Creative Arts Lessons

Fall 2015

Spring 2015

Fall 2014

creative_art_pyramid.pdf
File Size:	102 kb
File Type:	pdf

Download File

acrylic painting

Watercolors fall 2013

artrubric.docx
File Size:	101 kb
File Type:	docx

Download File

3d scenes

formal doodle

brief perspective

cubes

northern/southern European faces

tree

spatial devices

very simple animals roughed in

CREATIVE ART INDEX

Community Sharing
Oo-Ah Critique
Mounting
Matting/Framing
Online Museums

Drawing
Facial Features
Facial Expressions
Ethnic Features
Nature/Landscape Fractals
Animals
Flowers
Spatial Devices
People/Bodies
Aerial Perspective
3D lettering
Caricature
Drawing from Observation
Outdoor Drawing

Printmaking
Relief Printmaking
Monotype Printmaking

Watercolor
Watercolor Techniques/History
Watercolor Illusionistic Space
Watercolor Illustration
Watercolor Inventions

Acrylic Painting
Preliminary Painting Sketching Acrylics and Color Theory
Acrylic Blending Techniques/History
Acrylic Painting Paper
Canvas Acrylic Painting

Ceramics
Slip Mold
Slab Pottery
Slump Mold
Sgraffito Design
Ceramic Sculpture
Wheel Pottery
Figurative Ceramic
Architectural Ceramics

Graphic Arts
Colored Pencil Techniques
Pen and Ink Techniques

Pastels
Chalk Pastel 3D Objects on Cards
Chalk Pastels Scenery
Chalk Pastel Portraits
Chalk pastel Abstraction
Oil Pastel Blended 3D objects
Oil Pastel Scenery
Oil Pastel Portraits
Oil Pastel Abstractions

Cartooning
Anthropomorphic/ Western/ Anime
Caricature - practice/history
Modeling clay Cartoon Character
Cartoon Scrolls
8 Frame Cartoons
Cartoon Flipbook
Comic book
Orthographies in Cartooning Videos
Perspective in Cartooning Videos
Japanese Anime Films
Super Heroes in Cartooning - Collectables

Doodle/Design
Design - Zentangles
Doodles - Life Stories

Miscellaneous
Origami Box with Lid
Elements of Design Through the world
Visiting Artist
Calligraphy

Fall 2014 Spring 2015 Fall 2015 Spring 2016

CREATIVE ARTS ESSENTIAL QUESTIONS

creative_arts_essential_questions.pdf
File Size:	181 kb
File Type:	pdf

Download File

Lesson descriptions are in progress and abbreviated.

CREATIVE ART

UNIT: Drawing Schemes

NM State Standard - 1, 2, 3, 4, 5
Mathematics Common Core - "Proportion", "Fractals", "Ratio"
1. Facial Features
Essential Question: How does ratio and proportion help determine the look of a face?
Principle Objective: Students will draw a standard human face with accurate, average proportions.
Time Frame: 45 minutes
Materials: white board or handout, Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low-odor dry-erase markers
Instruction: Guide students to create almond shaped eyes with U shaped irises and circular pupils spaced one eye apart. Guide students to draw noses three eye heights from the eyes with parentheses beneath tear ducts and two small hills evenly spaced between the parentheses. Guide students to draw upper and lower lips such that there is the space of one lip under the nose and three lip spaces beneath the lips for a chin. Guide students to add a forward at least the length of the space from the eyes to beneath the lips. Guide students to draw a jaw and add a hairstyle. Ears can be added which span from the eyes to the lips and are shaped like a long melting C backwards or forwards.
Resources: board examples, handout guidelines, text examples, facial Xeroxes, students’ examples, non-text instruction books on portraiture, whiteboard video.
Assessment: Students are assessed on notes and exercises. as per exercise assessment rubric (calendar notes).
Extensions: Scaffold by providing a template or by hand drawing with placement areas for eyes, nose and mouth (handout with template). Challenge by focusing exploring the spherical nature of the head and change of feature positions due to tilts and perspectives (handout with possible views).

2. Facial Expressions NM2
What methods help artists draw expressions?
Principle Objective: Students will draw various facial expressions using physical sense, observation, direction and memory.
Time Frame: 45-minute session
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low-odor dry-erase markers
Instruction: Guide students to create facial expressions using changes in eyebrows, eye opening, mouth contours etc. Show slides, use handouts, and draw expressive faces on the whiteboard for students to imitate. Guide students to model for one another and to feel their own facial changes as they make expressions.
Resources: board examples, handout guidelines, text examples, facial Xeroxes, students’ examples, non-text instruction books on portraiture
Assessment: Students are assessed on notes and exercises.
Extensions: Scaffold with handout or by hand drawing of facial expressions. Challenge with drawing from direct observation of emotional expressions (model or mirror).

3. Ethnic Features NM5
How are the basic proportions and features drawn for different ethnicities?
SEE WHITE BOARD SAMPLE VIDEO ON LEFT
Principle Objective: Students draw differences in proportions, features and tones in order to create ethnic differences in portraiture. Each student will draw northern and southern Asian, African, as well as northern and southern European faces.
Time Frame: 45-minute session
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low-odor dry-erase markers
Instruction: Guide students in the drawing of different ethnicities on the board as they copy in sketchbooks. Sketchbook faces should be no less than 3 inches. The board image should be no less than 2 feet.
Resources: National Geographic portrait photography, board examples, handout guidelines, text examples, facial Xeroxes, student’s examples, non-text instruction books on portraiture
Assessment: Students are assessed on notes and exercises.
Extensions: Scaffold by providing templates of (or by hand drawing) most common thnic proportions and features. Challenge by studying and drawing from differences seen in the National Geographic Portrait Book and other international portrait photography.

4. Nature/Landscape Fractals- Spatial Devices NM1, NM3, NM4
What are common devices for creating space on a two dimensional surface?
Principle Objective: Students use proportions for drawing branching vegetation, clouds, mountains, hills, etc. Students use spatial devices including overlapping, foreshortening, diagonal axis, aerial perspective, fore/middle/background and shading to construct schematic illusion.
Time Frame: 1 or more 45-minute session
Materials: Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: Guide students in the drawing of trees, bushes and other plants on the board as they copy in sketchbooks. Use a letter "Y" to branch into pieces that become proportionally smaller. Include "W" and "V". Continue the proportionally diminishing concepts with clouds, mountains, hills and other large to small dividing patterns. Sketchbook work should be full pages. The board images should be no less than 2 feet.
Resources: Images of nature with evidence of fractals, video on natural fractals, drawing handouts on fractal pattern in nature,
Assessment: Students are assessed on sketch notes and exercises.
Extensions: Scaffold by providing templates for (or by hand drawing) branching vegetation "y" scheme, near-far scheme, snaking "s" scheme, overlapping, foreshortening , diagonal axis and shading. Challenge by directing investigation of finding fractals to copy while observing clouds, mountains, vegetation etc. Challenge by providing resources for investigating the math of spatial devices. Challenge by working with the degree of value saturation at different distances. Challenge by creating images fifty feet away, 500 feet away, one mile away, 50 miles away, and beyond.

5. Animals
How can angled parallels in forms help artists to draw animals?
Principle Objective: Students use basic models for quadrupeds when inventing drawn animals. The models have four legs and evidence of overlapping and depth. Students use cones, cylinders, spheres, and cubes with the addition of remembered features. The use of ovals through cylinders addresses ratios. The models used allow for differences in necks, hips, tails, ears, noses, and underbellies. Students also explore form and shape to construct schemes for birds, insects, fish, reptiles, and amphibians.
Time Frame: 2 45-minute session
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: Guide students in basic forms for quadrupeds standing from the side view on the board as they copy in sketchbooks. Give emphasis to positioning distant legs above near legs- explore the use of 30 degree angles to create shallow depth. Give emphasis to the overlapping of the distant legs by the near legs. Draw several animals showing those whose back hips are shaped like the letter “P”. Show animals whose head shapes are like blow-driers. Sketchbook work should show three guided animals and 20 practice animals. The board images should be no less than one foot each.
Resources: Animal forms handout, Illustrated World Books, Illustrated dictionaries, animal reference books, National Geographic magazines
Assessment: Students are assessed on notes and exercises.
Extensions: Provide scaffolding with templates of (or by hand drawing) geometric shapes and/or forms found in the proportions of animals. Provide scaffolding by providing step by step guides for drawing specific animals. Challenge by drawing animals on diagonal angles. Challenge by working on animal shading and texture. Challenge by showing animal personality through moving gesture, texture, and value.

6. Flowers
How do curves on forms, drawn hemispheres, foreshortening, and overlapping assist in drawing flowers?
Principle Objective: Students will draw a variety of flowers using overlapping and foreshortening.
Time Frame: 45-minute sessions
Materials: handouts, sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: Use board guidance to bring focus to differences between cartoon, doodles flowers and observable flowers. Draw the circle seen as and oval. Place the hemisphere with curved base at the center. Describe and draw the petal divisions. Draw the circle seen as an oval for the top of a tulip style flower. Draw the overlapping vertical petals. Draw the overlapping, spiraling petals of the rose while calling attention to the geometry. Allow students to work from handouts to work with flower drawing schemes. Guide students to color drawings with colored pencil to create a finished exercise.
Resources: handout, world book illustrations, flower reference books, plant catalogs
Assessment: Students are assessed on notes and exercises.
WHITE BOARD SAMPLE EMBEDDED WITH SPATIAL DEVICE VIDEO SAMPLE
Extensions: Scaffold by providing templates (or by hand drawing) using spheres and hemispheres to create flowers. Challenge by drawing a large variety of flowers and colored pencil value and observing flowers in mature as well as in catalogues and botanical guides.

7. Spatial Devices
How do aerial perspective, overlapping, shrinking/winding paths, fading tones, lighting, shading, shadow, one point perspective and shrinking objects help to create illusionistic space?
Principle Objective: Students use aerial perspective, overlapping, shrinking/winding paths, fading tones, lighting, shading, shadow, one point perspective and shrinking objects to create illusionistic space in landscapes, cartoons, surrealist explorations and abstractions.
Time Frame: Ongoing throughout semester – 2 introductory class periods
Materials: handouts, sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: The initial class pretests spatial skills and drawing schemes. Throughout the course spatial schemes are explicitly taught with board direction, digital examples, student examples, book examples, professional examples, and one to one direction. Most projects require the use of spatial devices.
Resources: handouts, digital art, digital photography, iconic art, student art, teacher art, professional art, art books, observation
Assessment: Students are assessed on notes, exercises, watercolor projects, acrylic projects, pastel projects, and colored pencil projects.
SEE WHITE BOARD SAMPLE VIDEO ON LEFT
Extensions: Scaffold using simple spatial device templates (or by hand drawing). Challenge by creating deep space abstraction.

8. People/Bodies – Choose one lesson per semester from-
How can proportion and ratio determine placement of body aspects?
Principle Objectives:
1. Students draw a man and a woman using a 7.5 head measurement. Placement of proportioned parts is recorded in guided practice.
2. Students draw people from observation using thumb to index finger measurements to determine proportions.
Proportional drawing based on Friday partner measurements
One inch equals head- approximate 7.5" head
Standardization -
space 1 - Head
space 2 - neck collar bone armpit
space 3 - elbows in middle, female waist by elbow, male waist at base
space 4 - wrist below center, hips
space 5 - finger tips, thighs
space 6 - top, middle, knees
space 7- thighs
space 8 - ankles, feet
3. Students draw people from observed gesture quickly scribbling the energetic path of a model’s pose.
4. Students copy half a body from a magazine cut out of the other half of a body.
5. Students create a hybrid of bodies from magazine cutouts and their own drawings.
6. Students choose a partner and complete the following measurement answers. My arms are _1__ inches longer than my torso. My arm is _2__inches wide. My chest is __3_ inches wide. I am __4__ inches from outside my left arm to outside my left arm. My legs are __5__ inches > or < my torso. My head is __6__ inches long. I am __7__ inches tall. I am __8___ heads tall.
With a partner draw yourself in an 8" grid where 1" equals one head.
Color, decorate and accessorize to create your self replica.
Self-replicas are photographed and printed on card stock to make paper self-replica cut-outs.
Time Frame: 1 45-session per objective
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase marker
Instruction: Demonstrate one of the above people drawing activities as students copy or take notes. Give students time and support as they work independently practicing working with drawing people.
Resources: Individual students, images of people, models, books on drawing people, magazine cutouts, figurative artwork
Assessment: Assessment is on students’ notes, exercises, and or projects.
Extensions: Provide templates (or by hand drawing) for compartmentalization of body features. Scaffolding is usually required by most students learning body proportions. Challenge by practicing people as they pose in different positions beginning with simply standing to sitting and laying down foreshortened.

9. Shapes to Forms -
How can angles and parallels turn shapes into forms?
Principle Objectives:
Students transform squares, circles, triangles, and ovals into cubes, hemisphere, spheres, prisms, pyramids, and cylinders by adding parallel angles (orthogonals) and parallel backs.
Students use these forms to construct objects in invented contexts (pictures) with shading.
Time Frame: 5 45 minute sessions.
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase marker.
Instruction: Demonstrate shapes into forms on the white board - square to cube, oval to cylinder, circle to sphere and hemisphere, and triangle to prism and pyramid. Students copy and expand on each transformation. Each form is practiced as recognized objects (i.e. cube is tissue box, refrigerator, aquarium etc.) Include shading.
Assessment: Students are assessed on exercises.
Extensions: Scaffold by provide three step formula for a basic cude and a four step formula for an edge facing cube. Scaffold by providing formulas for other forms using angles or ovals. Scaffold by playing a turn taking game mastering the three or four step process for creating three dimensional forms. Challenge by
inventing forms and giving them shading, texture, real features, and eliminating outlines.

10. Texture
How is pattern a part of texture?
Principle Objectives:
Students trace each hand.
Students texture each finger using line and value.
Students use curves to keep the fingers appearing as cylinders.
Students use value to approximate a directional light source.
Materials: sketchbook, pencil, eraser, demonstration model, kleenex
Extensions: Students are scaffolded by teacher drawn assist lines and texture beginnings. Students are challenged by adding water textures to the palm, or other added textures to hand parts, wrist parts, and background areas.

11. Aerial Perspective
How can the size of objects arranged on a page create the illusion of space?
Principle Objective: Students will create illusionistic space by using large objects in the front with decreasing to smaller sizes closer to the horizon. They will use less detail on the objects as they are designed to be further away. Color and shading also fade in the distance. Winding, shrinking paths are also added to increase the illusion.
Time Frame: 1 45-minute introductory lesson, ongoing through semester
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: Present aerial perspective schemes by drawing landscape with tree, bush features on the white board. Students copy instruction. Show student, digital and professional examples of aerial perspective. Expand to the use of aerial perspective from realism to surrealism, cartooning, and abstraction.
Resources: handouts, power point, digital work, student work, text-book page work
Assessment: Students are assessed on exercises , notes, and on-going within project rubrics.
Extensions: Students are scaffolded with light teacher assist lines. Students are challenged by creating additional sketches of other landscapes using the spatial devices practiced.

3d Lettering
How can shape fronts, angles and parallels create block letters?
Principle Objective: Students use consistent angles for three dimensional lettering. Students’ lessons focus on names and/or phrases.
Time Frame: 1 45-minute session
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: Guide students using letters and shapes on the white board. Students work on 3d lettering exercises culminating in shaded/colored projects.
Resources: board work, hand outs, digital images
Assessment: Students are assessed on exercises, notes, and projects.
Extensions: Students are scaffolded with lightly drawn teacher assist angle marks and or parallel back lines. Students are challenged by making three dimensional block letters of the alphabet, of cursive, and of additional shapes. Students are challenged by working with letters above and below the viewer horizon. Students are challenged by shading to indicate a specific area of light. Students are challenged by coloring and /or texturing the block letters/phrases.

Caricatures
How does exaggeration, simplification and emphasis work to create caricature?
Principle Objective: Students will draw positive caricatures using enlarged proportions and attributes.
Time Frame: 2 45-minute sessions
Materials: sketchbooks, 2B-6B pencils, gum erasers, Kleenex, smudge sticks, white board, low odor dry-erase markers
Instruction: After portrait lessons and before cartooning lessons, demonstrate drawing positive cartoon versions of actual people. Include objects that are associated with the target personalities “attributes”. Emphasize the positive exaggeration of facial features as well as the positive diminishing of body features.
Resources: student, digital, commercial, professional examples; caricature lesson handouts/books
Assessment: Students are assessed on exercises, notes and projects.
Extensions:

Drawing from Observation
What part does outline play in drawing from observation?
Principle Objective: Students draw edges of available objects followed by the detail lines of small objects. The object collection can include plants in the lawn, items in the art room or items in students' homes. Frequently first observation drawings are of hands and shoes. Such items include pebbles, pocket items, pencils, eraser, shells, shoes, etc.Students use pencils by holding then on the side for sketching and by seeking a detailed point for technical drawing. Students use concepts of light and shading on the second day of work.
Instruction: Demonstrate the method of copying edges and interior detail lines in small groups or using a document camera. Be sure each student has an object to observe and draw. Lead students in drawing edges and details. Circulate and assist students.
Demonstrate the evaluation of light and shadow on observed objects in small groups or with a document camera. Lead students in using the tip of art pencils for lines and the sides of art pencils for shading. Lead students in using kleenex or smudge sticks to smear shadows. Show students how to use eraser lines for highlights.
Resources: Philip Pearlstein drawings, digital still life pencil drawings
Assessment: Students are assessed on observation drawings.
Extensions:

Outdoor Drawing
How can predetermined spatial devices help compose outdoor sketches?
Principle Objective: Following the drawing scheme and observation drawing lessons students work outside on two shaded scenes composed of trees, buildings, near ground, middle ground, and background.
Instruction: Use a digital photograph and a large sheet of board mounted paper to demonstrate the method of copying the edges of objects, adding interior line details, and shading.
Find a suitable outdoor site preferably with a nearby, dry sidewalk for students. Bring hand held sharpeners and kleenex to supplement student supplies.
Students work on outdoor scenes in their sketchbooks. final pieces can be mounted and displayed.
Resources: outdoor pencil scenes
Assessment: Students are assessed on their drawings.
Extensions:

ONE POINT PERSPECTIVE: simple/quick

Principle Objectives.
1. Students will draw a focal point as a vanishing point
2. Students will draw the front sides of bpxes in the picture as squares.
3. Students will use “orthogonals” to connect the corners and outer edges to the focal point.
4. Students will use lines for the back of objects that are parallel to the front sides of objects and between “orthogonals”.
5. Students will erase excess construction lines.
Time Frame: 2 1-hour sessions
Materials: Sketchbooks, pencils, erasers, rulers, art materials for finishing
Instruction:
Two days of demonstration, explanation, and student exercises. Use the white board and walk around to check notes for understanding. Begin with boxes/buildings. Advance to three-dimensional letters.
5 Easy Steps to One Point Perspective
1. Draw a line level with your eyes. (horizon line)
2. Place a "focal point" on the line. (vanishing point)
3. Draw the front sides of three dimensional objects above, at and below the eyelevel line.
4. Connect the corners or outer edges of the focal points to the eyelevel line using straight lines. Objects hovering overhead will reveal their bottom side. Objects below the eyelevel will show their top. The left or right side of the object will be seen when the object is to the left or the right of the box.
5. Draw lines parallel to the front of the objects on the back sides of the connector lines and erase excess lines.

Resources:
Student examples, professional examples, texts on perspective
Assessment:
Students are assessed on notes, and exercises.

UNIT: Watercolor

What are the basic watercolor techniques?
Watercolor Techniques/ Watercolor History
Principle Objective: Students will create 5" x 7"watercolor technique exercises. Students will create 9" x 12" inch watercolors using at least nine techniques. Students will use spatial devices to create illusionistic space in watercolors.
Time Frame: 10 45-minute sessions
Materials: sketchbooks, painting boards, buckets, water cups, water bottles, watercolor sets, small brushes, broad flat brushes, salt in small cups, paper towels, newspaper desk covers, scissors, masking/strapping tape, index cards, watercolor paper, color pencils, sketchbooks
Instruction: Day 1: Generate interest and explore watercolor characteristics though slides of well known watercolorists. Direct students to create "thumbnail" sketches for upcoming watercolors. Guide students through the following techniques while they explore the techniques on index cards: wax resist, layering, lift off, wet on wet, broken color, masking, imprinting, salting, spidering, watercolor pencil and dry brush. Demonstrate set-up and materials for water-coloring. Students take notes on the demonstration. Demonstrate using color sketches for creating watercolors. Students work from their sketchbook colored pencil pieces in order to make watercolors.
Organize students in watercolor materials work groups in order to maximize time on task and efficiency in clean-up.
Resources: The Encyclopedia of Watercolor Techniques; electronic links (Georgia O'Keefe, Edward Hopper, John Marin, Wassily Kandinsky, Raoul Dufy, Emile Nolde), student, commercial, digital, professional examples, other watercolor technique books
Assessment: Students are given participation assessment on notes, index card techniques, and 5" x 7" exercises -( 90 sincere and genuine effort, 95 accurately executed, 100+ masterful). Final 9" x 12" projects are graded with the attached district art department rubric
Extensions:

Lesson: Illusionistic Space in Watercolor Projects
How do artists preserve the white of the watercolor paper?
Principle Objective: Students will paint 9" x 12" watercolors with a minimum of 4 techniques, near ground, middle ground, background, overlapping, and other spatial devices.
Time Frame: 5 1-hour sessions
Materials: 32 watercolor sets, 32 water cups, 4 water bottles, 4 buckets, watercolor paper, brushes - size 0 round, 2 round, 1" flats, paper towels, newspaper, masking tape, paint boards
Instruction: Show digital and actual watercolors to students. Examine the works to discern techniques artists used.
Students take notes on materials and procedures during the teacher's demonstration. Create a pencil sketch as a guide for the watercolor. Predetermine areas for watercolor techniques. Demonstrate the use of techniques on the 9" x 12" demo model.
Allow students to arrange themselves in collaborative groups. Two students in each group of eight wash brushes, two students fill water cups/dump dirty water into a table bucket/ keep water bottle filled, two students in each group set up table newspaper, two students to organize sets, brushes, tape and group box.
Students compose their own pencil sketches for their watercolor project. When finished each student tapes 9" x 12"watercolor paper on a 1/4" masonite board on all edges (tape frame).
Resources: Reproductions of Watercolors (Albert Durer, Secundo Sandoval, Matisse), available student and professional watercolors
Assessment: Students are assessed on notes, sketches, and watercolors.
Extensions:

Lesson: Watercolor Illustration with Calligraphy
What cultures have used calligraphy with watercolor for centuries?
Principle Objective: Students create a few sentences that set a scene for a story. Students paint the scene. Students paint the sentences that set the scene on to the watercolor with a complimentary placement.
Time Frame: 7 1-hour sessions
Materials: "9 x 12' watercolor paper, watercolor sets, water cups, water bottles, water buckets, small rounds, medium rounds, 1" flats, paper towels, newspaper,
Instruction: Show digital and hard copy watercolor illustrations. Examine the works to discern techniques artists used.
Students take notes on materials, procedures and content during the teacher's demo. Compose a sentence to illustrate with students. Create a pencil sketch as a guide for the watercolor. Discuss composition elements that would illustrate the sentence. Predetermine areas for watercolor techniques. Demonstrate the use of techniques on the 9" x 12" demo model.
Demonstrate calligraphic lettering with a small brush.
Allow students to arrange themselves in collaborative groups. Two students in each group of eight wash brushes, two students fill water cups/dump dirty water into a table bucket/ keep water bottle filled, two students in each group set up table newspaper, two students to organize sets, brushes, tape and group box.
Students compose their own pencil sketches for their watercolor project. When finished each student tapes 9" x 12"watercolor paper on a 1/4" masonite board on all edges (tape frame) and begins painting.
Resources: illustrations by Maurice Sendak, Theodore Giesel and others.
Assessment: Students are assessed on notes, sketches, and watercolor illustrations/calligraphy.
Extensions:

WATERCOLOR INVENTION:surreal surprise

UNIT: ACRYLIC PAINTING
What advantages do layering opaque paints allow artists?
ACRYLIC PAINTING PRELIMINARY SKETCHING
Principle Objective: Students copy four paintings using layered color pencil from artist magazines, artist encyclopedias, or art texts.
Time Frame: 3 45 minute sessions.
Materials: colored pencils, paper
Resources" "American Artist" magazines, Art Encyclopedias, artist books on Impressionism, realism, etc
Instruction: Demonstrate to students how to lay out the composition being copied in 6 lines or less. Emphasize squinting to find overall shapes and colors. Show the use of a hand held pencil sharpener and tissue for creating a longish edge to the colored pencil. Use this edge to light sketch in the color with the pencil side. Layer colors using compliments for shadows and step ups with white for highlights. Demonstrate the use of blending with tissue. Save detailing for last. Allow copies to be inspirational rather than exact.
Assessment : Exercise assessment using sincere effort, accurate achievement and mastery is used.
Extensions:

ACRYLIC COLOR THEORY
How do the primary colors create tertiaries, secondaries and complements?
Principle Objective: Students will record concepts that lead to mixing primaries to create color value, secondaries, tertiaries, and shadow compliments. Students will distinguish between the cooler and warmer tomes of hues while recording methods of mixing for highlights and shadows. Students will explore the creation of color schemes.
Time Frame: 3 - 45 minute sessions
Materials; informational handouts, , crayons for acrylic mixing simulations, paper, pencils
Resources: color wheel demonstration-videos, (http://www.youtube.com/watch?v=WYZWDEmLR90) color wheel
Instruction: Demonstrate the use and mixing of primaries to make secondaries, tertiaries, value shadows, and highlights. Show appropriate color wheel video. Lead students to complete color theory packets.
Assessment: Students are given exercise assessments on the completion of their informational packets.
Extensions:

STENCIL/SUBJECT BLENDED PAINTING
How can stencil use protect subject matter from background exploration?
Principle Objective: Students will create acrylic painting with a minimum of three blended spatial areas – near/middle/far, a subject area (initially covered with a stencil), shading on each surface, shadow(s) from subject(s), and highlights. Student will mix to make secondaries, pastels, and neutrals.
Time Frame: 12 45-minute sessions
Materials: red/yellow/blue/dark blue/white acrylic paint, paper plates, newspaper, paper towels, mixing paper, flat/round small medium large brushes, water bottle, water cups, bucket, acrylic paint paper, paint boards, tape, scissors, paint spoons, colored pencils, sketchbooks
Instruction: Demonstrate lay out of materials and paint procedures while students take notes. Emphasize blending, shading (light source), shadow, and illusionistic space. Direct students to prepare color pencil sketches for paintings. Require sketches for distribution of painting paper.
Organize students in groups with evenly divided clean-up tasks to maximize time on task and room efficiency.
Resources: student, digital, professional, teacher paintings; books on acrylic painting
Assessment: Students are assessed on notes, exercises, and on acrylic project paintings. The project rubric has four parts: 1. Shading, shadow, highlights 2. Illusionistic space 3. Use of stencil/painting of subject 4. Blended and use of brushes/paint
Extensions: Students are scaffolded by teacher assist blending demonstrations on exercises and projects. Students are challenged by creating additional paintings and by adding realist textures to blending.

Oo- Ah APPRECIATION
Principle Objectives:
Students write one or more supportive sentences about each students' art display.
Students set out art works from the art unit
Time Frame: 1 45 minute class
Materials:
colored paper, easels, pencils,
students can bring cups, plates, napkins, drink and food
Instruction: Students are told to display their art at their desks. Students' desks are grouped together in 8. Each 8 desks are akin to a gallery. Each group prepares for other students. Each student is told to fold a piece of construction paper in have. They put their names on the covers. The class stands in a line and circulates to look and comment on each student display. All students write at least one positive comment about the artwork in each folded card. Begin by demonstrating responding in sentence form to an aspect of art being viewed.
Resources:
gallery openings, art reviews
Assessment:
Students receive exercise grades for participation.
Extensions:

UNIT: Ceramics

Slip Molded Tripod Dish/Graphic Pattern
How can everyday object molds be used in ceramics?
Principle Objective: Students use wax paper bowls as interior molds for clay slabs to be shaped into hemispheres. Score and slip are used to attach three legs. Students design unique graphic patterned or animal pattern features for the dish.
Time Frame: 5 45-minute sessions
Materials: clay, clay boards, cups, water, paper towels, wax-coated paper dishes, plastic wrap, floss, sharp pencil, slurry container, slurry,
Instruction: Students take notes on the demonstration materials and procedure as the teacher demonstrates removing clay from a brick using floss and compressing clay into a sphere or wedging clay into a cone. Give emphasis to the need for the clay to have no air bubbles and have homogenous consistency. Press resulting sphere into an oval 1" thick. Demonstrate the use of the rolling pin in multiple directions with turning clay over until the slab is no thinner than a pinky. Use fingers to smooth wrinkles (rather than water which ultimately creates more problems). Place the paper dish/plate in the center of the slab face down. Use a sharp pencil or clay tool to cut the slab an inch or two wider in all directions.
SLIP- Gently press the slab over the back of the form.
Instruct students to follow the following. Loosely cover project with plastic or a plastic bag over night so that the work hardens slightly. Remove project from the form. Add three feet (tripod). Decorate with line patterns carved into the clay with pencil - "sgraffito". Write your name on the bottom. Let dry uncovered. Bisque fire at 1350 Fahrenheit.
Glaze dish with a three or more color combination. Be sure to glaze inside the sgraffito lines. Glaze fire at 1350 Fahrenheit.
Students draw bowl/dish/plate designs with colored pencils in their sketchbooks and then begin projects.
Resources: Digital slides of colorfully designed ceramic bowls, dishes, and plates.
Assessment: Students are assessed on demonstration notes, the color pencil designs, the bisque product, and the glaze product.
Extensions:

PATTERN SLAB POTTERY - jewelry box, butter dish - templates, cartoon How can a cross template lead to a clay box?
Principle Objectives:
Students learn processes for creating slab pottery from templates.
Students create and finish slab pottery from templates.
Students use personal themes for decorative content.
Students scribe clay with sgraffito techniques.
Students use scoring and slip to attach clay feet, decorations of handles.
Students pinch out appendages such as feet, handles, or decorations.
Students smooth clay with finger and thumb tips rather than water.
Students keep clay width under the width of a thumb and over the width of a pinky.
Time Frame: 5 -45 minute sessions
Materials: clay, clay boards, cups, water, paper towels, templates, plastic wrap, floss, sharp pencil, slurry container, slurry,
Instruction: Students take notes on the demonstration materials and procedure as the teacher demonstrates removing clay from brick using floss and compressing clay into a sphere or wedging clay into a cone. Give emphasis to the need for the clay to have no air bubbles and have homogenous consistency. Press resulting sphere into an oval 1" thick. Demonstrate the use of the rolling pin in multiple directions with turning clay over until the slab is no thinner than a pinky. Use fingers to smooth wrinkles (rather than water which ultimately creates more problems).
Show students cross style templates for a footed, lid with handle covered jewelry box and for a two-piece butter dish with a handle top. Demonstrate cutting out the template. Lay the template on the slab. Trace the edges into the clay with a pencil. Remove the template. Cut out the clay.
Demonstrate the use of scoring and slurry or slip to join the four corners. Begin molding a decorative handle that is no thicker than a thumb. Hollow the handle. Attach the handle with scoring and slurry. Create a vent hole on the opposite side of the handle. Create line "sgraffito" decoration with a sharp pencil.
Smooth to finish. Wrap in plastic for storage when the project is still under construction. Remove plastic for full drying when project is complete. Carve name into the bottom of parts.
Bisque fire at 1350 degrees Fahrenheit. Glaze with a minimum of three-color combination. Be sure to glaze sgraffito lines. Glaze fire at 1350 degrees Fahrenheit.
Resources: digital images of colorful slab pottery
Assessment: Students are assessed on demonstration notes, the color pencil designs, the bisque product, and the glaze product.
Extensions: Students are scaffolded by using a cube xerox as a place to sketch out their content. Students are scaffolded by teacher assist with cutting, scoring, and assembling slab elements. Students are challenged by developing alternatives to the template form of the basic box. Students are challenged by adding detailed sgraffito drawings with advanced.

CARTOON BOX SLAB POTTERY - Cartoon box with slide lid
How can a box be modified to contain a slide lid?
Principle Objective:
Students use processes for creating 3D slab pottery from 2D templates.
Students use slip/scoring and smoothing techniques for assembling box.
Students use secure storing techniques that keep unfinished work from drying out.
Students use sgraffito as a decoration technique.
Students apply cartoon attributes to the handle of the lid and the feet of their cartoon boxes.
Students use sgraffito as a clay drawing technique to decorate the environment of their cartoon character on their boxes.
Students record notes addressing the materials and procedures for the slab box.
Time Frame:
I building box 5 -45 minute sessions
Materials: clay, clay boards, clay working tools, cups, water, water container, paper towels, templates, plastic wrap, paper plate (storage),floss, sharp pencil, slip (slurry) container, slip (slurry), sketchbook for notes, primary/secondary glaze colors, accent glaze colors, glazing brushes, kiln, kiln equipment
Instruction: Students take notes on the demonstration materials and procedure as the teacher demonstrates removing clay from the package using floss and compressing clay into a sphere or wedging clay into a cone. Give emphasis to the need for the clay to have no air bubbles and have homogenous consistency. Press resulting sphere into a pancake oval 1" thick. Demonstrate the use of the rolling pin in multiple directions with turning clay repeatedly over until the slab is no thinner than a pinky. Use fingers to smooth wrinkles on both sides (rather than water which ultimately creates more problems).
Give students "cross" templates for a footed, lid with handle with box. Demonstrate cutting out the template and through the clay. Lay the template on the slab. Trace the edges into the clay with a nail file. Remove the template. Give emphasis to working safely with clay and keeping clay particles moist to avoid silica dust health issues.
Demonstrate the use of pinching, scoring and slurry or slip to join the four corners. Pinch the four cartoon feet or score and slurry feet on. Begin molding a cartoon handle that is no thicker than a thumb. Be sure to have a hollowed handle. Create a vent hole on the opposite side of the handle. Create line "sgraffito" environment for cartoon character on the four walls with a dull pencil (wide enough for brush glaze).
Smooth to finish. Wrap in plastic for storage when the project is still under construction. Remove plastic for full drying when project is complete. Carve name into the bottom of parts.
The day after the demonstration give each student a plate with the student's name on it. Students gather materials and paper towels from materials areas and independently begin their work in the clay area of the classroom. Students keep projects wrapped tightly in plastic wrap until the project is complete. Be sure the clay area is mopped regularly and surfaces are free of clay dust.
Bisque fire at 1350 degrees Fahrenheit. Follow bisque firing with glazing unit for completion of project.
Resources: digital images of colorful slab pottery and sgraffito projects, physical examples of ceramic box
Assessment: Students are assessed on demonstration notes, color pencil designs, cartoon aspects of box and design, the bisque product, and finally - the glazed product.
Extensions: Extensions: Students are scaffolded by using a cube xerox as a place to sketch out their content. Students are scaffolded by teacher assist with cutting, scoring, and assembling slab elements. Students are challenged by developing alternatives to the template form of the basic box. Students are challenged by adding detailed sgraffito drawings with advanced.

TOBY MUGS:

GLAZING
What is glaze, and how does it turn into glass?
Principle Objectives:
Students will note glaze as minerals and sand that becomes a coat of glass on brick.
Students will record procedures and materials for glazing project.
Students will make pencil tally marks on unglazed bottom surface for each color and coat of glaze used.
Students will completely glaze project leaving shelf surface contact unglazed.
Students will properly apply glazes without overlaying.
Students will label their finished projects with a capital "G" to indicate readiness for glaze firing.
Time Frame:
II glazing box 3 - 45 minute sessions
Instruction:
Instruct students to divide sketchbook page into a column for materials (stuff) and a column for procedure (how to). Remind students that entertaining notes with pictographic instruction receive more points. Demonstrate the layout of the materials - brushes, glazes, water, paper towels, pencil.
Explain and show the differences between the liquid glaze color and the final glaze color. Give students directions regarding handling of glaze, brushes, paper towels, and water container materials. Under procedure students note the following:
1. Use a dry brush over a trash to remove all brick dust from the surfaces of the pottery
2. Determine what three or more colors you will use for your pottery - refer to your sketch (have students look back at sketch)
3. First, glaze the inside with three coats letting the glaze dry between coats. Do the inside prior to the outside so that your fingers don't have to handle the dried glaze more than necessary.
4. Make tally marks on the bottom of the project to keep track of colors
5. Glaze the outside one color at a time; follow with pencil tally marks.
6. Never glaze the bottom of the lid or the bottom feet of the box. These items should sit on the kiln shelf without fusing to it. If glaze is on the bottom gently wipe it off with a damp paper towel or sponge.
Resources:
Crafts section of "Images and Ideas" art text, library ceramic books, student work from previous years
Assessments:
Students are assessed on use of three or more glaze colors and on application of glaze.
Extensions:

SGRAFFITO – SLUMP DISH
What Italian decorative techniques allows for drawing in clay?
Principle Objective: Students create curved sushi/soap/nick-knack plates with line carved within. Lines are used for decorative borders, a main subject, and for the environment which has background, middle ground, and foreground.
Time Frame: 5 45-minute labs, 1 45-minute slab demonstration, 2 glazing days, 1 20 minute glaze demonstration
Materials: clay board, sharp pencil, tape, paper towels, slip bowl and cover, slip, EM-210 low fire clay, water, plastic storage bags, paper plate, marker, explanatory handout design sheet
Instruction: Introduce sgraffito concept with a design handout requiring use of line/pattern for a decorative border, a subject, an environment with near, middle, and far. Check handout prior to the clay demonstration.
Require note-taking notes of the ceramic demonstration. Demonstrate creating the 4” x 8” slab and curving it over two-taped paper towels for overnight molding. Demonstrate creating 4 1.5 inch feet; score and slip the feet to the slab model. Demonstrate carving the preplanned design into the plate.
Introduce concepts of bisque and glaze, as they are relevant to the project.
Demonstrate and explain clean up and storage procedure.
Resources: student ceramic plates, ceramic sgraffito images, ceramic text materials, additional ceramic art books
Assessment: Students are assessed on notes, handouts, on pre-bisque project and on glaze finish.
Extensions:

Additional lessons:
Sgraffito
Ceramic Sculpture
Wheel Pottery
Figurative Ceramic
Architectural Ceramics

UNIT: PRINTMAKING

Relief Printing - Linoleum, Styrofoam, Wood
What is removed in order to create a relief plate for printing?
Principle Objective: Students create five good prints from surfaces they designed and carved. Students design a print using white spaces for areas they intend to carve and dark areas for areas they intend to print from.
Materials: carving boards, exacto knives, gouges, sharp pencil, #2 pine, battleship grey linoleum, styrofoam or craft foam squares, warming trays for linoleum, washable inks, 15 plexiglass rectangles, brayers, drying rake, white acid free paper, xerox paper, newspaper.
Instruction: Show students images of prints from woodcuts, linoleum cuts, and styrofoam reliefs. Students take notes on materials and procedures. Explain and demonstrate carving in one or more of the relief materials. Emphasize safety with exacto knives and gouges.
Students design 6" x 6" images with a minimum of 10 shapes. Remind students white shapes are carved out.
Students take notes on procedure and materials for pulling prints from plates. Demonstrate clean print pulling.
Set up a carving station. Have students sign out for exacto knives and/or gauges. Students use carving boards for carving in wood or linoleum.
Students can alternatively use a sharp pencil to carve into styrofoam.
Set up a printmaking area with washable inks. direct students with finished plates to create a set of five matching prints. Lead students to initial and dry prints for two or more days.
Demonstrate "nomenclature" for prints. Students record nomenclature methods in their sketchbooks.
Students sign, title, and number their prints.
Resources: Students' print sets, Kathe Kolwitz, Rembrandt, Renaissance German Woodcuts
Assessment: Students are assessed on demonstration notes, participation, and print sets.
Variations - black/white, rainbow rolls, viscosity rolls
Extensions:

Monotypes
How can an image be "pulled" from a monotype plate?
Principle Objective: Students create five reductive prints and five painterly prints based on their color sketches.
Materials: class set of plexiglass sheets 10" x 13" or larger, brushes, brayers, washable inks, watercolor pencils, washable markers, washable inks or tempera in liquid starch, cotton paper, Q-tips, paper towels, newspaper, drying rack, pencil eraser.
Instruction: Show students images of monotypes and monoprints; explain the difference. Students take notes on materials and procedures. Demonstrate the creation of a monotype while explaining the similarity to painting. Students design several sketches for painting or "erased" images.
Demonstrate clean print pulling.
Set up a printmaking area with washable inks. Direct students to begin printing using the sketches as guides.
Lead students to initial and dry prints for two or more days.
Demonstrate "nomenclature" for prints. Students record nomenclature methods in their sketchbooks.
Students sign and title their prints.
Resources: Edourd Degas, Emile Nole,
Assessment: Students are assessed on notes, sketches, participation, and monotypes.
Extensions:

Graphic Arts
Colored Pencil Techniques
Principle Objectives:
Students use layering with colored pencil.
Students mix colored pencils to achieve new colors.
Students use complimentary colors to make shadows.
Pen and Ink Techniques

Pastels
Chalk Pastel 3D Objects on Cards

Chalk Pastels Scenery-
What two primary techniques help artists work with chalk pastels?
Principle Objectives
Students will use chalk pastels to blend 2 or more colors in each area.
Students will use foreground, middle ground and background.
Students will create surrealistic and realistic scenes.
Materials
Colored construction paper , soft chalk pastels, tissue - kleenex/toilet paper?
newsprint, tape, colored pencil, sketchbooks.
Procedure-
Demonstrate the creation of a realistic and a surrealistic scene with three areas of blending. Explain the difference between blending and mixing as well as between realism and surrealism.
Direct students to use cover sheets to protect the easily smeared chalk.
Direct the students to know the tooth of a pastel paper and to avoid non-toothed papers for chalk pastel.
Direct the student to create three preliminary colored pencil sketches prior to beginning with chalk pastel.
Resources
Pastel examples, Degas dancer images, American Artist magazine imagery,
Assessment
Students are assessed on demonstration notes, thumbnail sketches and three chalk pastels using n/m/f, blending , realism and surrealism.
Extensions:

Chalk Pastel Portraits

Chalk pastel Abstraction

Oil Pastel Blended 3D objects
How are oil pastels used to approximate oil paints?
Principle Objectives:
Students will use two colors in every area to create blended paint effect.
Students will produce at least 3 oil pastel cards.
Materials:
oil pastels
5" x 7" cards or folded drawing paper for cards enough for 5 per student
sketchbook pocket
tissue to clean pastel tips
cover paper
Procedure:
Demonstrate the use of oil pastel as miniature paintings.
Direct students to create 3 cards with blending of a least two colors in each area.
Require at least 12 shapes blended per card.
Require total card coverage
Resources:
oil pastel examples via slides, books, as well as physical works
Assessment:
Students are assessed on the successful completion of 3 or more oil pastel cards with 12 bended shapes minimum, complete card coverage and paint effect.
Extensions:
Oil Pastel Scenery
Oil Pastel Portraits
Oil Pastel Abstractions

Cartooning Lessons:
Cartoon Unit:
Day 1-4 Anthropomorphic Cartoon Posters
Bellwork Day 1: Write down the names of at least three animal cartoon characters you know. Write down objects you remember that have been turned into cartoon characters. Day 2. What are your favorite animation film or game characters? What are the traits that appeal to you? Day 3. What are some phrases or sayings that express your pride for HAWKS or for the school in general? Day 4. What would be the best place to display your poster? Write this on the back of your poster.
Objectives:
Students compare, discuss and record general traits of western and anime anthropomorphic characters.
Students write down personal traits of cartoon characters.
Students sketch designs of at least three anthropomorphic characters with the assistance of cartoon handouts.
Students sketch thumbnail layouts for cartoon posters.
Students create 12" x 18" posters presenting their characters using two tone colored pencil shading for dimension, calligraphic marker line and background "habitats".
Students include phrases on their posters that would be good for the school.
Students have their posters and cartoon characters displayed in halls.
Materials: sketchbooks, pencils, document camera, 2 projectors, computer cartoon images, colored pencils, hand sharpeners, 80 pieces of 12" x 18" tagboard, fine tip markers, broad markers, sharpies
Resources; title poster and original drawings of Mickey Mouse, Garfield, Winnie the Pooh, Totoro, Pichachu,sponge Bob, and others. "How to Draw Anime and Game Characters Vol. I for Beginners", "The Art of Walt Disney" Christopher Finch, History of Cartooning: museumofcartooning.org, miscellaneous other books and internet resources, student portfolio exam
Instructions:
Day One-Four: Anthropomorphism
Bellwork: Students list at least 3 well known cartoon animals. Students list objects that are characters.
Review bellwork with inquiries regarding character choices. Which animal character is your favorite? What are the characteristics they have that you like? How are their features different than realistic animals? Do they have any human traits?
Lead students to the vocabulary term “anthropomorphism”. Write this word and its definition for students to copy. Break the word into its Greek roots- anthropos and morphos. Anthropomorphism- a nonhuman with human traits.
Present ten popular animal characters in cartooning. Include western (American) and eastern (Japanese). Emphasize the names of artists who created the characters. Begin with Mickey Mouse (Disney’s first character), Bugs Bunny (mention framed works at the Chuck Jones Gallery near the Santa Fe Plaza), Winnie the Pooh, Road Runner, Garfield, Anime: Totoro, Pichachu, Miyazaki’s Cat
Review – When is it okay to copy the art of others? Is it okay to take credit for another artist art? What is that called? (plagarism)
Use inquiry to discuss the “elements of art” in the character pages shown. Point to the content standard this analysis relates to. Is the outline of the character the same width throughout the drawing? What is a line called that is drawn thick to thin? Is the character a shape or a form? How does the drawing create the form image? How does the color use indicate light and shadow? Why do you think the characters are the colors they are?
What are some unique traits of Pokemon not found in western cartooning? What culture is anime from?
Compare Miyazaki’s Cat to Garfield. Could this comparison reflect differences between Japanese and American culture?
Using handout guides the teacher demonstrates two examples of invented anthropomorphic characters: one Anime and one western style. Show that they are created with calligraphic line, two tone layered colored pencil and a background that is the character’s environment and is also drawing using special devices.
Provide handouts for anime and western anthropomorphic cartoon characters. Provide a list of resources sources for additional cartoon instruction.
Show a poster with a positive phrase as an example to lead to the project from the exercise. Show the beginning of a poster demonstration.
Bring students to the back table to continue the poster demonstration and to share supplies and select open seating for sharing ideas and materials. Provide a list of positive phrases in Spanish and English.
Day 2-4: Bellwork question 2-4 Cartoon poster lab in groups.
Assessment: Rubric: Poster must have: anthropomorphic original character at least 10" in one direction, character is colored in tow tone for dimension, character has calligraphic outline edges, character has a background habitat with spatial devices, poster is completely and neatly colored, character has a message Rubric Assessment will follow project grading with student/teacher district assessment model (see attached)
Extensions: Students create a cast of characters for comic strips, flip books, and IMovie (or other program)animations.
Students storyboard the Disney movie “The Story of Mickey” pausing to draw Disney characters.
Students answer handout prompt questions from Walt Disney interviews.
Students storyboard a Miyazaki anime “G” rated movie such as “The Cat Returns” or “My Neighbor Totoro”
Accommodations: Students create characters without two tone calligraphic art additions. Students use messages of a non-English language.

UNIT: DOODLES

Lesson: Zentangles
Principle Objective: Students will create a 3" x 5" black and white zentangle and a 5" x 8" zentangle or larger in color or in black and white.
Time Frame: 5 1-hour sessions
Materials: packet on zentangle process, packet on zentangle patterns, blank index cards/card stock, string, scissors, digital projector, computer
Instruction: Demonstrate the fundamental steps to create the zentangle : Draw points one eighth inch 45 degrees form corners. Connect points to create border edges. Draw an involved pattern in the border. Cut and drop a string into a broad pattern with the border. Add patterns from packet on patterns into each shape.
Direct students to create a small and then a large zentangle card.
Show students digital examples of zentangles. Provide packets and zentangle books for student access.
Resources: "Zen Mandalas- Sacred Circles inspired by Zentangle", Suzanne McNeill;
Assessment: Students are assessed on their 3" x 5" zentangle and on their 5" x 8" zentangle.
Extensions:

Lesson: Composition Doodle
Principle Objective: Students will use 3D drawing, drawing/cartooning schemes, and simple textures/patterns in an organized composition to create a formal all-over doodle.
Time Frame: 5 1-hour sessions
Materials: pencils, pens, black fine tip pins, sketchbooks, dry-erase marker, dry erase board, digital projector, computer, illustrated dictionaries
Instruction: After the drawing lab and after the zentangle lab, show doodles done in previous classes. Show doodles on clothing. Show doodles found in search engines via the digital projector and computer. Demonstrate the growth of a representational doodle using black dry-erase marker and the dry erase board. Emphasize the use of edges of some objects as usable for parts of other objects. For instance Bring their attention to the use of a tree-top as a hill for a house, or use chimney smoke spirals as waves for surfers.
Lead students to use their 9" x 12" sketchbook paper for doodles in which no object is larger than 2 square inches and in which there is no empty area less than square inch.
Resources: 60s - Peter Max doodles, wall kits for doodles, converse designs for doodles
Assessment: Students are assessed on their 9" x 12" doodles.
Extensions:

Miscellaneous
Origami Box with Lid
Elements of Design Through the world
Visiting Artist
Calligraphy