Grade: 4th

New York State Visual Art Standards:

• Standard 1: Creating, Performing and Participating in the Arts:
  Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2: Knowing and Using Arts Materials and Resources:
  Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
• Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts:
  Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present societies.

Objectives:

• Art Production:
  Students will create a paper bag parfleche by measuring and folding a paper bag. The bag will be decorated with crayons.
• Art History:
  Students will discuss the history behind the Plains Indian Parfleche bag and think about what these bags might have been used for.

Visual References:

• Pictures of Parfleche Bags
• Teacher sample

Other Motivational Strategies, References and Materials:

• Teacher Sample
• A Gallery of Shoshone Parfleche

Materials and Supplies:

• Paper bags
• Construction paper
• Crayons
• Yarn
• Glue
• Cardboard
• Hole puncher
• Ruler
• Pencils
• Erasers

Techniques to Demonstrate DAY ONE and TWO:

• Show the students’ how to separate seems from the bag so that it will lay flat.
• Show the student’s how to crinkle the bag to show texture.
• Show the students how to fold and cut the paper bag.
• Instruct the students’ to fold the bag in half and pour a small amount of glue on one side of the fold (making sure they put the glue on the side with the label.)
• Show the students’ how to use a piece of cardboard or something flat they spread the glue across and fold the bag again.
• Instructions and measurements will be shown and handed out for further help.
• The students will be instructed on where to punch holes and where to put the string to tie the bag shut.
• The students will be given specific instructions on what designs to use for their Parfleche. Usually patterns are used and the students will be shown examples.

Ideas to Emphasize and Topics to Discuss while Working:
Parfleche (rawhide) containers served Plains Indians with the means to package and transport goods, clothing, and food. Parfleche is a French Canadian word originated by voyagers at the time of their earliest contact with Prairie and Eastern Plains tribes in the late sixteenth and early seventeenth centuries. It is derived from parer (to parry or turn aside) and fleche (arrow), apparently referring to war shields that were made from heavy raw hide. Eventually it became the common name for large, folded, envelope like containers of rawhide (originally buffalo, made by folding, tying, and then painting the lye-soaked, dried hide). It should be recognized that individual tribes never adopted the French Canadian word since Native American language includes specific words for rawhide and the objects produced from it. Furthermore examples of parfleche are not identified according to artists’ names because they are unknown.

Traditionally, there was a clear division of labor and responsibility between men and women based on the skills necessary for the survival of the family group. These roles included the fabrication of essentials required to sustain daily life and manifest religious beliefs, and they extended to artists traditions as well. Among many of the tribes, it was women’s work to make and decorate parfleche (often with designs passed down for generations through families). Plains women created abstract geometric images on the surfaces of parfleche and robes. Painted parfleches are often identified by tribal characteristics. Crow, Lakota, Blackfeet, Ute, Nez Perce and other peoples all used mineral paints and designs that tended to reflect their particular artistic sensibilities. For further information, the best single reference on Indian parfleche designs and styles is Gaylord Torrance’s The American Indian Parfleche: A Tradition of Abstract Painting (Seattle: University of Washington Press, 1994).Since gourds are a product of nature, all sizes given are approximations and therefore the size & shape of the individual fruit may vary. The ones in tan tones can be washed with soap and water.

Follow-up Lesson Idea:

• Students will research what the Plains Indians might carry in these packages.
• Have the students’ compare a Parfleche to packages made by other Indian Tribes

Assessment:
I will assess how the students were able to pay attention to directions and demonstrations. I will also assess how well the students were able to use the samples and books I provided for inspiration. Last, I will assess how well the students were able to construct their project and how they paid attention to detail to the main part of the lesson.

Interdisciplinary Lesson – Art and Math

Topic/Lesson Title: Claes Oldenburg ‐inspired Diorama / Larger than Life Pop Art!

Grade: 7^th – 10^th
(Can be adjusted for primary or secondary)

New York State Art Standard(s):

• Standard 1: Creating, Performing and Participating in the Arts:
  Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2: Knowing and Using Arts Materials and Resources:
  Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
• Standard 3: Responding to and Analyzing Works of Art:
  Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought.

New York State Math Standard(s):

• Standard 1: Analysis, Inquiry, and Design
  Students will use mathematical analysis, scientific inquiry, and engineering designs, as appropriate, to pose questions, seek answers, and develop solutions.
• Standard 2: Information Systems
  Students will access, generate, process, and transfer information using appropriate technologies.
• Standard 3‐“The Math Standard”
  Students will: understand the concepts of and become proficient with the skills of mathematics; communicate and reason mathematically; become problem solvers by using appropriate tools and strategies; through the integrated study of number sense and operations, algebra, geometry, measurement, and statistics and probability.
• Standard 6: Interconnectedness: Common Themes
  Students will understand the relationships and common themes that connect mathematics, science, and technology and apply the themes to these and other areas of learning.
• Standard 7: Interdisciplinary Problem Solving
  Students will apply the knowledge and thinking skills of mathematics, science, and technology to address real‐life problems and make informed decisions.

Objective(s):

• Art Production:
  Students will create a background scene in a diorama fashion and create an outdoor sculpture with model magic representative to the large scale sculpture of Claes Oldenburg.
• Perception:
  Students will look at books, magazine pictures of architecture, and pictures of large scale sculpture from Claes Oldenburg. Students will then use math to figure out the scale of their own sculpture to be able to create a sculpture representative to sculpture done by Oldenburg.

Visual References‐annotated:

• Magazine pictures of architecture – this will help students understand the scale of buildings related to Claes Oldenburg’s large scale sculpture.
• Pictures of Claes Oldenburg’s large scale sculpture (websites and books below). These pictures will demonstrate the scale that Oldenburg worked at and will help students think about what they would want to create.

Other Motivational References and Materials‐annotated:

• Big stuff. (1999).
  This Reference is a helpful tool because there are large detailed pictures of Claus Oldenburg’s large scale sculptures.
• How to do just about anything. (2007).
  This Reference is good to help students and teachers understand how to make a diorama.
• Rose, Barbara. (1970). Claes Oldenburg: Museum of Modern Art
  Students will be able to see Claes Oldenburg’s artwork in context to the space around and to scale.
• Claes Oldenburg. Retrieved October 22, 2006.
  This is a good reference because it talks about the scale of Claes Oldenburg’s artwork as well as showing images of his work for examples.

Materials and Supplies:

• Magazine pictures
• Model magic
• Small shoe box or cardboard box
• Rulers
• Scissors
• Elmer’s glue or tacky glue (whichever is available)
• Graph paper
• Pencils

Ideas to Emphasize:
What is scale? Compare the scale of Oldenburg’s sculpture to its setting Compare the scale of Oldenburg’s sculpture to the scale of the students sculpture Show how every centimeter equals a foot and how to measure that out

Techniques to Demonstrate:

• How to create a proper scale
• How to create a believable environment
• How to glue magazine clippings down without having the glue bubble up
• How to cover the whole space, leaving no blank areas
• How to arrange the Oldenburg‐inspired sculpture within the diorama
• How to arrange composition within the piece

Topics to Discuss while Working:

• What does the word sculpture mean?
• Have you ever seen a big sculpture? Where? What did it look like?
• Does Oldenburg sculpt weird things, or everyday things?
• What do you think he is trying to get you to think by building these?
• How do you think Oldenburg decided on his subjects? How do you think he built them?

Topics to discuss when Work is Complete:

• How do you think your sculpture would look if it was installed in a public place?
• How big would your sculpture be in real life?

Adaptation for special needs:
For students diagnosed as having ADD or ADHD, one might decide to have some pre­cut magazine pictures ready, so that students aren’t flipping through magazines when they are supposed to be working. It might be a good idea to provide ample visual references so that students who need a little extra help can refer back to them. Of course, all extra materials will be made available to all students in the class.

Possible Follow‐up Lesson Idea:
After the diorama is complete, students might combine efforts to design a large scale sculpture in the Claus Oldenburg style, drawing up plans or blueprints as if they were going to actually build it.

Step‐by‐step instructions:

1. Students become familiar with Oldenburg’s style of sculpture (slide shows or handouts).
2. Students decide on subject matter of sculpture that they will be designing, measuring out the box itself and creating a scale of 1cm = 1m. Students may draw a grid on the box if they’d like.
3. Students use shoebox or other small box to begin diorama, using cut out magazine pictures, glue, and other paper materials.
4. Students then use ruler to measure out how big they would like their sculpture to be in life, and in theory (using proportion and scale).
5. Students sculpt their idea from Model Magic.
6. Students permanently attach their sculpture using glue to the bottom (ground) of their diorama.

Grade: 5^th

New York State Visual Art Standards:

• Standard 1: Creating, Performing and Participating in the Arts:
  Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2: Knowing and Using Arts Materials and Resources:
  Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
• Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts:
  Students will develop an understanding of the personal and cultural forcesthat shape artistic communication and how the arts in turn shape the diverse cultures of past and present societies.

Objectives:

• Art Production:
  Students will create a painting of an animal on a Gourd to represent a Peruvian Gourd painting.
• Art History:
  Students will discuss the history behind the Peruvian gourd paintings, understanding the cultural importance.

Visual References:

• Pictures of Peruvian gourd paintings
• Zoobooks

Other Motivational Strategies, References and Materials:

• Teacher Sample
• One World Projects. Peruvian Gourd Carvings. (October 23, 2007).
• Incan World Gifts. Gourd Art from Peru. (October 23, 2007).
• Turtle Feathers. Gourd Supplies. (October 22, 2003).

Materials and Supplies:

• Dried gourds
• Acrylic paint
• Paint brushes
• Paint cups
• Water cups
• Pencils
• Erasers
• Manila sketching paper
• Zoo books

Ideas to Emphasize:

• Gourd art is the oldest and most traditional example of Peruvian handicraft.
• The gourd is called a mate. It grows on a climbing plant that thrives in the dry warm regions of the Andes.
• The weather conditions of the Andes contribute to its hard shell that is similar to wood.
• The handcrafted nature of these gourds from Peru will produce minor imperfections.
• Subtle shade variations will occur from piece to piece, adding to its unique qualities.

Techniques to Demonstrate:

• Explain to the students that usually gourd art is done by engraving and burning, but we will be working with paint to give the effects.
• Explain to the students how to use the acrylic paint.
• Help the students find an animal that resemble the shape of the gourd.

Topics to Discuss while Working:

• Since gourds are a product of nature, all sizes given are approximations and therefore the size & shape of the individual fruit may vary. The ones in tan tones can be washed with soap and water.
• “Process of our hand carved Gourds: After the gourds are harvested, the artisan removes the outer green skin exposing the light tan color underneath. The gourds are then cleaned and dried in the sun. The artist hand sketches a design onto the gourd with a pencil. Then using a carving tool called a “BURIL” and several other primitive tools, the artisan removes small pieces of gourd to create a three dimensional version of the original design. The designs are further enhanced with a heated burin using pressure to acquire the desired tones for that particular design. The varying shades of black, orange and brown are due to varying the pressure and time of application of the heated metal burin used in the burning process. The designs are not painted on the gourd, but rather etched and burnt, in a process similar to wood burning.”

Topics to Discuss when Work is Complete:

• Would you want to make these gourds for a living if you knew that making several gourds a day could be traded for food for your family?
• There are different types of gourds. Some gourds tell stories that are passed down family to family.
• Gourd painting is a historical craft.

Adaptative strategies
If I had a child in my room with Asperger’s Syndrome I would make sure they sat at the end of a table to give them proper space, also we would follow the normal routine for this child to base our timing for activities. All that is said around this student will be taken literally therefore it must be completely thought out and rehearsed. I used the site on Asperger’s Syndrome to base my information: http://www.udel.edu/bkirby/asperger/aswhatisit.html .

Assessment:
I will assess how the students were able to pay attention to directions and demonstrations. I will also assess how well the students were able to use the samples and books I provided for inspiration. Last, I will assess how well the students were able to construct their project and how they paid attention to detail to the main part of the lesson: Peruvian Gourds. At the end of the lesson students should be able to talk about Peruvian Gourds and why they are crafted.

Craftsmanship: ___/ 10

• Work is complete, space are filled in completely.
• Correct use of materials, adequate use of space

Participation and effort (including clean-up): ___/10

• Student remained on task
• Clean-up was complete, caps back on markers and all returned to right places

Following directions: ___/ 10

• Student has drawn upon the visual reference for inspiration, and this is evident within their work -Design is centered around animals -Incorporation of art elements; student has demonstrated proficiency in using these elements

Grade:___/ 30 points

Pre or Post Lesson Extension:
Students will sketch out animal designs taken from Zoo books.

Follow-up Lesson Idea:
Students will create Arpilleras because they are connected to the Peruvian culture. The Arpilleras are pictures and quilts made out of fabric telling stories and giving messages to family members.

Comments on the Response to this Lesson:
This lesson went well. The students seemed to like the lesson and did well with most instructions. The only thing I thought the students could have done better with is the mixing of paint. The students had a hard time understanding that I wanted them to use dull colors, but ended up using bright colors.

Concept: Composition with shape and form / Painting

Grade: 5th

New York State Learning Standards:

• Standard 1: Creating, Performing and Participating in the Arts:
  Students will actively engage in the processes that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2: Knowing and Using Arts Materials and Resources:
  Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
• Standard 3: Responding to and Analyzing Works of Art:
  Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor    and thought.
• Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts:
  Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society.

Objective:

• Art Criticism:
  Students will observe how the Senufo people created mud paintings. Students will compare their pieces to Senufo mud paintings, specifically from the Ivory Coast in West Africa. The students will discuss different shapes used to create the mud painting.
• Art Production:
  Students will prepare a simple drawing of an animal on the brown paper. Students then begin to paint shapes inside the animal shape, creating texture and patterns to create the feel of a mud painted animal.

Teacher Aims:
(to encourage, to engage, to present, to challenge, etc.)

• To talk to the students about the Senufo people and explain how they create these mud paintings, why they create them, and why they use the materials they use.
• To help the students draw simple forms of animals.
• To show students how to use shapes, patterns, and designs.
• To help the students think about why they chose the animal they had.

Student Aims:
(To explore, to discover, to invent)

1. To examine a small portion of the West African culture and Senufo people.
2. To think about how and why Senufo people create mud paintings.
3. To think about elements of pattern and shape and stylized animal designs
4. To consider the materials used
5. To think about the described keywords
6. To understand what society and culture mean
7. Will look at composition of shape and design

References:
(Use art as inspiration and visual references)

• Senufo Painting. February 4, 2007.
• Senufo Painting. Teacher Vision. February 5, 2007.
• Mud Painting. January 25, 2007.
• Senufo People. Encyclopedia. January 25, 2007.
• For Presentation/Discussion:
  • Teacher samples
  • Pictures of Senufo mud paintings

• West Africa
• Senufo people
• Senufo painting
• Stylized animals
• Falma dye: Falma bush ground to make dye
• Mud dye: Mud used as a dye to create paintings
• Society: An organized group of people with similar association.
• Culture: social behavior patterns, arts, beliefs, institutions, and all other products of human work and thought.

Materials and Preparation:
(List Art Materials)

• sketch paper
• brown paper or paper bags or burlap
• pencils
• erasers
• black and white tempera paint

Motivation/Presentation:
(Present or elicit the reasons why they are doing this; get them to want to do it.)

Introduction to the topic:
“Fakaha is a small village in the country of West Africa. The Senufo people create paintings that are stylized drawings of masked figures and animals. Painted by the men, who live in Fakaha, the paintings are drawn and painted on pieces of white, loosely woven, cotton fabric. First, the Senufo draw the figures freehand with a yellowish-green dye made from the leaves of the falma bush. Then a second coat of black paint is drawn on top of the falma dye. This paint is made from a sludgy mud dug from the roots of trees in swampy areas. Traditional Senufo paintings were made into dance or hunting clothes. The Senufo believe the drawings have special powers that protect and bring the hunter good luck. Today this cloth is seldom made into hunting clothes. Instead, the paintings are sold to tourists and specialty shops. Many have become ornamental fabrics for wall hangings, pillows, tablecloths, or other decorative items.”

Procedures:
“First we need to find an animal to draw. We then need to draw out the animal with simple outlined shape.” “We need to draw different shapes inside the animal to create the animal.” “This will be done in all black and later we can go back in with white after the black dries.”  “We then need to make a border around the outside using similar shapes.”

Problem Statement:
(A challenge in one sentence that may be written at any point in the planning)

We have identified what Senufo mud paintings are, but why do the Senufo people create these mud paintings and why do they use those materials?

Procedure:
(Explain each step, using experimentation, guided exploration, or demonstration as necessary.)

1. Give the students the background information on the Senufo animals.
2. Have students create one or two sketches of animals on the worksheet handed out of snakes, crocodiles, birds, or fish. Or they can choose a favorite animal.
3. Students decorate the figures Senufo-style with circle, line, or triangle designs. Include some symbols that might represent good fortune or protection.
4. Students draw them on a piece of brown paper or burlap fabric. Add line, dot, and triangle designs to the drawings.
5. Students will be shown how to paint with black paint first for one period and then white for another period to prevent the mixing of paint.
6. Make sure the students give their own work a unique title and that it also has their name on the back.

Students Reconstruct Problem in Their Own Words:
(How might they tell you what they’re supposed to do?)

After the teacher is done explaining to the students of what he/she wants them to do the teacher asks:

• “Now, are there any questions? Usually students do not have questions as this time because they either know what they are doing OR they feel stupid asking questions. This is why the teacher will then ask a specific student if they can explain what they need to do. A student will then describe what they were told to do.
• “First we need to find an animal to draw. We then need to draw out the animal with simple outlined shape.”
• “We need to draw different shapes inside the animal to create the animal.”
• “This will be done in all black and later we can go back in with white after the black dries.”
• “We then need to make a border around the outside.”

Work Period:
(Teacher observes, provides; pupils do)

• Help those that are not sure of how to start
• Walk around to make sure students stay on task and are making progress
• Help students collect materials to use
• Have students use the entire time to draw and plan animal drawing for the first class, the next two classes will be used to painting and finish designs.

Medial Summary:
(If necessary, teacher intervenes with class or with individuals during work period)

• Show some additional examples to struggling students
• Help narrow down shapes to use
• Have other activities available for students that have disabilities and behavior problems.

Final Work Period:
(Students complete work and clean up)

• Make sure all students are finishing up work and that the composition does not need any work
• NO art supplies are on the floor
• All paint is cleaned from table
• Students finished work is put away in a safe place to dry where it will not be damaged

Discussion and Evaluation:
(Discuss the work of individual students and group. May be a summary of the class period or may occur the following period or at the end of a unit)

On the final day of the lesson ask if any of the students would like to talk about why they chose to paint that specific animal. See if the students remember information on the Senufo people and why they paint these animals with mud.

Relation to Life:
(individuals reflect on what they have learned)

“Have you ever painted animals in this fashion? Have you ever seen similar paintings as these? Where and when? Do you think this culture is much different then our own, why or why not?”

Wall Text for Exhibit:

The Senufo people of West Africa create paintings that are stylized drawings of masked figures and animals. Painted by the men, who live in Fakaha, the paintings are drawn and painted on pieces of white, loosely woven, cotton fabric. The animals include birds, snakes, fish, crocodiles, and turtles. The masked dancer figures are often shown from the side or front view. Sometimes they are shown with a front-view body and a side-view head. Geometric designs such as circles, stripes, and zigzags embellish the drawings.

Ideals for Further Work:
(May be generated by individuals or the group, done at home in school)

Talk to the students about Senufo masks and how they connect to the African Senufo people and Senufo mud paintings. They will create a Senufo mask if they finish the Senufo mud painting early.

Download a PDF of the Chuck Close Grid Drawing Lesson

Grade: 7th

STEP ONE:
Choose an image (preferably a portrait) to use for your grid drawing. Make sure to crop your image to make it interesting.

STEP TWO:

• Place your chosen image in the BOTTOM LEFT hand corner of your drawing paper.
• Now use a ruler to draw a straight line from the BOTTOM LEFT hand corner of the image and the paper through to the TOP RIGHT hand corner of the image to the TOP of the paper (usually it will not line up with the top right corner).

STEP THREE:

• From the top of the diagonal line draw a straight line down to the bottom of the paper. This section of the paper will be cut off later.
• The paper and the image are now proportioned to each other.

STEP FOUR:

• Grid out your image into squares. Use at least 6 squares on each side, this will space out your image enough to see the detail.
• Now grid your drawing paper using the same amount of squares. It is ok if some of the squares are slightly different sizes.
• Now it is time to draw! Draw square by square.

Download a PDF of the Bonnie Maclean Folder Lesson

Grade: 7th

NYS Standards for Visual Arts:

• Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2: Knowing and Using Arts Materials and Resources: Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.

Objective:

• Art Criticism:
  Students will learn about Bonnie Maclean. They will create a poster that may be considered to be good advertising of who they are and compare it to Bonnie MacLean’s posters. They will consider what may be similar or different.
• Art Production:
  Students will create a poster to “advertise” themselves. Students will look at posters created by Bonnie Maclean and create a similar poster that will be successful in advertising what they are interested in.

Teacher Aims:
(to encourage, to engage, to present, to challenge, etc.)

• The teacher will present and discuss with the students why the posters of Bonnie Maclean are successful in catching the viewers’ eye. Bonnie Maclean used bright vibrant colors, shape, pattern, and design to create her music posters.
• The teacher will demonstrate how to create a border for the poster. This will be done creating a one inch think border around the edge of the paper using a ruler.  -Te teacher will encourage the students to use a variety of shapes, patterns, and colors to attract the eye of the viewer. -

Student Aims:
(To explore, to discover, to invent)

1. The students will explore Bonnie Maclean and discuss the elements of her posters that make them noticeable.
2. The students will compare the shapes, patterns, and colors to Bonnie MacLean’s posters.
3. The students will discover how to create an advertisement poster that catches the eye of the viewer.

References:
(Use art as inspiration and visual references)

• Bonnie Maclean. January 20, 2008.
• Posters. Bonnie Maclean. January 20, 2008.
• For Presentation/Discussion:
  • Teacher samples
  • Post card samples of posters by Bonnie Maclean
  • Student art work samples:

Vocabulary:
(New art terms or other words to expand their vocabularies)

Line, Shape, Pattern, Color, Advertisement

Materials and Preparation: (List Art Materials)

• Sketch paper/worksheet
• Large white drawing paper
• Pencils
• Rulers
• Erasers
• Markers
• Colored pencils
• Black markers of various sizes

Motivation/Presentation:
(Present or elicit the reasons why they are doing this; get them to want to do it.)

Introduction to the topic:
“Bonnie MacLean was born in Philadelphia, Pennsylvania. In 1961, received a B.A. from Pennsylvania State University, moved to San Francisco, California, made a series of rock and roll posters for the Fillmore Auditorium. She is a living artist who has become famous due to her posters of vibrant colors, design and pattern.”

Procedures:
“Before we start the actual poster I have given you each a worksheet. This is going to help you plan out what patterns you might want to use in your poster and how you might want to lay out your poster. I will then show you how to set up your poster.”

“First I am going to show you how to create a border around your poster. With the ruler measure one inch in on one side by putting a small mark, then move your ruler down and measure again. Do this by measuring all around on each side of the paper. At this point you will draw a line from point to point around the edge of the paper”

“Next you will draw a unique shape in the middle of the page. Your shape can touch the border. This is where you are going to put your name. Write your name in the middle of the shape using a style of your choice.”

“Next you will trace five different shapes. I have placed shapes to trace on each table. These shapes can overlap; this will make your poster more interesting.”

“Next you will use patterns you have thought about while doing the worksheet. You can change your patterns if you think of new ones. In your poster I want to see at least:

• Three patterns
• Two sections of color
• One solid drawing of something that helps describes you (i.e. baseball, art supplies, guitar, ECT.)
• The rest can be of your choice. Have a friend hold your drawing while you stand far away to see if the composition works well together. I have provided sheets of patterns to work from. If you can think of your own that is great!”

“We will be using marker, colored pencils, and black marker to create your poster. So before we actually add color you will be marking what parts will be what colors. This will prevent you from adding the wrong color to the wrong section.”

Problem Statement:
(A challenge in one sentence that may be written at any point in the planning)

“The aim of this project is to invent a poster that can tell the viewer about you by creating an interesting, yet eye catching design using examples by Bonnie Maclean.”

Procedure:
(Explain each step, using experimentation, guided exploration, or demonstration as necessary.)

1. Talk about Bonnie Maclean and her poster samples.
2. Have students do worksheets and sketch out ideas for the poster after describing what I want them to do.
3. Demonstrate to the students how to create a border around the white paper.
4. Demonstrate where to place a unique shape in the center on the paper and where to draw their name in the center.
5. Demonstrate how to trace shapes and where you want them to trace them. Make sure you tell them that you want the shapes to overlap and explain that this will make the poster more interesting.
6. Have the students mark off the different shapes so that they make sure they have the right amount of patterns, colors, and drawings.
7. The next two classes the students will begin using markers, color pencils, and black markers. Students need to check with the teacher to make sure the shapes are correct before using color.
8. When the students are done make sure the students give their own work a unique title and that it also has their name and block number on the back.

Students Reconstruct Problem in Their Own Words:
(How might they tell you what they’re supposed to do?)

After the teacher is done explaining to the students of what he/she wants them to do the teacher asks: “Now, are there any questions? Usually students do not have questions as this time because they either know what they are doing OR they feel stupid asking questions. This is why the teacher will then ask a specific student if they can explain what they need to do. A student will then describe what they were told to do. Students will reply with the given instructions for the assignment: The student will explain that we have talked about Bonnie Maclean and her poster samples, then go on to say that the class needs to work on the worksheet.

Further along in the assignment, after the worksheet and after the teacher explains the border and how to create shapes, patterns, and designs, as student will reiterate what instructed. The student will explain that there should be a one inch border around the paper. To do this students need to measure and mark with a pencil one inch in around the edge. The student will explain that the teacher instructed the students to create a space for their name and block out sections of the space for patter, designs, and drawings.

Work Period:
(Teacher observes, provides; pupils do)

• Help those that are not sure of how to start
• Walk around to make sure students stay on task and are making progress
• Help students collect materials to use
• Have students used the entire time to draw and plan their poster for the first class; the next two classes will be used to color and finish designs.

Medial Summary:
(If necessary, teacher intervenes with class or with individuals during work period)

• Show some additional examples to struggling students
• Help narrow down shapes to use
• Have other activities available for students that have disabilities and behavior problems. Students with disabilities will be provided large markers for easier handling and will be provided assistance in measuring and folding, among other areas of difficulty. Students with behavior issues will be sat in a different seat and instructed to follow directions.

Final Work Period:
(Students complete work and clean up)

• Make sure all students are finishing up work and that the composition does not need any work
• NO art supplies are on the floor
• All marker/pencils cleaned from tables
• Students finished work is put away in a safe place to dry where it will not be damaged

Discussion and Evaluation:
(Discuss the work of individual students and group. May be a summary of the class period or may occur the following period or at the end of a unit)

On the final day of the assignment I will walk around and find a poster that has followed the assignment successfully. I will show the class and ask the students to talk about what makes this poster easy to look and easy to notice. I will give helpful tips to students that need help with finishing their work. I will not allow students to hand in an assignment that is unfinished and will give support in finishing the poster.

Relation to Life:
(individuals reflect on what they have learned)

“Where do you normally see advertisement posters? What do these posters normally look like? Colors? Patterns? Size? Do you think your self advertisement works and do you think people would notice it? Do you think people could learn a little about you by your poster?

Wall Text for Exhibit:

Bonnie Maclean is a living artist who has created posters for the Fillmore Auditorium and for art happenings in the 1960’s and 1970’s. She creates colorful advertisements using designs with patterns and text. Students were asked to create a poster advertising them. They were asked to center their name in the middle and create unique shapes and filling in the shapes with drawings, patterns, and colors that may represent themselves.

Ideas for Further Work:
(May be generated by individuals or the group, done at home in school)

Talk to the students about advertisements for products or events. Ask them how they might create an advertisement for something. What have they learned from this lesson that they could use in their advertisement poster?

Grade: 1st

New York State Visual Art Standards:

• Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2: Knowing and Using Arts Materials and Resources: Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
• Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts: Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present societies.

Objectives:
Art Production: Students will be able to create an elephant out of cardstock based on the elephants, which lead in the festivals in Sri Lanka. Students will decorate their elephant by gluing jewels and using bright colors to demonstrate the lavish elephants in the Perahera festivals.

Art Perception: Students will look at pictures of the elephants from the Perahera festivals in Sri Lanka.  The students will decorate their elephant with lavish designs.

Visual References:

• Images from the Internet and books from the “Perahera” festivals
• Map of the country Sri Lanka
• Map of the world to point out the location of Sri Lanka
• Pictures of elephants

Other Motivational Strategies, References and Materials:
References:

• Sri Lanka Community Web. (2004). Sri Lanka: Elephants in Festivals.
• Gluckman, Ron. (2006). Reporter pages.
• Crayola. (2007). Elephant Procession.
• Sri Lanka. (2007). Sri Lanka: A Land Like no other.
• Sri Lanka. (2007). Festivals.
• Kerala Fairs and Festivals. (2007). Sri Lanka.

Materials and Supplies:

• Previously cut out elephants for tracing
• 8×10 gray cardstock or construction paper
• Drawing pencils
• Erasers
• Glue
• Scissors
• Washable markers
• Sequins, jewels, or other embellishments
• Various colors of cardstock or construction paper

Ideas to Emphasize:

• Explain how the people of Sri Lanka used colors, jewels, and lights
• Talk about the materials used
• Talk about how the elephant is sacred and is an animal of good fortune
• Talk about where Sri Lanka is in comparison to other countries such as India

Techniques to Demonstrate:

• Show how to cut the elephant out neatly
• Demonstrate how to use the glue with the tiny jewels and sequins – Show what happens if you use too much glue
• Demonstrate (to those that need help) of how to cut the border out

Topics to Discuss while Working:

• Has anyone ever been to the circus and seen elephants dressed in clothe, lights, beads, and jewels?
• Does anyone know anything about India? Sri Lanka has many of the same religions and customs. Talk about why these are similar (the countries are very close together)
• Talk about what kinds of materials the people of Sri Lanka might use to decorate these elephants

Topics to Discuss when Work is Complete:

• Have students think about why they would use elephants as a sacred animal
• Refer back the pictures and ask students if they can see their own decorated and embellished elephant in a festival

Procedures:

Day One:

1.) We will talk about the festivals if Sri Lanka:

“The Esala Perahera (A-suh-luh peh-ruh-ha-ruh) is the grand festival of Esala held in Kandy. It’s one of the largest festivals and is believed to be a fusion of two separate but interconnected ‘Perahera’ (Processions) – The Esala and Dalada. The Esala Perahera which is thought to date back to the 3rd century BC, was a ritual enacted to request the gods for rainfall. The Dalada Perahera is believed to have begun when the Sacred Tooth Relic of the Buddha was brought to Sri Lanka from India during the 4th Century AD.

The Perahera is a 10 day festival that happens over July or August and it has become a unique symbol of Sri Lanka. It is a Buddhist festival consisting of dances and richly-decorated elephants with the highlight being the relic casket, which is a substitute for the Tooth Relic, placed inside the ransivige (a dome-like structure) affixed to the largest of Elephants, (always a tusker).

The procession consists of hundreds of dancers and drummers and the elephants usually number near a hundred. There are fire-dances, whip-dances, Kandian dances and various other cultural dances. Each elephant is usually adorned with lavish garments and covered in a tailor-made, embroidered cloth which has been created by a specific tailor, flown in from the Indian mainland. The festival ends with the traditional ‘diya-kepeema’.”

2.) I will demonstrate to the students how to trace the elephant templates with the pencils on gray construction paper. The students will trace the templates and then will cut out the elephant.

3.) The students will be shown how to glue the elephant on a colored background.

4.) I will show the students pictures of the Sri Lankan elephants and the embellishments and costumes worn by the elephants. The students will be shown that they should place the embellishments on the feet, head, face, and body of the elephant. The elephant should be decorated with many bright colors.

Day Two:

1.) The students will continue to use markers and sequins to create decorations for the elephants.

2.) The students will be shown how to put a pattered border around the elephant.

Possible Follow-up Lesson Idea:
Students will be shown a variety of images from the other festivals in Sri Lanka. Students will learn about a variety of festivals and how they use sacred symbols. Students will create their own sacred symbol conveying an animal on construction paper.

Download a PDF of the Maori Face Tattoo Lesson

Grade: 5^th

Definition of Topic:
The native people of New Zealand, called the Maori, are world famous for their unique culture of tattooing.
Beginning centuries ago, the Maori people created designs and carved them into their faces to create extraordinarily unique tattoos called moko. The moko is very personal and the specific placement of designs on the face indicated the rank, genealogy, and even the occupation of the wearer. The Maori could look at a moko and read the history of a person’s achievements and status in their tribe, like a visual resume. The moko was also used to intimidate the enemy in battle and identify the dead. The Maori had the custom of removing and preserving the heads of warriors after death. It was a great honor to a person to have one’s head preserved, and heads became important family heirlooms. In more modern times, the practice of ta moko has diminished. However, the artistic process of moko is now being rediscovered by young Maori who want to revive their heritage and traditions.

Terminology
Maori: a unique Polynesian ethnic group native to New Zealand        Moko: Maori tattoo Ta Moko: the traditional tattooing process Tapu: sacred Noa: not sacred

Maori Moko Patterns & Meaning
Ngakaipikirau (rank): The center forehead area Ngunga (position): Around the brows Uirere (hapu rank): The eyes and nose area Uma ( first or second marriage): The temples Raurau (signature): The area under the nose Taiohou (occupation): The cheek area Wairua (mana): The chin Taitoto (birth status): The jaw

Objectives
Art Production: Students will design an original face tattoo in the style of the Polynesian people, focusing on symmetry and balance. Art History: Students will derive their Maori face tattoo designs from the elements of the Polynesian people from New Zealand

Procedures:
Information about the native people of New Zealand, called the Maori, will be presented to the students. We will discuss the meaning of the placement for the tattoos (moko) and how the placement is very personal to that individual.

1.  The teacher will show the students how to draw a self portrait with the correct proportions.
2.  The teacher will then show the students the example showing that the tattoo designs will be    symmetrical.
3.  The students’ will use mirrors to draw a self portrait in pencil.
4.  The students’ will use designs representing the Maori tattoos to create their face. They will draw   out their designs using pencil

Techniques to demonstrate:

• Draw ideas in pencil first, then use a marker
• How to apply the concepts of symmetry and balance  

Topics to discuss while working:

• Pay close attention to symmetry and balance
• Make use of the entire space given on the templates
• Relating to students a traditional Maori of Ta Moko 
• Relating to students the authentic traditional process of Ta Moko.

Topics to discuss when work is complete:

• What similarities do you see between your design and the traditional Maori tattoo designs.
• Based on what you know about our culture and the information presented on Maori tattoos, how can you compare/contrast the uses of body adornment? 
• The Maori use the moko to express their personal identity. How do you express who you are in similar ways?
• Does this assignment change what you may consider to be art?

Materials:
Mirrors, pencils, erasers, white paper, black markers

New York State Standards within the lesson:
 Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the processes that constitute creation and performance in the arts and participate in various roles in the arts.

 Standard 2: Knowing and Using Arts Materials and Resources: Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.

 Standard 3: Responding to and Analyzing Works of Art: Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought.

 Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts: Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society.

2.) Based on what you know about our culture and the information presented on Maori tattoos, how can you compare/contrast the uses of body decorations?

3.) The Maori use the moko to express their personal identity. How do you express who you are in similar ways?

4.) How does this assignment change what you may consider to be art?

Topic/Lesson Title: Egyptian Paddle Dolls

Grade: 3rd

New York State Visual Art Standards:

• Standard 1:      Creating, Performing and Participating in the Arts: Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 4:      Understanding the Cultural Dimensions and Contributions of the Arts: Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present societies.

Objectives:
Students will:

• Create an Egyptian inspired paddle doll
• Students will learn about the significance of a Paddle Doll in the Egyptian culture and what types of designs and patterns were used when creating them.
• Students will create various designs and patterns onto their Paddle Doll to make them look like clothes and will then add twine and beads to create hair on their doll.
• Implement art knowledge of balance, line and pattern throughout their artworks.

Visual References:
Images of various Paddle Dolls Student Examples

Other Motivational Strategies, References and Materials:
Teacher Sample Teacher board

Ideas to Emphasize:

• Use the teacher example, images and books for both references and motivation.
• First create your designs and patterns onto your Paddle Doll by lightly drawing onto your pre-cut paddle Doll board with pencil, so it you mess up you can easily erase.
• Remember to use a ruler to get those nice neat and straight lines throughout your piece.
• After your design is complete you must first outline your design using a black marker.
• Remember to use the thin-maker for the smaller more intricate designs
• After all of your designs have been outlined using the marker you may then use the colored markers to fill in your designs.
• When your designs have been fully colored in you will then take a small piece of twine and attach them to the back of the head using a glue gun. You can then begin to add beads to create the hair for your doll. Remember you can create a pattern throughout the hair using the beads. After all the beads have been added to the piece of twine you may then tie off the end of the twine so the beads cannot fall off.

Description:
We will talk about what the Egyptian Paddle dolls mean:

“The Paddle doll is a primitive flat wooden canoe or paddle shaped doll that are usually found in Upper Egypt. Paddle dolls are perhaps the oldest dolls. They were made by the Egyptians three thousand years ago and may be seen today in the British Museum in London.”

“They are called paddle dolls because they were made from thin pieces of board carved in the shape of canoe paddles. Lines were carved and painted on them to look like clothes. Hair was made of short strings of beads made from sun dried clay or wood. The figures were made without legs so they could not run away. When an important person died in old Egypt, many such doll figures were buried with them to serve in their afterlife. They looked like barbers, bakers, cooks, clowns, maids, actors, and musicians. They were supposed to be friends and servants for the dead person in the spirit world.”

Techniques to Demonstrate Day One:

• How to begin designing a Paddle Doll inspired by the Egyptian culture.
• How to lightly draw your designs onto you pre-cut Paddle Doll
• How to implement balance, line, pattern, thought the design.
• How to outline your design with black marker
• How to color in your designs using colored maker

Techniques to Demonstrate Day Two:

• How to create the distinct all black Paddle Doll face using the felt
• How to create the dolls eyes using googlie eyes
• How to add on twine and beads for the hair
• How to create patterns in the hair using various bead sized, colors and shapes.

Topics to Discuss while Working:

• Make sure to use the teacher examples and images provided to as reference and motivation when creating your own Paddle Doll
• Make sure to create your designs and patterns onto you Paddle Doll by lightly drawing onto your pre-cut Paddle Doll board with pencil, so if you mess up you can easily erase and start over.
• Use the ruler to get nice straight lines.
• Outline the designs
• Remember to tie off the twin so the beads do not fall off.

Download a PDF of the Calder Wire Self Portrait Lesson

Topic/Lesson Title: Wire Self Portrait
Grade: 7^th – 9^th (Can be adapted for different levels)

New York State Visual Art Standards:

• Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts.
• Standard 2:      Knowing and Using Arts Materials and Resources: Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
• Standard 3:      Responding to and Analyzing Works of Art: Students will respond critically to a variety of works in the arts,  connecting the individual work to other works and to other aspects of  human endeavor and thought.

Objectives:

• Art Production: Students will use a variety of line in wire sculpture to create a self-portrait.
• Art History: Students will examine wire sculptures created by Alexander Calder and identify similarities of line with their own artwork.

Visual References:
Pictures of wire sculpture by Alexander Calder (self portraits and abstract)

• Fernand Leger
• Joan Miro
• Edgard Varese.

Other Motivational Strategies, References and Materials:
Teacher Sample of wire self portrait

References:

• National Gallery of Art: Calder Virtual Tour. (Retrieved November 6, 2007).  http://www.nga.gov/exhibitions/caldwel.htm
• The Calder Foundation. (Retrieved November 6, 2007). http://www.calder.org
• Roosevelt Student gallery. (Retrieved November 6, 2006). http://www2.milwaukee.k12.wi.us/roosevelt/rose-gallery.html

Materials and Supplies:

• Various types of wire
• Wire cutters
• Wire pinchers
• Pencils
• Erasers
• Manila sketching paper
• Mirrors

Ideas to Emphasize:

• Show the Alexander Calder reproductions attached in packets handed out to the students named Fernand Leger, Joan Miro, and Edgard Varese.
• Explain to the students that Calder was an artist that created sculptural forms by bending, twisting and joining wire into a variety of shapes.
• Describe the artwork as a line drawing that has sprung off of the page as a three dimensional sculpture.

Techniques to Demonstrate:

• Explain the difference to the students between 2D and 3D images. This lesson will be focusing on the use of line in 3D and manipulating the wire to create the sculpture.
• Demonstrate how to make a circular form for the face. Loop the large piece of wire into a circular shape and then wind the ends around the circular shape until secure.
• Stress the importance of making sure the wire is securely attached (If the attachments are not secure, their form will not be stable.)
• Show students how to bend the circular shape into the shape of their face.
• Next demonstrate how to create a nose shape by bending and twisting the wire.
• Demonstrate how to attach all parts after creating the shape.

Topics to Discuss while Working:

• While the students are working have them think of all the parts of the face and list them on the board. Include the face shape, nose, eyes, eyebrows, lips, teeth, hair etc. Encourage students to add as much as possible to make it represent them. For example, add glasses if you wear glasses, etc.
• Encourage the students to explore the materials and use their imagination in how they create their shapes. Use a variety of lines like curly, zigzag, coil, spiral etc. Combine several pieces of wire for part of the face rather than just using one piece of wire.

Topics to Discuss when Work is Complete:
• Have the students self-evaluate their artwork and the process of creating as compared to Alexander Calder’s work.

• Where do they see that their work is similar to his?
• How are they using the materials like he did?
• Ask for the students’ responses to these questions as they are working.

Adaptative strategies
If I had a child in my room with Attention Deficit Disorder I would make sure that I know everything about the disorder and about the student because every student is different. Students will ADD have a hard time paying attention and go from one thing to another very quickly. I would make sure that my assistant knows about the students disorder and ask them to be prepared to redirect the student if I am busy with another student. Students with ADD need to be regularly redirected and is a key element in keeping them on task with an assignment. I used the site on Attention Deficit Disorder to base my information: http://www.help4adhd.org/en/education.

Pre or Post Lesson Extension:
For a pre lesson students will create a self-portrait line contour drawing using the mirrors. For a post lesson extension if the students get done early they will talk about their self portrait and think about different features that they may have forgotten such as eye brows, ears, etc.

Follow-up Lesson Idea:
Students will create a 3d fish or animal wire sculpture that will hang based on Thomas Hill.

Assessment: I will assess how the students were able to pay attention to directions and demonstrations. I will also assess how well the students were able to use the samples and books I provided for inspiration. Last, I will assess how well the students were able to construct their project and how they paid attention to detail to the main part of the lesson: Calder wire self portraits at the end of the lesson students should be able to talk about Calder wire self portraits and what contour drawings are.