artwork surface

primary colors

the hues from which all other spectrum colors can be made--red, yellow, blue

principles of design

guidelines for the arrangements of the elements of art. Principles of design include unity, balance, variety, emphasis, proportion, rhythm, and pattern

print

an image made from a printing block or other object; block is covered with wet ink and then pressed on a flat surface such as paper or cloth; most prints can be repeated multiple times by re-inking the printing block

printing Ink

a type of ink that is thicker and stickier than regular drawing ink and is used in the printmaking processes

printing plate

a flat surface upon which a design is created by a variety of means; the surface is then linked and used to create an impression of the design

printmaking

the process of creating multiple copies of a single image, using a variety of media or techniques such as linoleum blocks, woodcuts, collagraphs, engraving, etching, or photographic processes

process(es)

progressive course(s), a series of changes, a method of creating

product design

the art of planning the appearance of times that will be mass produced in factories--furniture, cooking utensils, etc.

profile

something see or shown from the side view, such as the profile of a person

proof

in printmaking, a print taken before work on the printing plate has been completed

proportion

the relation of one object to another in size, amount, number, or degree

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms public domain

property rights that are held by the public at large

pulling a print

the act of removing paper from a printing plate

pure colors

colors een in the rainbow or when light passes through a prism--red, orange, yellow, green, blue, violet

qulling

the art of rolling and forming strips of paper into spirals and securing them on a flat surface into a sculptural relief

quilt

coverlet made of two layers of fabric with a batting material between the layers and stitched in patterns through all the thicknesses

quilting

the process of making art using two or more layers of fabric that are then stitched in a pattern through all the layers

RGB

Describes a color display or monitor (red, green, blue)

radial balance

a type of balance where lines or shapes spread out from a center point

raster

an image made up of pixels, also known as a bitmap image

realistic

art that depicts objects or scenes as they appear in everyday life

relief print

a print made from a printing plate whose design is raised slightly above the surface

relief sculpture

a kind of sculpture whose design or image projects from a flat surface

remix culture

a society that allows and encourages derivative works by combining or editing existing materials to produce a new product

Renaissance

a time in European history (1400-1600) after the Middle Ages. For the artists of the Renaissance this was a time of revival and renewed interest in the classical styles, cultural awareness, humanism, and learning

repetition

the act of doing something over and over again

representational

a style of art that accurately depicts the real world

reproduction

a copy or replica of an original artwork

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms resist

an application of wax or other media to a surface which prevents paint or dye from absorbing into the surface where the media has been applied

resolution

the “size� of a raster image, measured in pixels per inch (ppi) for files on the computer; or dots per inch (dpi) to describe the capture resolution of a scanner, or the printing capabilities of a printer

rhythm

a sense of movement achieved by the repetition of one or more elements of art in an artwork, such as colors, lines, shapes, or forms

Romantic Art

1800-1900; a style of artwork in which the main ideas are to show adventures, imaginary events, faraway places, or strong feelings

rule of thirds

compositional device that divides the picture plane into thirds both horizontally and vertically, like a tic tac toe board

scale

the size relationship between two sets of dimensions

score

paper sculpture: to crease for easier folding. clay: to roughen or scratch joints before joining pieces

sculpture

carved, cut, hewn, cast, molded, welded, or assembled into three-dimensional representations, forms, or figures

seascape

artwork that depicts a scene of the sea, shore, or ocean

secondary color

color created by mixing two primary colors in equal proportions. Orange (red + yellow), green (blue + yellow), and violet (red + blue) are secondary colors

self-portrait

an artwork whose subject is the artist who created it

selvedge

the edge of a fabric woven so it will not unravel

series

in printmaking, a set of prints from the same printing plate, often signed and numbered

serif

a smaller line or shape at the bottom of a letter, used to complete the main stroke of a letter

shade

a dark value of a color made by adding black to the color

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms shading

a gradual change from light to dark; shading is a way of making a drawing look more realistic and three-dimensional

shadow

the representation of the absence or partial absence of light in an artwork or on a form

shutter

part of the camera that opens and closes to let light in and take a picture

silhouette

the representation of the outline of an object filled in with solid color

sketch

a drawing or design usually done quickly and with little detail

slab

a clay form that is solid and flat

slab method

a method of clay construction using slabs of clay

slip

clay combined with water to form a thick liquid that is used to joined scored pieces of clay together

space

an element of design that indicates areas in a work of art both positive and negative; the empty place or area which something exists

spectrum

the band of colors produced when sunlight passes through a prism

stamping

a method of creating designs on a surface by pressing objects or block into ink or paint and then onto the surface

statue

a form or likeness which has been sculpted, carved, modeled, assembled, or cast in material such as stone, clay, wood, or metal

stencil

a paper or other flat material with a cut-out design or image that is used for printing--ink or paint is pressed through the cut-out and onto the surface to be printed

still life

an artwork showing an arrangement of objects that cannot move on their own, such as flowers or pots and pans

stitchery

artwork made by using a needle and thread or yarn to create a stitched design on fabric

stop motion animation

a filming technique in which successive positions of objects (such as clay models) are photographed to produce the appearance of movement

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms storyboard

a panel or series of panels on which a set of sketches is arranged depicting consecutively the important changes of scene and action in a series of shots (as for a film, television show, or commercial)

studio

the place where an artist creates artwork

style

an artist’s individual way of creating artwork through the use of various media, methods, materials, and subjects

subject matter

a person, animal, or scene represented in an artwork; the recognizable topic of an artwork

subtractive

carved sculpture in which the material is removed until the artist is satisfied with the remaining design or image

Surrealism

1920-1950; a style of twentieth century painting in which artists show their inner thoughts; often the artwork contains realistic objects in unrealistic settings

symbol

lines, shapes, or colors used to represent a work, message, or idea

symmetrical balance

a type of balance where visual properties are arranged the same on both sides of a center line

TIFF image

Tagged Image File Format (TIFF) is a file format used for print documents

tactile

pertaining to the sense of touch

tapestry

a fabric wall hanging with images or designs woven into it

technique

a special way of using methods and media to create artwork

technology

electronic media used as tools to create, learn, explain, document, analyze, or present artistic work or information

tempera paint

a chalky water-soluble type paint

template

a pattern made of plastic, wood, or paper serving as a gauge or guide for cutting or drawing

tertiary color

intermediate colors made by mixing a primary (red, yellow, blue) with a neighboring secondary color (such as red-orange)

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms tesserae

small pieces of glass, tile, stone, paper, or other materials used to make a mosaic

texture

the way a surface feels or appears to feel

three-dimensional

artwork that is not flat; it can be measured in three ways--height, width, and depth

tint

a light value of a color made by adding white to the color

tone

a color mixed with black and white, a grayed color

traditional art

artwork created in much the same way year after year because it is part of a belief, opinion, or custom

transform

a Photoshop tool which gives the user the ability to skew, distort, or change the size of an image or selection

translucent

permitting light to pass through but not allowing objects to be clearly visible on the other side

transparent

allowing light to pass through so that objects behind the surface can be clearly seen

two-dimensional

artwork that is flat and measured in two ways--height and width

two-point perspective

a type of perspective in which objects are at an angle to the viewer, and will each have two vanishing points; also called angular perspective

typography

the style and appearance of printed matter; the art or procedure of arranging type or processing data and printing from it

USB Flash Drive

Transportation. Up to 8GB or more

unity

a principle of design that refers to the quality of an artwork having all parts look as if they belong together

unsharp mask

feature in Photoshop used to make an image more focused

value

an element of design that relates to the lightness or darkness of a color

vanishing point

in perspective, a point or points on the horizon at which all parallel lines seem to converge

variety

the use of different elements of art to add interest to an artwork

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Glossary of Art Terms viewfinder

a small device used for determining how much of a given scene will be included in an artwork; helps to locate a desired composition

visual arts

traditional fine arts such as drawing, painting, printmaking, photography, and sculpture; media arts including film, graphic communications, animation, and emerging technologies; architectural, environmental, and industrial arts such as urban, interior, product, and landscape design; folk arts; and works of art such as ceramics, fibers, jewelry, works in wood, paper, and other materials.

visual metaphor

the representation of a person, place, thing, or idea by way of a visual image that suggests a particular association or point of similarity

WMV

the name of a series of video codecs and their corresponding video coding formats developed by Microsoft

wall hanging

artwork that does not need to be framed or mounted for display, such as a weaving or fabric banner

warm colors

colors in which red, orange, and yellow predominate

warp

in weaving, the vertical set of yarns or threads through which the weft is woven

wash

tonal area created with watered down liquid--paint or ink

watercolor paints

water soluble paints that are transparent and look like watery ink or dye

weaving

the process of interlocking threads or fiber-like materials to create a fabric

wedging

the process of mixing and de-airing clay by cutting it diagonally and slamming the pieces together

weft

the horizontal set of threads or yarns that are woven side to side in a weaving

yarn

a continuous length of pliable material spun from natural or man-made fibers

zoom-in

to focus on one concentrated area as with a viewfinder

Charlotte-Mecklenburg Schools Visual Arts Middle School Curriculum Guide

Resources and References National Art Education Association

National Coalition for Core Arts Standards

North Carolina Department Charlotte Mecklenburg of Public Instruction Schools Digital Handbook (2004)

Webb, Norman Webb, Norman Research Monograph No.8: Criteria for Alignment of Depth of Knowledge in Expectations and Four Content Areas (2002) Assessments in Mathematics and Science Education (1997)

McDonald Publishing

Maisel, Eric

Grout, Pam

Davis Publications

Art Journal Topics

Affirmations for Artists (1996)

Art and Soul: 156 ways to free your Creative Spirit (2000)

The Visual Experience

Fisher, Douglas and Frey, Nancy

Daniels, Harvey; Zemelman, Steen; Steineke, Nancy

Elbow, Peter

Beck, Isabel; McKeown, Margaret; Kucan, Linda

State Education Agency Directors of Arts Education

Francis, Erik What Exactly is Depth of Knowledge ASCD Edge Blog (2016)

Maney, Cheryl Arts Integration in Elementary Schools (2004)

Anderson, Lorin, and Krathwohl A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom’s Taxonomy of Educational Objectives (2001) Schoenbach, Greenleaf, Murphy West End Organizations

Text Dependent Questions: Reading for Understanding Pathways to Close and Content Area Writing: 2nd Ed. (2012) Critical Reading Every Teacher’s Guide (2015) (2007)

Strickland, Carol

Wilder, Jesse Bryant

The Annotated Mona Lisa (1992)

Art History for Dummies (2007)

Bohm-Duchem, Monica and Cook, Janet Usbourne Introduction Understanding Modern Art (1998)

Writing with Power (1998)

Bringing Words to Life: Robust Vocabulary Instruction (2002)

Arts Education Department: Visual Arts Teaching and Learning Division Charlotte Mecklenburg Schools Charlotte, North Carolina