rockwood school district high school art curriculum

Transcription

ROCKWOOD
SCHOOL
DISTRICT
HIGH SCHOOL
ART CURRICULUM
GRADES 9 – 12
Draft to Rockwood School District Board of Education
May 2005
ROCKWOOD
SCHOOL
DISTRICT
HIGH SCHOOL
ART CURRICULUM
GRADES 9 – 12
Draft to Rockwood School District Board of Education
May 2005
1
Index
Rockwood School District Mission Statement ..........................................................................4
Rockwood School District Learner Expectations ......................................................................5
Differentiation............................................................................................................................6
Basis and Essential Skills / Equity in Art/ MSIP Codes............................................................7
Data Driven Teaching Learning Model .....................................................................................8
Art Rationale..............................................................................................................................9
Art Goals for Graduates ...........................................................................................................10
Implementation Guidelines and Expectations .........................................................................11
Core Conceptual Objectives for Grades K-12 .........................................................................12
Art Scope and Sequence ..........................................................................................................13
Sequence for CCO IA, Production through Elements and Principles of Art...........................14
Sequence for CCO IB, Production through Media Processes and Skills.................................19
Sequence for CCO IC, Production through Subject Matter and Theme..................................24
Sequence for CCO II, Aesthetics and Art Criticism ................................................................28
Sequence for CCO III, Art History ..........................................................................................33
Sequence for CCO IV, Integration with Other Subjects..........................................................39
High School Art Curriculum....................................................................................................41
High School Course Map.........................................................................................................42
High School Course Descriptions............................................................................................43
World Arts ...............................................................................................................................50
Art Fundamentals.....................................................................................................................83
Drawing I ...............................................................................................................................126
Painting I................................................................................................................................161
Sculpture I..............................................................................................................................194
Graphic Design I ....................................................................................................................227
Ceramics I ..............................................................................................................................264
Photography I.........................................................................................................................296
Drawing II..............................................................................................................................321
Painting II...............................................................................................................................351
Sculpture II.............................................................................................................................382
Graphic Design II...................................................................................................................413
Ceramics II.............................................................................................................................449
Photography II .......................................................................................................................481
Weighted Grade Advanced Placement Art History ...............................................................509
Weighted Grade Advanced Placement Art Studio.................................................................524
Appendix................................................................................................................................557
Fine Arts Resource Selection Evaluation Checklist ..............................................................558
Rockwood Writing Guidelines ..............................................................................................560
DESE Fine Arts Scoring Guide .............................................................................................562
Missouri Show-Me Standards................................................................................................566
Integrated Fine Arts Vocabulary............................................................................................574
Graphic Organizers ................................................................................................................583
Middle School Art Fundamentals Waiver .............................................................................595
2
ACKNOWLEDGEMENTS
The writing team gratefully acknowledges those parents, patrons, students, teachers, and
administrators who provided direction and feedback to the document at every stage of its
development.
Arts Curriculum Committee In-depth Study 2004/2005
Elementary Writing Committee Art Teachers
Darcey Hickman, Kerri Sellmeyer,
Carol Mobley, Jenny Jadrich, Anne-Marie Ter Maat, Linda Sachs
Middle School Writing Committee Art Teachers
Maria Otto, Rochelle Bower, Cindy Walker, James Mullen, Joyce Coombs, Leslie Benben
High School Writing Committee Art Teachers
Theresa Long, Mindy Anderson, Olga Sotiriou, Kari Schrameyer,
Stephanie McDaniel, Steve Bruns, Jeff Sass, Sue Hamra, Tara Harrow, Nancy Raleigh,
Robyn Stellhorn, Pam Senti, Bill Senti, Betsy Rivas, Lauren Paul
Parent Review Committee
Lauren Huguelet, Tina Stepputat, Pam Strubberg, Eileen and Greg Stone
Student Review Committee
Melissa Antey, Alyssa Banford, Ashley Covert, Maggie Dougherty, Kathleen Howard,
Rebecca Kochelek, Paul Sanguinett, Allison Sissom, LeAnne Tracey
Department of Curriculum and School Leadership
Dr. Kathy Peckron – Deputy Superintendent for Curriculum and School Leadership
Dr. Cheryl Venet – Coordinator of Fine Arts
Dr. Bertha Doar – Assessment Coordinator
Support Staff
Mary Hunt – Fine Arts Department Secretary
3
ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT
All students, with support from the community, parents, and staff, will be provided a dynamic
curriculum within a safe and caring environment so they will develop the skills, abilities, and
attitudes to be lifelong learners and citizens of good character who are prepared to contribute to
an ever-changing, global society.
4
ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS
ROCKWOOD STUDENTS
ARE LEARNERS:
•With positive self-worth
skills.
•Who demonstrate critical
thinking and problem-solving skills
in all areas.
•Who demonstrate verbal,
quantitative, cultural, and
technical literacy.
•Who demonstrate the
adaptability necessary for
life in a changing world.
•Who can utilize community
resources to foster continual
growth and development.
•Who think and express
themselves creatively and
appreciate the creativity of
others.
•With skills and attitudes
necessary to become selfdirected, life-long learners.
•Who have a broad
familiarity with the world
of work to develop and
enhance their career
potentials and opportunities.
•Who understand the value of
effort in realizing their full
educational, vocational, civic,
and personal potential.
•Who understand and
appreciate the elements
and principles of the arts
and their influence on all areas
of life.
•Who understand the principles
of physical and emotional
health and the importance of
maintaining them.
•Who understand and
demonstrate individual, social,
and civic responsibility, including
a global concern, tolerance, and
respect for others.
•With effective skills in written
and oral communication.
•Who demonstrate individual
and social ethics.
5
DIFFERENTIATION
The Art Department in the Rockwood School District recognizes that differentiation is an important process that
teachers use to enhance the learning of all students, building on their individual strengths and level of knowledge.
The Art Curriculum was written to facilitate the incorporation of Differentiation strategies to enhance student
learning. The Facilitating Activities of each course provide flexibility to address the individual learning needs of all
students.
The chart below provides a comparison between the traditional classroom and the Differentiated Classroom.
Traditional Classroom
• Student differences are masked or acted
upon when problematic
• Assessment is most common at the end of
learning to see “who got it”
•
•
A relatively narrow sense of intelligence
prevails
A single definition of excellence exists
•
Student interest is infrequently tapped
•
Relatively few learning profile options are
taken into account
Whole-class instruction dominates
Coverage of texts and curriculum guides
are the focus of learning
Mastery of facts and skills out-of-context
are the focus of learning
•
•
•
Differentiated Classroom
• Student differences are studied as a basis
for planning
• Assessment is ongoing and diagnostic to
understand how to make instruction more
responsive to learner need
• Focus on multiple forms of intelligence is
evident
• Excellence is defined in large measure by
individual growth from a starting point
• Students are frequently guided in making
interest-based learning choices
• Many learning profile options are provided
for
•
•
•
•
•
Single option assignments are the norm
Time is relatively inflexible
•
•
•
•
A single text prevails
Single interpretations of ideas and events
may be sought
The teacher directs student behavior
•
The teacher solves problems
•
•
The teacher provides whole-class standards
for grading
A single form of assessment is often used
•
•
Many instructional arrangements are used
Student readiness, interest, and learning
profile shape instruction
Use of essential skills to make sense of and
understand key concepts and principles is
the focus of learning
Multi-option assignments are frequently
used
Time is used flexibly in accordance with
student need
Multiple materials are provided
Multiple perspectives on ideas and events
are routinely sought
The teacher facilitates students’ skills at
becoming more self-reliant learners
Students help other students and the
teacher solve problems
Students work with the teacher to establish
both whole-class and individual learning
goals
Students are assessed in multiple ways
•
•
•
•
•
6
BASIC AND ESSENTIAL SKILLS
All content and skills of a curriculum document are classified as either
BASIC or ESSENTIAL according to the definitions set forth by the Rockwood Curriculum and Instruction
Department.
BASIC SKILLS
Those skills which lay the basis/foundation for all future learning:
Reading
Writing
Math
Problem solving
Working with others
Analytical skills
Effective communication
ESSENTIAL SKILLS
Those skills which are vital to future learning (specific to each content area):
Specific skills listed by grade level/course
Scope/sequence
Critical to mastery of the course
Equity in Teaching Art
Art teachers create a positive classroom environment in which all students are accepted and taught mutual respect.
Teachers model sensitivity to differences in race, gender, ethnicity, and ability/disability.
Teachers use a variety of teaching styles consistent with the learning styles of the cultural and ethnic groups
represented in their classrooms. This principle is not different from the principle of accommodating a wide variety
of learning styles. Different racial, ethnic, and cultural groups have different learning styles and competent teachers
provide for these learning styles as well as other special learning needs in multicultural settings.
MSIP CODES
In order to promote equity, the Rockwood Department of Curriculum and School Leadership uses the following
codes to identify equity and readiness in all curriculum documents:
GE
RE
T
R
=
=
=
=
Gender Equity
Racial/Ethnic Equity
Technology Skills
Research/Information Processing
7
Department of Curriculum and School Leadership
Rockwood School District 2004
8
ROCKWOOD ART RATIONALE
The Rockwood art program provides the opportunity for students to develop artistic knowledge and
skills that enable them to be lifelong learners who can contribute to society visually, verbally, and in
writing. Through the study of art students will develop creative and critical thinking skills that will help
them be effective problem-solvers both in and outside of school.
Art students will develop abilities in art production and analysis using art elements, principles, media
processes, subject matter and themes. These skills will be used to express their own ideas and to
interpret images in our visually-oriented culture.
The art program assists students in developing knowledge of the artistic heritage of their own and other
cultures. It encourages them to understand and value both personal identity and the diversity found in
our global society through the study of art history, art criticism, and consideration of various aesthetic
functions of works of art.
9
ROCKWOOD ART GOALS FOR GRADUATES
Graduates of the Rockwood Art Program will:
Respond to and make informed judgments about visual arts using historical examples of fine arts and the
visual culture found in contemporary society.
Acquire media skills and processes necessary for life-long artistic learning and application.
Depict and interpret the world around them in visual form.
Develop and creatively express ideas through artistically proficient products.
Understand and express the relationship between art, history, and culture.
10
IMPLEMENTATION GUIDELINES AND EXPECTATIONS
The Art document specifically outlines the Core Conceptual Objectives (CCO) and the essential content and process skills to
be taught at each grade level. Application Level Assessments (ALA) are required to be used along with the accompanying
scoring guides to evaluate student learning.
Facilitating activities are provided in the document as suggested strategies for teaching each objective.
The document also cross-references the Show-Me Standards.
This is a living, changing, document that will be reviewed and revised annually. Teacher feedback is
essential to this process. Therefore, teachers are encouraged to record observations and comments about
the curriculum as well as ideas for additions and deletions. Throughout the course of the year, teachers
should document demonstrations of each ALA to be used in the refinement of scoring guides and the
development of consistent scoring.
11
CORE CONCEPTUAL OBJECTIVES FOR GRADES K-12 ART
Core Conceptual Objectives in the Art Curriculum remain constant for grades K-12 while content
knowledge and media processes spiral to provide continuous refinement of basic art skills. Components
of artistic thinking and production can be demonstrated at levels ranging from novice through
professional. The Scope and Sequence Chart illustrates the way in which knowledge and skills build
within each CCO. Teachers use resources, media, and processes at each grade level that match levels of
proficiency in art production, art criticism and aesthetics, and art history. Students make connections
between visual arts and the specific content of other subject areas at each grade or course level. *Codes
following each CCO refer to Missouri Show-Me Standards taught and assessed under that objective.
Curriculum Emphasis:
While all Core Conceptual Objectives are important and necessary to meet state standards, 80% of class
time is spent on CCO I, having student create art. Twenty percent of class time is spent having students
respond to art (CCO II, III, and IV combined).
Core Conceptual Objectives:
I. Students will demonstrate art knowledge and skills through the production of artwork.
A.
Students will demonstrate knowledge of elements and principles in the production of
artwork. *FA1, FA2, G2.5
B.
Students will demonstrate knowledge of media processes and skills in the production of
artwork. *FA1, FA2, G2.5
C.
Students will communicate subject matter and themes through the production of original
artwork. *FA1, FA2, G2.5, G3.3
II. Students will demonstrate knowledge of aesthetics and art criticism through responses to artwork.
*FA2, FA3, G1.5, G2.4
III. Students will demonstrate knowledge of art in historical and cultural contexts…*FA5, G1.9
IV. Students will make connections between art and other subject areas. *FA4
12
Scope and Sequence
Of
Knowledge and Skills
13
CCO IA Elements and Principles of Art Scope and Sequence Chart
Content is assessed where listed. It may be introduced in previous grades.courses and it will be reinforced/reviewed in
subsequent grades/courses.
CCO IA: Students will demonstrate knowledge of elements and principles through the production
of artwork
Grade/Course
Content and Skills
Kindergarten
Line-Introduce direction and types.
Shape- triangle, circle, square, rectangle, oval
Color – red, yellow, blue, orange, violet, green, brown, black, white
Form – distinguish two-D shape from three-D form
Line: Direction (vertical, horizontal, diagonal); types (straight, curved, zig zag)
Color: Primary, experimental mixing
Shape: Geometric
Form: Geometric
Space: Horizon line
Rhythm: Pattern
Texture: Impressed
Shape: Organic
Color: Color wheel, secondary, tints;
Contrast: Of lines and shapes.
Form: Organic
Texture: Actual
Rhythm: Repetition of one element
Line: Contour, textures
Shape: Contrast: organic, geometric,and freeforms.
Color: Warm & cool, intermediate, shades
Space: Background, middle ground, foreground
Contrast: Warm vs. cool colors, organic vs. geometric vs. freeform shape
Balance: Symmetrical, asymmetrical, radial; physical balance
Texture: Visual (simulated)
Color: Monochromatic scale, earth colors, skin colors, neutral colors
Value: Light, medium, dark
Form: Illusion of form through value changes on a 2D surface
Space: Negative and positive
Contrast: Texture
Proportion: Facial Feature
Unity: Unified composition through repetition of chosen elements
Emphasis: Through color contrast
Line: Gesture
Color Schemes: Complementary, Analogous, Intensity
Space: Illusion of depth - combined use of change of size, placement, overlapping,
change of detail
Proportion: Figure and objects in environment
Emphasis: Through change of detail, size
Rhythm: Movement
Grade One
Grade Two
Grade Three
Grade Four
Grade Five
14
Grade Six
Art Studio
Grade Six
Design Studio
Grade Seven
Art Studio
Grade Seven
Design Studio
Grade Eight
Art Studio
Grade Eight
Design Studio
World Arts
Line: Contour
Color: Expressive
Texture: Actual, simulated, invented
Value: Gradation of color
Emphasis: Contrast of (color, shape, size)
Unity: Unity through repetition of color
Form: Organic
Shape: Geometric, organic, freeform
Form: Geometric, organic
Color: Symbolism
Texture: Implied & actual
Space: Three-dimentional space
Balance: Symmetrrical, asymmetrical, & radial
Contrast: One element (color, line, shape)
Proportion: Facial (realistic, abstract)
Space: 1-point perspective
Texture:Simulated
Color: Mixing skin tones
Balance: Radial, Symmetrical and Formal
Unity: Repetition of shape
Rhythm: Progressive, alternating pattern
Shape: Complex
Emphasis: Through converging lines
Proportion: Realism versus Stylized (mask, cartoon)
Space: Positive versus Negative
Form: Abstract facial features
Line: Typography as an element to create graphic line
Shape: Letter form
Emphasis: Product focal point in Advertising
Unity: Unified composition through two elements (line, shape, form, or value)
Value: Line techniques; stippling, hatching, and cross-hatching
Line: Used to create value (hatching, crosshatching, stippling)
Form: In-the-round,illusion of form, use 5 forms to compose 3-D subjects
Color: Color schemes; Monocromatic, Complementary, Analogous, Triad
Value: Methods of shading to create volume/depth
Space: 2-point perspective
Proportion: Figure, Realism, Abstract
Contrast: Shapes, value, size
Color: Symbolic expression
Proportion: Scale in architecture
Unity: Unified compostition through the use of color and rhythm
Rhythm: Use of motif with regular, random, and progressive rhythm
Balance: Symbolic use of balance
Shape: Geometric, Organic, Freeform
Form: Organic, Freeform
Texture: Actual
Balance: Symmetrical
Rhythm: Regular, Alternating
Proportion: Objects in relation to each other
15
Art
Fundamentals
Ceramics I
Drawing I
Graphic Design I
Painting I
Line: Contour
Shape: Complex
Form/Value: Illusion of form (sphere, cylinder, cone, cube, pyramid) using the 5value range.
Color: Color theory (wheel, primary, secondary, intermediate, tertiary), intensity,
value, and schemes (monochromatic, complementary, analogous, triad, split
complement)
Texture: Actual, Simulated; Invented.
Space: Linear Perspective
Relationship between Positive and Negative Space;
Illusion of space through linear perspective
Balance: Formal, Symmetrical, Informal/Asymmetrical, Radial
Emphasis: Creating a focal point through contrast and convergence
Contrast: Simultaneous contrast of elements
Rhythm: Use of motif with regular and progressive rhythms
Unity: Unified composition through three elements
Proportion: Size relationships of the facial features of the head
Form: Organic, geometric, freeform
Texture: Applied, incised/carved, impressed
Proportion: Parts of functional object - lip, neck, shoulder, body, foot
Unity: Through continuous repetition of a motif
Line: Gesture, weighted
Form: Illusion of form, five value range, reflected light in complex arrangement
Color: Layered monochromatic color
Texture: Mark making for texture and expression
Value: Value scales and application of hatching, crosshatching, stippling
Space: Negative space defines positive; Illusion of space through two-point linear
perspective, size relationships, overlapping, and atmospheric perspective (change of
detail, clarity, modeling)
Balance: Compositional structure through shape, value, texture
Emphasis: Focal point through contrast, convergence, isolation, location,
overlapping, unusual juxtaposition
Contrast: Simultaneous contrast of three elements
Rhythm: Direct viewer’s eye through repetition of an element
Proportion: Figure proportions – real versus “average”
Portrait proportions – real versus “average”
Unity: Unified composition through four element
Line: Text as line
Shape: Letterforms, text body as shape
Color: Symbolism (psychological, cultural, personal)
Emphasis: Differentiate the use of dominant and subordinate elements in a layout.
Unity: Unified composition through the use of 4 elements and mixed media.
Proportion: Grid systems, letter spacing (kerning, leading).
Color: Expressive color, intensity scale
Texture: Illusion of depth through texture contrast
Value: Illusion of depth through modeling of contrasting color values,
monochromatic color scale
Rhythm: Specific, sequential movement within a composition using color/value
Proportion: Expressive and distorted
16
Value: Full range, color spectrum translating into tonal range
Contrast: Varys size and location in space, shape, texture
Unity: Elements relate together to achieve purpose
Balance: Rule of thirds creates dynamic asymmetrical balance
Rhythm: Repeated elements creates visual tempo or movement
Line: 3-dimensional contour
Sculpture I
Form: Organic figure
Texture: Contrast of actual surface qualities
Space: Balance between postive space (mass) and negative space (void)
Balance: Actual or visual stability in 3-dimensional form
Contrast: Texture
Proportion: Realistic 3-dimensional human proportions
Unity: Repetition of form and texture to create harmony
Form: Complex
Ceramics II
Texture: Pierced
Balance: Asymmetrical
Proportion: Traditional (i.e., Asian, Greek) versus non-traditional vessel forms
Unity: Juxtaposition of positive and negative spaces
Color: Used for an expressive purpose
Drawing II
Space: Linear and atmospheric perspective of observed objects which have multiple
vanishing points
Contrast: Color value and intensity to create the illusion of form, reflection, and
transparency in a complex arrangement
Balance: Shape/form, color and texture
Emphasis: Color temperature, intensity, and value
Rhythm: Direct viewer’s eye through repetition of elements
Proportion: Foreshortening of figure from observation of extended pose
Unity: Unified composition through color and four other elements
Form:
Form follows function
Graphic Design
Space: Environmental design and audience
II
Rhythm: Sequential timing in motion graphics
Movement: Dynamic movement in motion graphics
Line: Expressive
Painting II
Color: Realistic color mixing
Texture: Expressive and actual
Emphasis: Focal Point with color
Unity : Unified composition with four elements
Line: Defines and separates and determines distance; sharp and contrasty or diffuse
Photography II
and subtle
Form: Illusion of depth based on value range, overlapping, lighting & size
relationship; the more contrasty the shading, the more abrupt the transition
Texture: Use of light intensifies rough or smooth surfaces, matte or shiny surfaces
to show form
Shape: Enclosing space, shows length and width; creates mystery and tension, or
comfort of familiarity
Form: In-the-round, complex portrait bust
Sculpture II
Contrast: Values created by light hitting positive spaces, negative spaces, and
surface textures
Proportion: Realistic facial and head porportions
Rhythm: .Lead viewer’s eye around and through the artwork
Unity: Through repetition of positive spaces, negative spaces, similar forms, and
patterns of light and shadow
Photography I
17
Advanced
Placement Art
Studio I, II
Strand A
Advanced
Placement Art
Studio I, II
Strand B
Advanced
Placement Art
Studio I, II
Strand C
Strand A: Drawing Portfolio
Line quality
Illusion of Form
Tonal values
Linear perspective
Illusion of Depth
Spatial systems
Strand B: 2-D Design Portfolio
Unity / Variety
Balance
Emphasis/Contrast
Proportion / Scale
Strand C: 3-D Design Portfolio
Unity
Emphasis
Rhythm
Proportion/Scale
Balance
Contrast
18
CCO IB Media Processes and Skills Scope and Sequence Chart
CCO IB: Students will demonstrate knowledge of media processes and skills through the
production of artwork
Grade/Course
Content and Skills
Kindergarten
Watercolor Painting: Resist
Tempera Painting: Application with brush.
Clay: Pinched forms
Drawing: Crayon, pencil
Sculpture: Paper or heavy board
Printmaking: Gadget or vegetable
Grade One
Tempera Painting: Primary, mixing, brush grip, paint application & cleaning.
Clay: Slab. Impressed texture
Drawing: Markers
Sculpture: Wire (pipe cleaner / twisties)
Printmaking: Collagraph
Grade Two
Tempera Painting: Secondary colors, tints, color wheel
Clay: Score and slip, Applied textures
Drawing: Blending & layering. oil pastels.
Sculpture: Modeling material (clay or other)
Fibers: Paper weaving
Watercolor Painting: Wash, use of water, use of tools
Tempera Painting: Intermediate, shades, application of paint, use of tools
Clay: Slab method. Scoring, slipping and joining.
Drawing: Chalk
Sculpture: Assemblage (mixed media, wood, found objects)
Printmaking: Glue line relief print
Watercolor Painting: Graduated Wash
Tempera Painting: Mixing earth colors & skin colors & neutral colors,Variety of
brush sizes, Monochromatic scale
Clay: Coil method.
Drawing: Conte
Sculpture: Papier mache
Printmaking: Relief Block Printing (EZ cut, styrofoam)
Watercolor Painting: Wet on Wet, Wet on Dry, Salt techniques
Tempera Painting: Mixes low intensity color
Clay: Combines two of three methods (pinch, coil, slab), Glazed
Drawing: Colored pencil techniques
Sculpture: Plaster over armature
Fibers: Textile decoration: Weaving, Applique, Quilt
Painting:
Mixing on palette, Smooth, blended transition between colors/values, Appropriate
brush (size/type), Smooth application of paint
Drawing:
Blending oil pastel
Sculpture: In the round modeling material
Grade Three
Grade Four
Grade Five
Grade Six
Art Studio
19
Grade Six
Design Studio
Grade Seven
Art Studio
Grade Seven
Design Studio
Grade Eight
Art Studio
Grade Eight
Design Studio
World Arts
Art
Fundamentals
Drawing Media:
Colored Pencil (vary intensity, blend colors, change stroke and pressure to show
texture)
Marker (smooth and even application)
Ceramics:
Modeling Process (joined pieces stay together, thickness of walls, detail in design)
Drawing: Pencil, ruler, perspective
Painting: techniques of water color
Sculpture: cardboard: (slotting, folding, curling and scoring)
Ceramics: joining and modeling techniques
Tempera or Acrylic:
Painting- smooth , opaque application of paint mixing on palette
Drawing Media:
Pen and ink,
Paper Mache
Computer Fonts
Drawing:
Continuous tone,
Graduated tone (smooth tone without streaks),
Define edge with value contrast
Various grades of Pencil
Painting:
Mixing on palette
Smooth, blended transition between colors/values
Appropriate brush (size/type)
Smooth application of paint
Printmaking- one color print
Sculpture- in the round:additive material over an armature (papier mache or
plastercraft)
Mixed Media:
Combine two or more media (drawing, painting, found objects, wood, metal, wire,
collage)
Clay: Join form, shape, impressed and applied textures
Book Arts:
Book making, paper making, book binding
Fibers
Weaving/Basketry (warp, plain, basket, twill, interlocking, slit/open, coiling)
Beading (warp, needle weaving, loom beading)
Fabric Decoration
Sculpture:
Additive, subtractive
Metalworking:
Embossing, folding, cutting, joining
Drawing:
Continuous tone, Graduated tone (smooth tone without streaks), Define edge with
line or contrast
Painting:
Mixing on palette, Smooth, blended transition between colors/values, Appropriate
brush (size/type), Smooth application of paint
Sculpture:
Additive (paper/board), Form “in the round”
Mixed Media combining two or more:Drawing, Painting, Collage, Printmaking,
Digital, Scanned, Photocopied
20
Ceramics I
Drawing I
Graphic Design I
Painting I
Photography I
Sculpture I
Ceramic Production Methods:
Pinch: footed, 1/8” thick walls
Coil: 8" vessel,
Slab: beveled joints and welded seams
Join pinch, coil, and slab-built forms
Skills: pulled handle/strap, wedging/kneading
Decorative Techniques: glaze, underglaze/slip, sgraffito, burnish/polish
Drawing: Conte, Pencils
Printmaking: Dry point etching
Pen and ink
Layout Techniques: mixed media, cut and paste
Technology:
PHOTOSHOP
• Tool Bar (Selection tools, type tool, foreground/background)
• Transform tool
• Layers palette (copy, rename layer, opacity, flatten)
• Color palette
• Saving/images formats (.jpg , .gif, .psd , .eps, .bitmap )
ILLUSTRATOR
• Tool Bar (selction tool, shape tools, type tools, fill , stroke, pen).
• Color pallette
SCANNER
• Scan,import,save, adjust image resolution
DIGITAL PHOTOGRAPHY
• Importing student photos into graphics programs
PRINTING
• Specialty papers
Watercolor Paints
• underpainting w/ a wash ( flat, graduated, variegated)
• glazing
• texture techniques – sponge, scaped when dry, scraped into wet, lifting when
wet and blotting, drybrush, spattering
• Watercolor painting process
Acrylic
• Scumbling
• Glazing t
• Acrylic painting process
Traditional film photography:
Manual SLR camera functions
Develop film
Darkroom printing
Dodging and burning
Additive
Modeling form upon a student-created armature
Wire – bend, join, twist
Subtractive
Carving a block with traditional tools
Mixed Media Assemblage
Casting
Creating a mold from a simple form or found object
Casting positives from the mold
21
Ceramics II
Drawing II
Graphic Design
II
Painting II
Photography II
Sculpture II
Ceramic Production Techniques:
Wheel thrown objects; cylinder, bowl, cup, plate,
Duplicate forms
Trimming, openwork
Decorative Techniques:
majollica, terra sigilatta, piercing, inlay/Mishima
Color blending techniques
Color washes
Mixed media
Layout which includes a seriesof illustrations
( main image, supporting detail images and related text )
Use Photoshop, Illustrator and Flash to create:
•
Typography
•
Mixed Media
PHOTOSHOP
• Layer Effects
• Masking
• Type Effects
• Pen Tool
ILLUSTRATOR
• Pathfinder
• Pen tool
• Layers
• Type on a path
FLASH
• Animation techniques
• Sound
Action buttons
Graphics software cross platform design
(Photoshop, Illustrator, and Flash)
Acrylic Paints
•
Palette knife
•
Additives for surface texture ( sand, natural and found materials )
•
Building and stretching a canvas
Watercolor Paints
Painting with materials other than a brush ( scraps of cardboard, sticks, found
objects)
Mixed Media
Layering,of materials to build painting surface and composition
Traditional black & white photography:
Various types of film such as infrared, high speed. or pan film
Digital Photography:
Digital camera technology, and computer graphic programs to create advanced
refinements such as lens filters, multiple exposure, and manipulative techniques
Additive:
Subtractive:
Carving stone-like material with traditional tools
Mixed Media Assemblage:
Creating a model of an installation
Casting:
Modeling a positive, Creating a mold of it, Casting positives from it, Finishing
22
Advanced
Placement Art
Studio I, II
Strand A
Advanced
Placement Art
Studio I, II
Strand B
Advanced
Placement Art
Studio I, II
Strand C
Tonal values
Line quality
Drawing surface
Materials
Techniques
Materials
Techniques
Materials
Technique
23
CCO IC Subject Matter and Theme Scope and Sequence Chart
CCO IC: Students will demonstrate subject matter and themes through the production of artwork
Grade/Course
Content and Skills
Kindergarten
Working from Observation
Portrait (Self & others)
Seasons
Animals at Home & on the Farm
Flowers
Stories
Imagination
Friends
Inside A Room
Family
Landscape
Still Life: Plants
Architecture of
Community Buildings: parts of buildings, functions of buildings
Decorative Arts: Textile Design
Still Life: (Food)
Weather Landscape
Animals in Art
Decorative Arts (useful objects made by artists)
Fantasy
Nature through observation
Landscape: Cityscape, Seascape
Styles of Art: Realistic, Abstract, Non-Objective
Public Sculpture: Realistic, Abstract, Non-Objective
Still Life: Realistic, Abstract
Portrait proportions (full face)
Missouri Art
Decorative Arts
Masks
Containers
Working from observation
Narrative Art
Landscape
Figure Proportions
Architectural Landmarks
Folk Art
Visual Culture (reflecting personal or group identity)
Animals: Real versus Abstract
Grade One
Grade Two
Grade Three
Grade Four
Grade Five
Grade Six
Art Studio
24
Grade Six
Design Studio
Grade Seven
Art Studio
Grade Seven
Design Studio
Grade Eight
Art Studio
Grade Eight
Design Studio
World Arts
Art
Fundamentals
Ceramics I
Drawing I
Graphic Design I
Painting I
Work from observation
Functional Art Container
Personal Identity through Graphic Design Illustration
Visual Culture (symbols in society)
Landscape: one-point perspective
Portrait: realistic and abstract
Nonobjective Art
Cartooning
Masks: decorative, functional
Wearable Art
Advertising
Figure: realistic, abstract
Landscape: realistic, abstract,
Still life: realistic, abstract
Visual Culture: Photorealism, Pop Art
Political Art
Game Product Design
Architecture
Book Arts
The Natural World
Wearable Art
Decorative Art
Functional Art
Still Life, Landscape, Portrait
Art as Communication,
Styles of Art (realistic, abstract, nonobjective)
Ceremonial Objects
Utilitarian Containers
Decorative Objects
Expressive Figure &
Portrait
Personal communication of an idea (self, peace, freedom, justice, love, war, nature)
Architecture
Landscape
Complex Object Still Life
Social Commentary
Historical Styles, Cultural Influences
Symbolism
Advertising
Still life as communication of an idea
Conceptual themes based upon student interest
Figure as a compositional element
Landscape
Portrait
25
Photography I
Sculpture I
Ceramics II
Drawing II
Graphic Design
II
Painting II
Photography II
Sculpture II
Advanced
Placement Art
Studio I, II
Strand A
Pattern/ Reflection/Shadow
Portrait
Motion
Environment
Work from Observation:
• Figurative
• Organic form
Human Figure: observed versus abstracted human proportions
Styles of Art:
• Realism
• Abstract
• Nonobjective
Conceptual Piece: expressing a personal/cultural issue.
Public Sculpture: proposal and maquette designed for a specific site
Tile Design
Figurative Ceramics
Vessel Forms
Teapots
Perspective from observation*
Narrative Art / Documentation of History
Thematic series
Architecture as a compositional element
Metaphors in Design
Identity Systems – a series of 2-D and 3-D visual media (logos, brochures, package
design, point-of-purchase, trade-show booth graphics) that work together to identify
a company or theme
Information Graphics – graphs, maps, diagrams, charts
Work from observation*
Figure as communication of an idea
Landscape, Cityscape, or Seascape as communication of an idea
Realistic Portrait
Communication of a personal attitude toward a social issue
Studio
Self-portrait
Time exposure
Conceptual
Narrative
Portrait: bust of the human head
Installation: proposal and maquette
Post-Modern:
Piece developed based upon personal/or cultural issues such as peer pressure,
populartiy, academic success, school spirit, cheating, drugs, war conflict
Monumental Sculpture: proposal and maquette commemorating a person or event
Breadth: Landscape/cityscape, still-life, figurative, portraiture, realism, abstract,
non-objective
Concentration: Decided upon by each student as an individual.
26
Advanced
Placement Art
Studio I, II
Strand B
Breadth: Realism, abstract and non-objective approaches focusing upon inventive
applications of the elements and principles of 2-D design
Advanced
Placement Art
Studio I, II
Strand C
Breadth: Realism, abstract, non-objective approaches focusing upon inventive
applications of the elements and principles of 3-D design
Concentration: Decided upon by each student as an individual
27
CCO II Aesthetics and Art Criticism Scope and Sequence Chart
CCO II: Students will demonstrate knowledge of aesthetics and art criticism through responses to
artwork.
m.
Grade/Course
Content and Skills
Kindergarten
Aesthetics: Discuss and discriminate objects as “Art” and “Not Art”.
Art Criticism: Describe an artwork, naming colors, shapes and types of line used
in it.
Aesthetics:
Compare the ways that the same ideas (family, landscape, still life) are shown by
different artists.
Distinguish between functional (useful) and non-functional art.
Art Criticism:
Discuss and distinguish between portraits, landscapes, still life, architecture, and
decorative arts.
Describe how the following are used in specific artworks: line (direction and types),
patterns, primary colors, geometric shapes, geometric form, and horizon.
Aesthetics:
Compare ways in which artists get ideas: 1) from the world around them and 2)
from their imaginations.
Art Criticism:
Describe how the following are used in specific artworks: organic form, organic
shape, color (primary, secondary, tints), actual texture, rhythm, and contrast (of lines
and shapes).
Compare and contrast how artists showed weather in landscapes.
Compare and contrast how artists show animals in artworks.
Aesthetics:
Discuss what makes an object art, then
Evaluate artworks according to the following reasons for calling something “Art”:
• It copies life.
• It shows feelings or emotions.
• It arranges elements in an interesting way.
Art Criticism:
Compare how artists use line, shape, color, space, balance and contrast in artworks.
Aesthetics:
Compare and contrast responses to artwork.
Evaluate artworks according to the following reasons for calling something “Art”:
• It copies life.
• It shows feelings or emotions.
• It arranges elements in an interesting way.
• It serves a purpose in a culture.
Art Criticism:
Describe, Analyze, Interpret and Evaluate artworks.
Grade One
Grade Two
Grade Three
Grade Four
28
Grade Five
Grade Six
Art Studio
Grade Six
Design Studio
Grade Seven
Art Studio
Grade Seven
Design Studio
Grade Eight
Art Studio
Grade Eight
Design Studio
Aesthetics:
Analyze what makes an object art, then
evaluate artworks according to the following reasons for calling something “Art”:
• It copies life (Imitationalism).
• It shows feelings or emotions (Emotionalism).
• It arranges elements in an interesting way (Formalism).
• It serves a purpose in a culture (Functionalism).
Predict how people from different groups (background, religion, nation, gender, age)
might react to the same artwork.
Art Criticism Process:
Describe what is seen in an artwork.
Analyze how elements and principles were used.
Interpret meaning of the work.
Judge the effectiveness of the work.
Aesthetics
Compare and contrast cultural beliefs about what makes something good art.
Art Criticism
Use the art criticism process to write about art.
Aesthetics
Compare & contrast ancient Greek and Native American cultures on the way each
culture valued art.
Art Critisism
Use the art critisim process to make judgements about art works.
Aesthetics
Define and support a personal definition for “masterpiece” artworks.
Criticism:
Evaluate artworks by using the art criticism process (describe, analyze, interpret and
judge).
Aesthetics
What makes something “Design versus Fine Art”?
Art Criticism
Written Critiques follow the Feldman Model (describe, analyze, interpret, judge).
Aesthetics
Develop a personal definition for “Art” that separates all objects into either “Art” or
“Non-Art” categories.
Analyze artworks to determine how they would be valued according to each
aesthetic theory:
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Art Criticism
Students use the four steps of Feldman’s model of art criticism:
• Describe
• Analyze
• Interpret
• Judge
Aesthetics
“Good design” in architecture involves elements, principles, use of materials, and
application of technology.
Art Criticism
Apply the art criticism process to design products and architecture.
29
World Arts
Art
Fundamentals
Ceramics I
Drawing I
Graphic Design I
Painting I
Photography I
Sculpture I
Aesthetics
What makes something “craft” versus “fine art”?
Analyze relationships between form, function and media in works of art.
Art Criticism
Analyze works on the basis of elements and principles of art.
Aesthetics
Develop a personal definition for “Art” that separates all objects into either “Art” or
“Non-Art” categories.
Analyze artworks to determine how they would be valued according to each
aesthetic theory:
Imitationalism, Emotionalism, Formalism, Functionalism
Art Criticism
Students use the four steps of Feldman’s model of art criticism: describe, analyze,
interpret, judge.
Aesthetics
What is the relationship between form and ceremonial function?
How does the cultural context affect the way a ceramic piece is valued?
Art Criticism
Students use the four steps of Feldman’s model of art criticism to describe, analyze,
interpret and judge artworks.
Aesthetics
Compare and contrast the aesthetic point of view evident in drawings by Durer,
Sargent, Kollwitz, and Chinese landscape artists.
Art Criticism
Use the art criticism process to describe, analyze, interpret, and judge drawings.
Aesthetics
Develop a personal definition for “Design” that separates works into either “Design”
or “Fine Art” categories.
Analyze the relationship between definitions of good design and a particular target
audience.
Art Criticism
Write a critique of an artwork that follows the Feldman Model.
Aesthetics:
Compare and contrast the aesthetic value of painting in the context in which it was
created with viewer’s personal response.
Art Criticism:
Aesthetics:
What makes a photograph fine art?
Aesthetic theories: Formalism, Imitationalism, Emotionalism, Functionalism
Art Criticism:
Use the art criticism process to describe, analyze, interpret, and judge photographs.
Aesthetics
Compare and contrast aesthetic value and meaning among sculptures created in
various historical periods and cultures.
Art Criticism
Write a critique of a sculpture that follows the Feldman Model.
30
Ceramics II
Drawing II
Graphic Design
II
Painting II
Photography II
Sculpture II
Aesthetics:
Compare and contrast the cultural expectations and aesthetic values of ceramic
objects in Ancient Greek, traditional Asian, Islamic, and Contemporary American
cultures.
Art Criticism
Aesthetics:
Artists communicate aesthetic attitudes toward their subject matter or theme through
their choice of media technique and style.
Art Criticism:
Use the art criticism process to describe, ananlyze, interpret and judge drawings.
Aesthetics
Compare and contrast quality standards, and the relationship between technology
and culture among historical design styles: Art Deco, Destijl, Swiss School, New
York School, and Motion Graphics.
Art Criticism
Aesthetics
Analyze, compare, and contrast the aesthetic value placed upon originality for works
created in different time periods and cultural contexts.
Art Criticism
Aesthetics:
Compare and contrast definitions for art photograhy and photojournalism.
Art Criticism:
Incorporate the criticism process of desciption, analysis, interpretation, and
judgment in student’s own work and in professional photographs
Aesthetics
Sculptures express meaning and serve functions in their cultures.
Aesthetic reasons for valuing portrait busts vary among in Greek, Roman,
Renasissance and contemporary American cultures.
Art Criticism
31
Advanced
Placement Art
History
Advanced
Placement Art
Studio I, II
Aesthetics
Analyze how the subject matter and style of artworks reflect aesthetic preferences in
a the following historical/ cultural contexts:
• Prehistory, Mesopotamia, Egyptian
• Greece
• Rome
• Early Christian, Byzantine, Islamic
• Medieval: Early Middle Ages, Carolingian, Ottonian, Romanesque, Gothic
• Fourteenth through Eighteenth Centuries: Renaissance, Mannerism
• Seventeenth and Eighteenth Centuries: Baroque, Romanticism
• Twentieth Century: Modern, Post-Modern
• Beyond the European Artistic Traditions: Africa, the Americas, Asia, Near
East, and Oceania
Demonstrate the role of aesthetics in art production as influenced by society,
politics, religion, and/or individual needs and tastes.
Art Criticism
Complete the process of art criticism for historical artworks, comparing and
contrasting how the work would have been judged when/where it was created with
how it is judged today.
Aesthetics
Analyze and respond to the aesthetic intent of artworks created by themselves and
others.
Art Criticism
Critique artworks created by self and peers both during the creating process and
when work has been completed.
Self-evaluate individual pieces and a body of work.
Produce a journal or sketchbook that records the creative process, challenges, and
solutions.
32
CCO III Art History Scope and Sequence Chart
CCO III: Students will demonstrate knowledge of art in historical and cultural contexts.
Grade/Course
Content and Skills
Kindergarten
Portrait (Self & others)
Vincent Van Gogh, Henry Tanner, Marc Chagall
Seasons
Ernest Lawson, Paul Cezanne, Willard Leroy Metcalf, Monet
Animals at Home & on the Farm
Jean Dubuffet, Jean Dallaire, Fraz Marc, Paul Gauguin, Marc Chagall
Flowers
Georgia O’Keeffe, Martin Johnson Heade, Diego Rivera
Stories:
Eric Carle (video), Maurice Sendak
Imagination:
Marc Chagall, Salvador Dail
Friends
Winslow Homer, Philip Evergood
Inside A Room
Vincent Van Gogh, Henri Matisse , Andrew Wyeth
Family
William Johnson, Charles Alston, Faith Ringgold, Marisol
Landscape
Wang Hui, Edward Henry Potthast, Vincent Van Gogh
Still Life - Plants
Henri Matisse, Vincent Van Gogh
Achitecture of Community Buildings
house, school and stores, My Painted House (Maya Angalou)
Decorative Arts Textile Design
African Adire Cloth, Tapa Cloth, Kente Cloth Strip
Still Life: Food
Paul Cezanne, Wayne Thiebaud, Archibaldo, Clas Oldenburg, Andy Warhol
Weather Landscape
Claude Monet, Henri Rousseau, El Greco, Wassily Kandinsky, Marc Chagall
Animals in Art
Alexander Calder, Kyosai Kawanabe, Mori Sosen, Oaxacan Wood Carvings,
Lascaux Cave Paintings, Douglas Mazonowicz
Decorate Arts (pottery, weaving, clothing, pinatas, maracas)
Native American Art , Mexico
Fantasy:
Marc Chagall, Rene Magritte
Grade One
Grade Two
33
Grade Three
Grade Four
Grade Five
Grade Six
Art Studio
Grade Six
Design Studio
Nature through observation
Georgia O’Keeffe, Casper David Friedrich, Li T’ang, Piet Mondrian, Vincent Van
Gogh
Landscape
Vincent Van Gogh, Grant Wood, Pieter Bruegel
Cityscape
Edward Hopper, Allan Rohan Crites
Seascape
Hokusai Katsushika, Andre Derain
Styles of Art
• Realistic: Andrew Wyeth, Richard Estes
• Abstract: Romare Bearden, Henri Matisse
• Non-Objective: Helen Frankenthaler, Frank Stella
Public Sculpture
• Realistic: Duane Hanson
• Abstract: Henry Moore
• Non-Objective: Louise Nevelson, Alexander Calder
Still Life
Realistic: Janet Fish, Ethelyn Stewart
Abstract: Georges Braque, Pablo Picasso
Portrait
Realistic: Leonardo Da Vinci, Frida Kahlo
Abstract: Amedeo Mondigliani, Pablo Picasso
Missouri Artists
Thomas Hart Benton, George Caleb Bingham, Contemporary Artists
Decorative Arts - Masks
African, Native American, Asian, Ancient Egyptian, Greek
Decorative Arts – Containers
African, Native American, Asian, Ancient Egyptian, Greek
Narrative Art
Diego Rivera, Faith Ringgold
Landscape
Frederic Remington, Emily Car, Georgia O’Keeffe, Shen Chou
Figures Proportions
Degas, Kirchner , W.Homer
Architectural Landmarks
Ancient Egypt, Greece, Rome, Europe, India, United States
Folk Art
Applique, Weaving, Quilts
Visual Culture (personal or group identity):
African American Art Genre (Romare Bearden)
Chicano American Genre(Simon Silva)
Judy Chicago
Animals: Real versus Abstract
Egyptian, Oaxacan, Asian (Chinese/Japanese), Fredrick Remington
Functional Art:
Native American Pottery (Maria Martinez)
Ancient Greek/Roman
Personal Identity through Graphic Design Illustration:
Keith Haring
Mary Englebreit
Visual Culture (Symbols in Society)
Contemporary product logos and symbols
34
Grade Seven
Art Studio
Grade Seven
Design Studio
Grade Eight
Art Studio
Grade Eight
Design Studio
World Arts
Landscape
One-point perspective, Maurice Utrillo
Realistic Portrait
Frida Kahlo, Roman bust
Abstract Portrait
Pablo PicassoNonobjective Painting
Op Art: Victor Vasarely
Nonobjective Sculpture
David Smith
Abstract Expressionism
Helen Frankenthaler, Jackson Pollock
Cartooning
Disney, Japanese Cartoons
Masks
African, Mardi Gras
Wearable Art
Jewlery/ clothing design
Advertising
Contemporary magazine/television ads
Realistic Landscape:
Henry Gasser “Peaceful Harbor”
Abstract Landscape:
Georges Seurat
Realistic Figure:
Michangelo
Abstract Figure:
Henry Moore
Realistic Still Life:
Audrey Flack
Abstract Still Life:
Braque
Visual Culture: Pop Art - Andy Warhol, Claes Oldenburg
Political Art:
Thomas Nast, Honore Daumier
Game Product Design:
Sports, Board
Architecture:
American housing styles
Book Arts:
Illuminated Manuscripts
Mexican
European
France, Spain, Poland
African/African-American
Native American
American Indian, Inuit
Asian
35
Art
Fundamentals
Ceramics I
Drawing I
Graphic Design I
Realistic Portrait
Leonardo DaVinci
Abstract Portrait
Pablo Picasso
Realistic Still Life
Audrey Flack
Abstract Still Life
George Braque
Realistic Landscape
John Constable
Abstract Landscape
PaulCezanne
Nonobjective Painting and Drawing
Victor Vasarely
Realistic Sculpture
Michelangelo
Abstract Sculpture
Henry Moore
David Smith
Art as Personal Communication
Aaron Douglas
Art as Mass/Graphic Communication
Andy Warhol
Ceremonial Objects
Native American (Acoma)
Chinese (Han Dynasty tomb models (architecture, human, animal)
Maria Martinez
Josiah Wedgewood
Decorative Objects
Pablo Picasso
Robert Arneson
Figure /Portrait
Edgar Degas, John Singer Sargeant, Kathe Kollwitz, Albrecht Durer
Landscape
Chinese pen and ink landscapes
Architecture
Classical, Gothic, Modern
Origins of Graphic Design
• Art Nouveau
• Bauhaus
• Digital Revolution (David Carson)
36
Painting I
Photography I
Sculpture I
Ceramics II
Drawing II
Renaissance
Michaelangelo, Raphael
Impressionism
Monet, Degas
Post – Impressionism
VanGogh, Gauguin, Seurat
Cubism
Picasso, Braque
Early Photography
Camera Obscura, Photograms, Daguerre, Niepce, Talbot Brady
Pictorialism
Steichen, Cameron, Stieglitz
Purism
Strand, Weston, Adams, Cartier-Bresson, Hine, Lange, Bourke-White
Contemporary
Galen Rowell, John Sexton, Annie Leibowitz, Sandy Skoglund, Richard Avedon,
Bruce Weber
Abstract Figurative Sculpture
Jaques Lipshitz, Ernst Trova
Personal/Cultural Issues
Bettye Saar, George Segal
Modern
Alexander Calder
Public Sculpture
Claes Oldenburg
Tile Design
Islamic, Contemporary American
Figurative Ceramics
Viola Frey, European porcelain figurines
Vessel Forms
Ancient Greek Amphora, Kylix, Krater, Cantharus; Contemporary American
Teapots
Traditional Asian, Contemporary
Reflection and transparency
Janet Fish
Narrative Art/ Documentation of History
Rauschenberg, Beardon
Thematic Series
Degas
Marcel Duchamp, Henry Tanner
Thiebaud, DeChirico
37
Graphic Design
II
Painting II
Photography II
Sculpture II
Advanced
Placement Art
History
Art Deco
A.M. Cassandre
Destijl
El Lissitzky
Swiss School
Ernest Keller
New York School
Paul Rand, Saul Bass
Motion Graphics
Robert Brownjohn
Three-Dimensional Design
Peter Murdoch, Lester Beall
American Realism
Hopper, Homer, Hudson River Valley School
Fauvism
Derain, Matisse
Expressionism
Fanz Marc, Max Beckmann
Surrealism
Dali, Magritte
Post Modernism
Ringold, Hockney, Kiefer, Juane Quick-to-see Smith
Landscape/Environmental
Timothy O’Sullivan, Carleton Watkins, Sam Abel, Bruce Barnbaum, David
Doubilet
Surrealism
Man Ray, Scott Mutter, Jerry Uelsmann
Studio/Staged
Tatsumi Orimoto, Sandy Skoglund, William Wegman
Portraiture
Richard Avedon, Irving Penn, Dianne Arbus, Annie Liebowitz, Yousef Karsh,
George Hurrell
Documentary/Photojournalism
W. Eugene Smith, Gordon Parks, John Sexton, Andre Kertesz, Steve McCurry
Portrait bust in the round
Ancient Greek, Ancient Roman
Installation Sculpture
Judy Chicago, Nam June Paik
Post-Modern Sculpture
Luis Jimenez
Monumental Sculpture
Gutzon Borglum, Maya Lin
Prehistory, Mesopotamia, Egyptian
Greece
Rome
Early Christian, Byzantine, Islamic
Medieval: Early Middle Ages, Carolingian, Ottonian, Romanesque, Gothic
Fourteenth through Eighteenth Centuries: Renaissance, Mannerism
Seventeenth and Eighteenth Centuries: Baroque, Romanticism
Twentieth Century: Modern, Post-Modern
Beyond the European Artistic Traditions: Africa, the Americas, Asia, Near East,
and Oceania
38
CCO IV Integration of Art with other Subjects Scope and Sequence Chart
CCO IV: Students will connect art to other subjects.
Grade/Course
Content and Skills
Kindergarten
Students will connect shapes in math to shapes art.
Grade One
Connect shapes and patterns in art to shapes and patterns in math.
Grade Two
Grade Three
Students will make connections between decorative arts and Native American
cultures.
Students will connect sculpture in fine arts with 2D and 3D shapes in math.
Grade Four
Connect artwork created by Missouri artists to Missouri history.
Grade Five
Students will connect narrative art to the story telling role of fiction in Language
Arts.
Connect artworks from ancient Egyptian, Asian, and Mexican cultures with cultural
beliefs in social studies
Connect Greek/Roman art to the history and culture of Ancient Greece or Rome.
Grade Six
Art Studio
Grade Six
Design Studio
Grade Seven
Art Studio
Grade Seven
Design Studio
Grade Eight
Art Studio
Grade Eight
Design Studio
World Arts
Art
Fundamentals
Ceramics I
Connect portraits in art, to personal writing in language arts.
Connect mask design in art to the history and cultural meaning of masks in social
studies.
Connect the criticism process in Art to analytical writing in language arts.
Connect American architectural styles to the period and culture in which it was
created.
Connect Mexican folk art to Mexican culture.
Connect the criticism process in art to analytical writing in language arts.
Students connect clay bodies in ceramics to mineral composition in science.
Drawing I
Connect figure in drawing to anatomy studies in science.
Graphic Design I
Connect Graphic Design in art to current events in social studies.
Painting I
Use creative writing as source for imaginative paintings.
Photography I
Students connect color theory, chemical processing, lenses, and camera controls to
science.
Connect sculpture that communicates about cultural or social issues to the society in
which it was created.
Sources for artistic inspiration can be newspaper, web sites, art journals, and news
magazine commentaries on issues such as politics, education, race, freedom, or war.
Sculpture I
39
CCO IV Integration of Art with other Subjects Scope and Sequence Chart
Ceramics II
Drawing II
Graphic Design
II
Painting II
Photography II
Sculpture II
Students connect glaze and underglaze in ceramics with mineral composition in
science.
Connect art to social studies by creating a narrative artwork that documents an
historical event.
Conduct research on a topic in science, social studies, or another subject, and then
create a complex illustration that communicates processes or sequences of events.
Connection paintings with history and geography in social studies.
Compare and contrast the use of photography during the civil war, World War II,
and the Viet Nam war.
Analyze the effect photographs had on public perceptions of and response toward
the civil war, World War II, and the Viet Nam war.
Connect portrait busts of historical figures to American history:
George Washington, Abraham Lincoln, Martin Luther King
40
High School Art Curriculum
41
HIGH SCHOOL VISUAL ARTS COURSE MAP
Art Fundamentals
Painting I
Drawing I
Painting II
Drawing II
Graphic
Design I
Graphic
Design II
Photography I
Photography II
WG AP Art Studio I
WG AP Art Studio II
42
World Arts
Ceramics I
Sculpture I
Ceramics II
Sculpture II
WG AP Art
History
_______________FINE ARTS-ART*________________
*Pending approval of Board of Education
The program of instruction in the Fine Arts is structured to provide every student with an
opportunity to develop his/her aesthetic potential to the fullest, i.e., to develop the individual's
awareness, appreciation, and abilities in the arts. Because interests and abilities will vary from
individual to individual, a variety of options are available to the student in Music, Visual Arts, and
Theatre Arts.
1076 (1st. or
2nd. Sem)
Prerequisite:
WORLD ARTS
1/2 Unit
(formerly Folk Art and Craft)
(9, 10, 11, 12)
None.
World Arts provides a crafts focus for students who want an alternative to traditional drawing and
painting. Students will use techniques of fiber arts, sculpture, and metalworking to create original
two- and three-dimensional artworks. They will be inspired by the artwork from Mexican,
European, African, African-American, Native American, and Asian cultures. Students will analyze
and critique artworks, discuss aesthetic issues, and understand how art is related to history and
culture. If a student enjoys this course, and wants further study, Art Fundamentals must be taken
before proceeding to intermediate level art courses.
1077 (1st. or
2nd. Sem.)
Prerequisite:
ART FUNDAMENTALS
1/2 Unit
(9, 10, 11, 12)
None.
Art Fundamentals is the beginning course for all students who want to pursue an interest or future
career in visual arts. Students will create original artwork in realistic, abstract, and nonobjective
styles. Inspired by observation and imagination, they will express themselves through the themes of
still life, landscape, portrait, and art as personal or graphic communication. They will learn about
and use drawing, painting, sculpture, and mixed media techniques to create two- and threedimensional artworks. Students will analyze and critique artworks, discuss aesthetic issues, and
understand how art is related to history and culture.
43
1078 (1st. or
2nd. Sem.)
Prerequisite:
DRAWING I
1/2 Unit
(9, 10, 11, 12)
Passing grade in Art Fundamentals.
NOTE: A grade of C or better in Art Fundamentals is recommended.
Students will develop technical skills in the use of drawing and printmaking media. They will create
original two-dimensional artworks based upon the themes of observation, expressive figure/portrait,
architecture, landscape, still life, and personal communication of an idea. Students will analyze and
critique artworks, discuss aesthetic issues, and understand how art is related to history and culture.
1080 (1st. or
2nd. Sem.)
Prerequisite:
PAINTING I
1/2 Unit
(9, 10, 11, 12)
NOTE: A grade of C or better in Art Fundamentals and Drawing I is recommended.
Students will learn and use watercolor and acrylic (or oil) paint techniques to create original twodimensional artworks. They will express themselves through the themes of observation, still life,
figure, portrait, landscape, and a student-selected conceptual theme. Work will be inspired by the
historical study of the Renaissance, Impressionism, Post Impressionism, and Cubism. Students will
analyze and critique artworks, discuss aesthetic issues, and understand historical influences on the
evolution of painting.
1082 (1st. or
2nd. Sem.)
Prerequisite:
SCULPTURE I
1/2 Unit
(9, 10, 11, 12)
Students will develop technical skills in the use of various media such as plaster, clay, paper, wire,
and found objects. They will create original, three-dimensional artworks using modeling, carving,
assemblage, and casting methods. Students will work with the following themes: observation, the
human figure, personal expression, and public sculpture. Students will analyze and critique
artworks, discuss aesthetic issues, and understand how art is related to history and culture.
44
1084 (1st. or
2nd. Sem.)
Prerequisite:
GRAPHIC DESIGN I
1/2 Unit
(formerly Commercial Design/Graphics)
(9, 10, 11, 12)
Students will explore visual communication as it applies to commercial art careers. They will create
original posters, magazine and book designs, illustrations, and communicate identity through logo
designs. Students will learn and use technical skills with traditional drawing and painting media and
with Adobe Photoshop, and Adobe Illustrator computer software programs. Students will analyze
and critique artworks, discuss aesthetic issues, and understand the evolution of letterforms and
origins of graphic design in the history of art.
1086 (1st. or
2nd. Sem.)
Prerequisite:
CERAMICS I
1/2 Unit
(9, 10, 11, 12)
Students will develop and use ceramic hand-building methods and decorative surface techniques.
They will create original functional and non-functional pieces. Students will express themselves
through the themes of ceremonial containers, teapots, and representational sculpture. Students will
analyze and critique artworks, discuss aesthetic issues, and understand how ceramics objects have
been used in history across many cultures.
1088 (1st. or
2nd. Sem.)
Prerequisite:
PHOTOGRAPHY I
1/2 Unit
(9, 10, 11, 12)
Students will explore the world of 35 mm black and white photography. They will learn to operate a
single lens reflex camera, process film and develop their photographic prints. Students will create
original
photographs,
expressing
themselves
through
the
following
themes:
pattern/reflection/shadow, portrait, motion, and environment. They will analyze and critique
photographs, discuss aesthetic issues, understand the historical development of photography, and
relate a photographer’s work to the society in which it was created.
45
1079 (1st. or
2nd. Sem.)
Prerequisite:
DRAWING II
1/2 Unit
(9, 10, 11, 12)
Passing grade in Drawing I.
NOTE: A grade of C or better in Drawing I is recommended.
Students will develop advanced technical skills in the use of colored drawing media. They will create
original two-dimensional artworks based upon the themes of perspective from observation, narrative
art/historical documentation, reflection and transparency, the figure as a compositional element, and
the development of a thematic idea through a series of related works. Students will analyze and
critique artworks, discuss aesthetic issues, and understand how drawing evolved in the history of art.
1081 (1st. or
2nd. Sem.)
Prerequisite:
PAINTING II
1/2 Unit
(9, 10, 11, 12)
Passing grade in Painting I.
NOTE: A grade of C or better in Painting I is recommended.
Students will develop advanced watercolor and acrylic (or oil) paint techniques to create original
two-dimensional artworks. They will express themselves through the themes of observation,
expressive painting, figure, landscape/cityscape, and portrait. Work will be inspired by the historical
study of American Realism, Fauvism/Expressionism, Surrealism, and Post-Modernism. Students
will analyze and critique artworks, discuss aesthetic issues, and understand historical influences on
the evolution of painting.
1083 (1st. or
2nd. Sem.)
SCULPTURE II
1/2 Unit
(9, 10, 11, 12)
PREREQUISITE: PASSING GRADE IN SCULPTURE I.
NOTE: A grade of C or better in Sculpture I is recommended.
Students will develop advanced technical skills in the use of various media such as plaster, stone,
clay, and found objects. They will create original, three-dimensional artworks using modeling,
carving, assemblage, and casting methods. Students will express themselves through the following
themes: observation, portrait, installation, monuments, and a post-modern piece on a studentselected personal or cultural issue. Students will analyze and critique artworks, discuss aesthetic
issues, and understand how art is related to history and culture.
46
1085 (1st. or
2nd. Sem.)
Prerequisite:
GRAPHIC DESIGN II
1/2 Unit
(9, 10, 11, 12)
Passing grade in Graphic Design I.
NOTE: A grade of C or better in Graphic Design I is recommended.
Students will develop advanced technical skill in the use of traditional media, mixed media, and
Adobe Photoshop, Adobe Illustrator, and Flash Macromedia software programs. They will create
original designs targeted for a mass audience. Students will communicate ideas through the themes
of metaphors, instructional or informational illustration, advertising campaign, motion graphics, and
environmental or package design (three-dimensional). Students will analyze and critique design
products, discuss aesthetic issues, and relate graphic works to the historical periods in which they
were created.
1087 (1st. or
2nd. Sem.)
Prerequisite:
CERAMICS II
1/2 Unit
(10, 11, 12)
Passing grade in Ceramics I.
NOTE: A grade of C or better in Ceramics I is recommended.
Students will learn to throw ceramic pieces on a potter’s wheel and continue to develop handbuilding and decorative surface techniques. They will create original functional and non-functional
pieces. Students will express themselves through the themes of tile design, figurative ceramics, and
vessel forms. Students will be inspired by ceramic pieces from ancient Greek, Asian, and
contemporary American artists. They will analyze and critique artworks, discuss aesthetic issues,
and relate ceramics objects to the cultures in which they were created.
1089 (1st. or
2nd. Sem.)
Prerequisite:
PHOTOGRAPHY II
1/2 Unit
(9, 10, 11, 12)
Passing grade in Photography I.
NOTE: A grade of C or better in Photography I is recommended.
Students will continue to develop technical skill with traditional black and white photography. They
will also learn to use digital cameras and computer software to manipulate and refine images.
Students will be inspired by the landscape/environmental, Surrealism, studio/commercial,
portraiture, and documentary/photojournalism movements within photography and then develop an
individual artistic style through research and experimentation. They will express themselves through
the themes of studio work, self-portrait, time exposure, and conceptual/narrative photography.
Students will analyze and critique photographs, discuss aesthetic issues, and relate historical styles in
photography to their own work and that of other photographers.
47
526 (1st. Sem.)
527 (2nd. Sem.)
1 Unit
Prerequisite:
WG AP ART HISTORY
(10, 11, 12)
None.
Advanced Placement Art History enables highly motivated students to study college level art history.
Students will gain an understanding of architecture, sculpture, painting, and other art forms within
diverse historical and cultural contexts. Students examine major forms of artistic expression from
pre-history to the present. They will describe, critically analyze, and interpret artworks, trace
artistic influences and evaluate art from various aesthetic perspectives. This study of art history
enriches student knowledge in the fields of both art and history. No prior experience in art history is
needed, but the course requires a strong commitment to academic work. Students are encourage,
but not required, to take the AP Art History exam in May. The grade for this course is weighted.
521 (1st. Sem.)
522 (2nd. Sem.)
1 Unit
Prerequisite:
WG AP ART HISTORY-FLEXIBLE (LHS only)
(10, 11, 12)
None.
Advanced Placement Art History enables highly motivated students to study college level art history.
Students will gain an understanding of architecture, sculpture, painting, and other art forms within
diverse historical and cultural contexts. Students examine major forms of artistic expression from
pre-history to the present. They will describe, critically analyze, and interpret artworks, trace
artistic influences and evaluate art from various aesthetic perspectives. This study of art history
enriches student knowledge in the fields of both art and history. No prior experience in art history is
needed, but the course requires a strong commitment to academic work. Students are encourage,
but not required, to take the AP Art History exam in May. The grade for this course is weighted.
48
528 (1st. Sem.)
529 (2nd. Sem.)
1 Unit
WG AP ART STUDIO I
(11, 12)
Prerequisite:
Passing grades in four semesters of high school art including at least one advanced
level course (Drawing II, Painting II, Graphic Design II, Photography II, Sculpture II, or Ceramics
II). Recommendation from a previous art teacher. Portfolio reviewed and accepted by AP
instructor.
Note: A grade of A or B is recommended in previous art courses.
The Advanced Placement Studio program enables highly motivated students to do college entry-level
work in studio art. During the course, students will produce a portfolio of artworks that can be
submitted to the College Board for AP credit. Some colleges also require portfolio works for
admission and/or competitive scholarships. Students will create original artwork that demonstrates
technical skills in a wide range of media though a variety of themes. They will also complete a
concentration that consists of a body of work around a student-selected theme. Reflective writing is a
significant part of the student’s portfolio. Students are encouraged, but not required to submit a
portfolio at the end of the year to the College Board.
523 (1st. Sem.)
524 (2nd. Sem.)
1 Unit
Prerequisite:
WG AP ART STUDIO II
(12)
Passing grade in WG AP Art Studio I.
Note: A grade of A or B is recommended in WG AP Art Studio I.
The Advanced Placement Studio program enables highly motivated students to do college entry-level
work in studio art. During the course, students will produce a portfolio of artworks (different from
the one selected for AP Studio I) that can be submitted to the College Board for AP credit. Some
colleges also require portfolio works for admission and/or competitive scholarships. Students will
create original artwork that demonstrates technical skills in a wide range of media though a variety
of themes. They will also complete a concentration that consists of a body of work around a studentselected theme. Reflective writing is a significant part of the student’s portfolio. Students are
encouraged, but not required to submit a second portfolio at the end of the year to the College Board.
49
World Arts
50
World Arts Scope and Sequence
Content is listed at grade/course levels where it is assessed. It may be introduced earlier and will be
reinforced/reviewed in subsequent grades/courses.
CCO I: Students will demonstrate knowledge through the production of artwork.
A
Elements and Principles of Art
Texture: Actual
B
Media Skills and Processes
Fibers
Weaving/Basketry (warp, plain, basket, twill, interlocking, slit/open, coiling)
Beading (warp, needle weaving, loom beading)
Fabric Decoration
Sculpture: additive, subtractive
Metalworking: embossing, folding, cutting, joining
C
Subject Matter or Theme
The Natural World
Wearable Art
Decorative Art
Functional Art
CCO II: Students will analyze artworks using aesthetics and the art criticism process.
Aesthetics
What makes something “craft” versus “fine art”?
Analyze relationships between form, function and media in works of art.
Art Criticism
Analyze works on the basis of elements and principles of art.
51
World Arts Scope and Sequence
Mexican
European (France, Spain, Poland, etc)
African/African-American
Native American (American Indian, Inuit, etc)
Asian
CCO IV: Students will make connections between art and other subject areas.
Connect Mexican folk art to Mexican culture.
52
World Arts, CCO IA
Core Conceptual Objective IA: Students will demonstrate knowledge of elements and principles in the
production of artwork.
Essential Understanding
Artists communicate ideas by using elements and principles of art as their
visual language.
Missouri State Standard
FA 1, FA 2
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
Shape: Geometric, Organic,
Freeform
Texture: Actual
Proportion: Objects in relation
to each other
Create artwork that demonstrates the use of the following elements and
principles of art:
Texture: Actual
Unit Vocabulary: Shape (geometric, organic and freeform), form (organic and freeform), actual texture,
symmetrical balance, rhythm (regular and alternating), motif, pattern, proportion.
Pre-Assessment:
Sketch the different types of shapes (geometric, organic, freeform) and the different types of forms
(organic, freeform).
Identify actual textures throughout the classroom.
Make and identify examples of symmetrical balance.
Make and identify examples of regular and alternating rhythm.
Sketch several everyday objects in accurate proportion to each other.
Facilitating Activities:
Knowledge/Comprehension
Activity
Name and give examples of the different types of
rhythm.
Application/Analysis
Activity
Create organic forms through the use of modeling
materials.
Synthesis/Evaluation
Activity
Do a written critique of various pieces of artwork.
Strategy
Lecture and
Modeling
Assessment
Scoring guide and
student self evaluation
Strategy
Modeling
Assessment
Scoring guide and
Strategy
Modeling
Assessment
Scoring guide
Differentiation Suggestions:
Students with less readiness will label examples of shape, form, texture, balance, proportion, and rhythm.
Students with a higher readiness level will create a collage that incorporates the various types of shapes,
forms, texture, balance, proportion, and rhythm.
53
Application Level Assessment World Arts, CCO IA: The student will demonstrate elements of art in the
creation of an original artwork.
Student Tasks:
Use geometric, organic and freeform shapes in an artwork.
Use organic and freeform form in an artwork.
Use actual texture in an artwork.
Use symmetrical balance in an artwork.
Use regular and alternating rhythm in artwork.
Demonstrate proportion (objects in relation to each other) in artwork.
Students will incorporate elements and principles into their artwork using the subject matter and media
designated by the teacher.
54
Scoring Guide for World Arts, CCO IA
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Geometric Shape
•
All shapes are precise
and mathematical
•
Most shapes are nearly
mathematical
•
Most shapes are freehand
with uneven edges
•
Area is not enclosed or
separated from
background
Organic Shape
•
All shapes show specific
contour of natural objects
•
Most shapes are
simplified natural objects
•
Most shapes are
stereotypical version of
natural objects
•
Shape cannot be
identified as an object in
nature
Freeform Shape
•
All shapes are original
(neither geometric nor
organic)
•
Most shapes are original
(neither geometric nor
organic)
•
Many shapes are
geometric or organic
•
Shapes can be identified
as geometric or organic
Organic Form
•
Form represents a
detailed natural object
•
Form is a simplified
natural object.
•
Form is a basic version
of a natural object
•
Form cannot be
identified as an object in
nature
Freeform Form
•
Form is unique with no
representation of an
object in nature
•
Majority of form is
original without ties to
nature
•
Many aspects of form are
representative of natural
objects
•
Form is representative of
a natural object
Actual Texture
•
Three dimensional,
repeated surface pattern
Variety of depth in relief
•
Three dimensional,
repeated surface pattern
•
Part of the surface is
three-dimensional
Part of the surface is
two-dimensional texture
•
All texture is twodimensional
•
55
•
Symmetrical Balance
•
Design has equal visual
weight
•
Visual weight is not
equal in some areas
•
Visual weight is not
equal in most areas
•
Objects used do not have
the same visual weight
Regular Rhythm
•
Design is made up of
same motif placed in a
definite pattern
•
Exactness of motif
and/or pattern is not
maintained in some areas
•
Exactness of motif
maintained in most areas
•
Design is random with
different objects and
placement being used
Alternating Rhythm
•
Design is made up of
several motif placed in a
definite, alternating,
pattern
•
Exactness of motif
maintained in some areas
•
Exactness of motif
maintained in most areas
•
Design is random with
inaccurate reproduction
of motif and uneven
placement being used
Proportion
•
All aspects of design are
created in the correct size
in relation to one another
•
Most aspects of design
are created in the correct
size in relation to one
another
•
Several features of the
design are done in the
incorrect size
•
Features of the design are
not done in the correct
size in relation to one
another
56
World Arts, CCO IB
Core Conceptual Objective IB: Students will demonstrate knowledge of media processes and skills in the
Quality artwork requires the skillful use of media, techniques and processes.
Missouri State Standards
FA 1, FA 2
Content and Skills:
Fibers
Weaving/Basketry (warp, plain,
basket, twill, interlocking, slit/open,
coiling)
Demonstrate weaving/basketry techniques (warp, plain, basket, twill,
interlocking, slit/open, coiling).
Beading (warp, needle weaving,
loom beading)
Demonstrate beading process (warp, needle weaving, loom beading).
Fabric Decoration
Use a fabric decoration technique.
Sculpture
Additive, subtractive
Demonstrate additive and subtractive methods for creating sculpture.
Metalworking
Embossing, folding, cutting, joining
Use embossing, folding, cutting, and joining techniques of working
with metal.
Unit Vocabulary: warp, plain weave, basket weave, twill weave, interlocking weave, slit/open weave,
coiling, needle weaving, loom weaving, additive sculpture, subtractive sculpture, embossing.
Pre-Assessment:
Students will view examples of the various types of weaves and identify them.
Students will attempt to set up the warp strings on a loom for beading.
Using clay, students will create a small sculpture applying both additive and subtractive methods.
Students will be given a small piece of metal to study and then be told to list any ways they can think of to
manipulate or form that metal into a design or shape.
Activity
Identify and describe various weave types.
Activity
Employ both additive and subtractive sculptural methods
to create a three-dimensional sculpture.
Activity
Create a display of own artwork to be critiqued in
written form by classmates.
57
Strategy
Lecture, Modeling
Assessment
Worksheet
Strategy
Lecture, Modeling
Assessment
Scoring guide and
Strategy
Modeling , art
criticism guide
Assessment
Scoring guide
Independently do research on other “world art” media skills and processes using print, media and computer
technology.
Create a timeline of different skills and processes used throughout the world.
Choose a culture and create an album of the various artistic methods they employ.
Create a basket through the coiling method using core material and yarn.
Students will create an original artwork by combining all 7 methods of weaving into one original woven
project.
Create a bookmark by weaving beads onto a bead loom.
Students will create adinkra prints by carving stamps and applying the stamps to paper.
Students will create a “Day of the Dead” sculpture by applying both additive and subtractive sculptural
methods.
Students will create a functional piece of artwork (such as a box or candleholder) through embossing,
folding, cutting and joining aluminum.
Application Level Assessment World Arts, CCO IB: The student will demonstrate various media skills
and processes through the creation of an original artwork.
Student Tasks:
Demonstrate weaving/basketry techniques (warp, plain, basket, twill, interlocking, slit/open, coiling).
Demonstrate beading process (warp, needle weaving, loom beading).
Use a fabric decoration technique.
Demonstrate additive and subtractive methods for creating sculpture.
Use embossing, folding, cutting, and joining techniques of working with metal.
58
Scoring Guide for World Arts, CCO IB Fiber Media
Criteria
Plain Weave
4
Advanced
•
•
•
Basket Weave
•
•
•
Interlocking Weave
•
•
•
3
Proficient
Weft alternates over and
under each warp thread
Pattern reverses
accurately with every row
Uniform spacing keeps
edges straight.
•
Weft pairs alternate over
and under each pair of
warp threads
Pattern reverses
Uniform spacing keeps
edges straight
•
Two pieces of weft string
come together and cross
between warp threads,
then are woven back to
the edge
Weft strings are pulled
tightly when crossed
creating a “flat” surface
Outer edge is straight
•
•
•
•
•
•
•
2
Nearly Proficient
Pattern reverses
accurately with every
row.
Spacing is uniform in
most areas with the
majority of edges
remaining straight.
•
and under each pair of
warp threads
Pattern reverses
Spacing is uniform in
most areas with the
majority of edges
remaining straight
•
between warp threads,
then are woven back to
the edge
Weft strings are pulled
tightly when crossed
•
59
•
•
•
•
•
•
1
Progressing
except in one place
Pattern reverses accurately
except in one row
Spacing is inconsistent in
areas resulting in some
uneven edges
•
and under each pair of warp
threads except in one place
Pattern reverses accurately
except in one row
Spacing is inconsistent in
areas resulting in some
uneven edges
•
between warp threads but
are not woven accurately to
the edge.
Weft strings are crossed
loosely causing a slight
“bump”
Outer edge is slightly pulled
in
•
•
•
•
•
•
•
Several places break the
pattern
Pattern does not reverse
with every row
Uniform spacing is not
maintained resulting in
uneven edges
Several places break the
pattern
Pattern does not reverse
with every row
Uniform spacing is not
maintained resulting in
uneven edges
come together but do not
cross before being woven
back to the edge.
Weft strings are not
woven accurately to the
edge.
Outer edge is pulled in
creating an “hour-glass”
shape
Slit/Open Weave
•
•
•
Coiling
•
•
•
Loom Beading
•
•
•
•
come together between
warp threads then are
woven back to the edge
“Slit” in the “center” is of
uniform width
•
•
•
Warp material is wrapped
tightly around a core
A looping or interlocking
stitch holds the rows of
core together securely
Form is developed
accurately by attaching
the rows correctly (on top
of, on the outer edge of or
on the inner edge of) to
the row below it.
•
Beads threaded on a
needle are placed
underneath and between
warp threads and held in
place.
Needle passes around the
end, above the warp
threads and through each
bead to lock it in place
Each row is tightly beaten
to the row above it
Uniform width at edges
•
•
•
•
•
•
“Slit” in the “center” is of
uniform width
Outer edge is pulled in on
some rows
•
around a core
A looping or interlocking
stitch holds the rows of
core together
Form is developed
accurately by attaching
the rows correctly (on top
of, on the outer edge of or
on the inner edge of) to
the row below it
•
Beads threaded on a
needle are placed
underneath and between
warp threads and held in
place
Needle passes around the
end, above the warp
threads and through each
bead to lock it in place.
Rows are tightly beaten
Uniform width at edges
•
•
•
•
•
•
•
•
60
“Slit” in the “center” has
been pulled too tight in
several rows causing an
opening that is not uniform
Outer edge is pulled in on
many rows
•
around a core too loosely in
areas
Looping stitches are too far
apart in areas causing some
rows to be loosely held
together
Form is developed by
attaching the rows correctly
(on top of, on the outer edge
of or on the inner edge of)
to the row below it
•
Beads threaded on a needle
are placed underneath and
between warp threads and
held in place
Some beads are not held in
place because the needle did
not pass through them
and/or the needle did not
pass above the warp threads
Some rows are not tight or
straight because they were
not beaten to the row above
it
Some edges are not uniform
•
•
•
•
•
•
•
different warp threads
with each row creating
an inaccurate “slit”
Outer edge is pulled in
creating an “hour glass”
shape to the entire
project
Warp material is
wrapped very loosely
around a core
Rows of core are not
securely held together
because looping stitches
are too far apart.
Form is inconsistent
because rows were not
attached with the correct
placement in relation to
the row below it.
Some beads were not
placed accurately
between the warp threads
Many beads are loose
because the needle did
not pass through them
and/or the needle did not
pass above the warp
threads.
Rows are loose and not
straight
Edges are uneven
Fabric Decoration
•
•
•
Fabric is painted, dyed,
cut and/or glued/sewn to
create an original pattern
or image
Excellent level of
craftsmanship
Correct use of tools and
the processes associated
with them
•
•
•
Fabric is painted, dyed,
cut and/or glued/sewn to
create pattern or image
Good craftsmanship
Correct use of
tools/processes.
•
•
•
•
61
Fabric is painted, dyed, cut
and/or glued sewn
Pattern is inconsistent in
areas or image in inaccurate
in areas
Some areas of poor
craftsmanship
Inaccurate use of
tools/processes in areas
•
•
•
•
Required materials were
not correctly used
Pattern is inconsistent or
image is unrecognizable
Low level of
craftsmanship
Tools and processes not
used correctly
Scoring Guide for World Arts CCO IB, Sculpture Media Skills
Criteria
•
Additive Method
4
Advanced
•
•
•
•
Subtractive Method
•
•
•
•
Form is complex and
original
Pieces are securely
joined in the correct
manner
Intentional, consistently
controlled surface
quality
Overall effect of
excellent craftsmanship
Correct use of
appropriate tools to
create the desired effect
Intentional and consistent
textures
Overall project is
complex and original
Overall effect of
3
Proficient
•
•
•
•
•
•
•
•
Form is complex and
original
Pieces are securely
manner
controlled surface
quality
Good level of
craftsmanship.
Correct use of
appropriate tools to
create the desired effect
Intentional and consistent
textures
Overall project is
complex and original
Good level of
craftsmanship
62
2
Nearly Proficient
•
•
•
•
•
•
Form is simple but
original
Some pieces are loose
because they were not
manner
Areas of inconsistent
surface quality
Desired effect not
achieved in areas
because of improper use
of tools
Texture inconsistent in
areas
Overall project is
original but simple
1
Progressing
•
•
•
•
•
•
Form is
simple/unoriginal
Pieces not joined in the
correct manner
Inconsistent surface
quality
Appropriate tools not
used and/or desired
effect not achieved
Texture inconsistent
Overall project is simple
and/or unoriginal
Scoring Guide for World Arts CCO IB, Metalworking Media Skills
Criteria
Embossing
4
Advanced
•
•
•
•
Folding
•
•
•
Cutting
•
•
•
3
Proficient
The proper tool/method was
used to press the design into
the backside of the metal
Even pressure was used
when embossing, creating a
consistently raised design
Design is original and
creative
High level of craftsmanship
•
Folded edges are sharp or
evenly curved (as needed)
Folds are of consistent
size/shape (when desired)
throughout the piece.
•
The proper tool(s) and
method was used in cutting
the metal.
Cut edges are precise
(follow the line to be cut).
Cut edges are clean and
smooth (free of metal
shards)
•
•
•
•
•
•
•
2
Nearly Proficient
The proper tool/method
was used to press the
design into the backside
of the metal
Even pressure was used
when pressing the design
into the metal
Design is original
Good level of
craftsmanship
•
Folded edges are sharp or
evenly curved (as needed)
Folds are of consistent
size/shape (when desired)
throughout the piece.
•
method was used in
cutting the metal
Cut edges are precise
(follow the line to be cut)
Most cut edges are clean
and smooth (free of metal
shards)
•
63
•
•
•
•
•
1
Progressing
The proper tool/method was
used to press the design into
the backside of the metal
Uneven pressure used while
embossing the design into
the metal causing some
details to not show up as
clearly
Design is simple
•
Edges are not sharp (or
evenly curved) in areas of
the project
Folds are inconsistent in
size/shape in areas
•
Edges are not defined at
all (neither folded nor
curved)
method was used in cutting
the metal
Cut edges do not
consistently follow the line
to be cut
Some edges are
uneven/rough.
•
Inappropriate use of
tool(s) or incorrect
method used when
cutting
Cut edges don’t follow
the line to be cut
Edges are uneven/rough
•
•
•
•
Design did not transfer to
the front of the surface
because not enough
pressure was used
Design is not well
thought out
Poor craftsmanship
Joining
•
•
Multiple pieces are securely
joined using the proper
method
•
Multiple pieces are
securely joined using the
proper method.
64
•
Some pieces are securely
joined while others are
loose.
•
•
Proper method of joining
not used
Pieces fall off
World Arts, CCO IC
Core Conceptual Objective IC: Students will communicate themes/subject matter through the creation of
original artwork.
Artists communicate ideas through their selection of subject matter or
theme.
Content and Skills:
By the end of this grade/course students should
know:
FA 1, G 3.1
By the end of this grade/course students should be
able to do:
The Natural World:
• Plants, animals, or geographic features are
depicted or abstracted.
Wearable Art:
• Form of artwork whose main purpose is to
be worn.
Decorative Art:
• Creative an original artwork with a purely
decorative use.
Functional Art:
• Artwork created to serve a particular
function.
Create an artwork inspired by the natural world.
Create a piece of original wearable art.
Create an original piece of decorative art.
Create an artwork that has a functional as well as
decorative purpose.
Unit Vocabulary: proportion, texture, wearable art, decorative art, functional art, form follows function
Pre-Assessment:
Students will sketch various subject matter found throughout the school from direct observation.
Students will sketch various animals from photos and attempt to accurately depict the proportion, features
and textures.
Students will be shown different types of wearable, decorative and functional art and be asked to identify
which category the pieces fit into.
Activity
List and give examples of different types of wearable
art.
Activity
Research and accurately draw various animals and their
texture. (Research, Technology)
Activity
In small groups, create an outfit using only recyclable
materials.
65
Strategy
Class discussion
Assessment
Observation
Strategy
Computer and print
investigation
Assessment
Scoring guide
Strategy
Cooperative learning
Assessment
Scoring guide
Choice of media may vary (where possible).
Finished size of project may vary.
Additional media may be incorporated into a project (such as beads incorporated into a woven piece).
Create a three-dimensional animal using the modeling materials and techniques designated by the teacher.
Create an example of wearable art (bracelet, earrings) using beads and the weaving technique designated by
the teacher.
Create a basket to the teachers designated specifications using coil material and yarn.
Create an original piece of artwork with a purely decorative function.
Application Level Assessment World Arts CCO IC: Students will communicate themes/subject matter
through the creation of original artwork.
Student Tasks:
Create an original artwork inspired by the natural world.
Create a piece of original wearable art.
Create an original piece of decorative art.
Create an artwork that has a functional as well as decorative purpose.
66
Scoring Guide for World Arts, CCO IC Theme or Subject Matter
Criteria
Natural World
Wearable Art
4
Advanced
Nature imagery
Clear idea
Expressive purpose
Original artwork
Complex idea and
symbolism
•
•
•
•
•
Nature imagery
Clear idea
Expressive purpose
Original artwork
Simple idea and
symbolism
•
•
•
Project is a wearable
form of artwork
Original design
High level of
craftsmanship
•
Project is a wearable
form of artwork
Original design
•
•
Hand-made, one-of-akind object
Functional as well as
decorative
Original artwork
Complex design
•
decorative
Original artwork
Simple design
•
Serves multiple functions
(IE., jewelry pin that is a
sculpture on a base or a
scarf also used as wallhanging)
Creative/original design
•
Serves the basic function
for which it was intended
Creative/original design
•
•
•
•
•
Functional Art
2
Nearly Proficient
•
•
•
•
•
•
•
•
Decorative Art
3
Proficient
•
•
•
•
•
•
•
•
•
•
67
•
•
•
•
•
•
•
1
Progressing
Nature imagery
Imagery relates to an
idea
Modifies another’s
design
Simple idea
•
•
•
Nature imagery
Unclear idea
Copies another’s design
Project is decorative
Cannot be worn in the
intended way
design
•
•
Cannot be worn
decorative
design
•
decorative
Serves the basic function
for which it was intended
design
•
•
•
•
•
Serves a function,
perhaps unintended
Design makes it difficult
to use
World Arts, CCO II
Core Conceptual Objective II, Aesthetics and Art Criticism: Students will use appropriate art
vocabulary to critique and respond to works of art.
There are similarities and differences between the definitions of “Fine Art”
and “Crafts”.
The art criticism process is used to understand and make critical
judgments about an artwork.
Content and Skills:
know:
What makes something “Crafts versus Fine Art”?
Imitationalism values artwork that copies
life/”holds a mirror up to nature.” Imitational pieces
fall along a spectrum of approaches from strict
realism through idealized or stylized forms of
representation.
Emotionalism values artwork whose primary
purpose is to vividly express feelings or emotions.
Artwork may be realistic, abstract or nonobjective.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
able to do:
Develop definitions for “Crafts” and discuss the
relationship of crafts and fine arts.
Analyze artworks to determine how they would be
valued according to each aesthetic theory:
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Formalism values the design or use of elements
and principles in a composition. The subject
matter of the artwork may be about an element
such as shape or color.
Functionalism values artwork because of the
purpose it serves in a culture. Examples are the
spiritual function of a mask in an African
ceremony, the persuasive purpose of an
advertisement, or the practical purpose of a teapot.
Art Criticism
• Written Critiques follow the Feldman Model
(describe, analyze, interpret, judge)
Art Criticism
Write a critique of an artwork that follows the
Feldman Model:
• Describe (use art terms and descriptive
language to explain, in detail, what is seen in
the artwork.)
• Analyze (explain how and where important
elements and principles are used in the
artwork.)
• Interpret (make a clear connection between
how the artist used the elements and principles
and the artist’s intended
meaning/message/effect.)
• Judge (Evaluates the quality of the artwork on
the use of elements, principles, usage of
media, themes.)
Unit Vocabulary:
Craft, fine arts, imitationalism, emotionalism, formalism, functionalism, describe, analyze, interpret, judge,
critique, realism, idealized, stylized, abstract, nonobjective
Pre-Assessment:
Students define vocabulary terms.
Students compare and contrast a pair of artworks using the Feldman model.
68
Activity
Each student will be given an art postcard from a set and
then will write where elements and principles are used in
the artwork as “bullet points” on a blank index card.
Activity
Students will work in small groups, each group
representing a culture. Groups will research and teach
others about what makes something fine art or craft in
“their” culture.
Activity
Rank examples of crafts from one culture from best to
worst, then explain the reasons for your judgment.
Strategy
Vocabulary
Identification
Assessment
Images and bullet
points will be
compared for accuracy
Strategy
Cooperative Learning
Assessment
Checklist
Strategy
Critical thinking
essay or oral report
Assessment
Scoring Guide
Difficulty level and complexity of the analysis can vary with student language abilities.
Multiple artworks could be critiqued.
Analysis could be completed orally.
Artwork could be student-generated or cultural crafts could be used.
Analysis could include cross-curricular links.
Application Level Assessment World Arts, CCO II: Students will use appropriate art vocabulary to
critique and respond to works of art.
Student Tasks:
Compare and contrast the qualities of fine art or crafts in the Mexican, European, African, AfricanAmerican, Native American and Asian cultures.
Analyze artworks to determine how they would be valued according to each aesthetic theory:
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Write a critique of an artwork using the Feldman model of art criticism.
69
Art Criticism Worksheet
Name________________________________
Class_________________ Date:______
Using the Art Criticism Scoring Guide, write a five-paragraph essay about this artwork.
You may take as much space as you need for each paragraph. If you are completing this
with pen/pencil, you may continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
70
Scoring Guide for World Arts, CCO II Aesthetics
Criteria
Develop a personal
definition for
“Crafts”.
4
Advanced
•
•
A good definition:
• is clear and
specific
• separates objects
into two easily
understood,
different
categories or
groups
• can be used by
others to sort
objects
Compare and
contrast definitions of
Fine Arts and Crafts.
•
•
Develops clear guidelines for
sorting objects into two groups
(“fine art” versus “crafts”)
Uses a Venn diagram to show
similarities and differences
between definitions of “fine
art” and “crafts”.
Other people can use the
student’s definition and end up
with the same objects in each
group.
Compares and contrasts
personal definition of crafts
with definitions from other
perspectives such as different
gender, age, social, cultural,
religious, economic and/or
political groups.
3
Proficient
•
•
•
Develops clear guidelines
for sorting objects into two
groups (“fine art” versus
“crafts”)
Uses a Venn diagram to
show similarities and
differences between
definitions of “fine art”
and “crafts”.
student’s definition and
end up with the same
objects in each group.
71
2
Nearly Proficient
•
•
•
Lists guidelines for
sorting objects into two
“crafts”)
Most objects fit into one
of the two categories
Others can use the
end up with most objects
in the same group.
1
Progressing
•
•
Guidelines may put too
many objects into one of
the two groups (“crafts”
versus “not crafts”)
Examples are: “crafts are
everything” or “crafts are
nothing”
It is difficult for other
people to sort objects
using the definition, for
example, “It is crafts if I
say it is”.
Scoring Guide for World Arts CCO II Art Criticism
Criteria
4
Advanced
Introduction
Tells plan to critique.
Gives information about
the work: artist’s name
(if known), title of piece
(if known), when and
where it was created,
what media was used and
the culture it is from.
•
Description
Writes sentences that list
everything seen in the
artwork
3
Proficient
Clearly states plan to critique
another artist’s work or to
explain the goal of a personal
piece
All available information
given
•
•
Logical, coherent, complete,
detailed description of what is
seen in the work
Analysis
Elements (Line, Shape,
Form, Color, Texture,
Space, Value)
Principles (Balance,
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
Interpretation
Explain the artist’s use of
symbols (color, shape,
cultural meanings),
emotional mood or
attitude toward the
subject, social
commentary, spiritual
/religious ideas, story
telling, or other purpose
of the work.
•
•
•
•
2
Nearly Proficient
States plan to critique
piece
Most available information
given
•
•
Logical, coherent, complete
description of what is seen in
the work
Considers each element and
principle to determine which
are most important in the
work
Explains, in detail, how and
where each important element
and principle is used in the
work
•
Clearly infers meaning of
work.
Clearly explains connections
between the artist’s use of
each important
element/principle and the
meaning of the work.
•
•
•
•
1
Progressing
Artist’s work or a
personal piece
mentioned
Tells artist’s name or
culture and title (if
known)
•
Artist’s name or
culture or title of
work listed
•
Complete description of
what is seen in the work
but slightly unorganized
•
Random mention of
one or two details
seen in the work
Considers elements and
principles to determine
which are most important in
the work
Explains how and where
each important element and
principle is used in the work
•
Lists elements and
principles used
Tells how or where
some elements and
principles are used in
the work
•
Partially lists elements
and/or principles
Explains meaning of work
(mood, symbolism, attitude
toward subject, social
purpose, story telling)
Relates artist’s use of
elements and principles to
ideas
•
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
purpose, story telling
•
Lists mood, attitude
toward subject, or
purpose
72
•
•
Judgment
Aesthetic theories are
beliefs about what makes
something “Art”.
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
Evaluates how the work
would be valued according to
aesthetic theories
(Imitationalism, Formalism,
Emotionalism or
Functionalism)
Supports statements with
specific references to the
work and its context.
•
Free of errors
Consistently uses third
person in other artist’s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
•
•
•
•
•
•
Explains how the work
aesthetic theories
Emotionalism or
Functionalism)
Gives details, facts and clues
from work that support
theory
•
Few minor errors in spelling
or grammar
Uses third person in other
artist’s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
correct order
•
73
•
•
•
•
•
Implies an aesthetic
theory but may not use
the term
Gives opinion of work
that supports mood or
content with few facts
•
States personal opinion
Errors in grammar and
spelling without
affecting clarity
Some use of first or
second person
Little sentence variety
First and/or last name
of artist used
throughout essay
All steps of critique
model present but out
of order
•
Multiple grammatical
errors interfere with
content and readability
Uses first, second
and/or third person
of artist used
throughout essay
Steps of critique model
may be missing or out
of order
•
•
•
World Arts, CCO III
Core Conceptual Objective III: Students will demonstrate knowledge of art in historical and cultural
contexts.
Artists both influence, and are influenced by, the world in which they live.
G1.10, FA5
Content and Skills: By the end of this grade/course, students should know:
Culture/Period
Mexican
Time/Place
1920’s-1950’s
Mexico
Artist(s)
Characteristics
Context
- legends, revolutions,
traditions, festivals as subjects
- realistic, stylized & surreal
- expressed emotion
- Mexican Revolution
- Day of the Dead
- produced by academically
untrained artists
- influenced by regional
cultures
- use of regional materials
(clay, metal, yarn, paint, dyes)
- rural or village life
- inter-generational
traditions
unknown
- stylized, symmetrical
- nature as theme
-decorative art for
homes (windows,
walls, furniture)
unknown
20th century
Mexico
European
Late 19th cen.
Poland
Spain
France
African
1800 to
present Africa
emphasis on
function not
artist
- traditional geometric
designs
- bold, bright colors
- patterns
- symbolic representation
- functional objects
- ceremonial
sculpture, masks and
crafts from tribal
cultures
- decorative arts for
body adornment
- tribes glorify
ancestors
Native
American
1600-present
in different
regions of
America
emphasis on
function not
artist
- art communicated religious
beliefs
- art was narrative
- practical objects (pottery,
blankets, clothing) decorated
with symbols
- skilled craftsmanship
(stone, clay, paints)
- nomadic tribes
before Europeans
settled in America
- currently assimilated
into American culture
or living as separate
nations on
reservations
- masks/costumes are
used as part of
ceremony
AfricanAmerican
Quilts
1700’s –
present day
America
Faith
Ringgold
Harriet
Powers
Asian
Ancient to
Present China,
Japan,
Southeast
Asia
In the
ceremonial
art,
emphasis is
on function.
Paintings
and prints
were signed.
-shared certain aesthetic
principles with African
cloth making: large-scale
designs, high color contrast,
offbeat patterns and
multiple rhythms
-signs and symbols used
that have been handed
down through many
generations.
- superior craftsmanship
- representational, idealized
images of people and animals.
- stylized, with emphasis on
important features.
- symbolic representation
- lines, flat areas of color
-began as functional
pieces created by
slaves for their
masters or out of
scraps for themselves
-often contained
symbolic significance
-used as a narrative
medium to tell stories
of family, religion,
culture, etc.
- show historic events
- Japanese images of
everyday life
- everyday functional
objects are designed
with same attention to
elements and
principles as fine arts
By the end of this course/grade, students should be able to do:
Compare and contrast art/craft with reference to time period, place, characteristics of style and context.
Unit Vocabulary:
Realism, stylized, idealized, surrealism, symmetrical, pattern, symbolism, decorative art, functional art,
narrative art, ceremonial art, contrast, rhythm, craftsmanship, wearable art, geometric, aesthetics
Pre-Assessment:
Students identify works by culture and period.
Students complete a Venn diagram on which they compare and contrast artwork/crafts on each attribute:
culture, time period, and place, characteristics of artistic style and context of the artwork.
Activity
Students work on teams playing an art “game show”.
The goal is to be the first team to correctly identify
information about each artwork that is shown when the
teacher holds up and reads a large card. Cards are
printed with: CULTURE, TIME PERIOD, PLACE,
CONTEXT, CHARACTERISTICS.
Activity
Create a miniature that an artist from a particular culture
could have created (but didn’t). Explain how this work
would have fit in with the chosen culture. Refer to the
place, time, context, characteristics, and give
information about the artist/culture to defend your work.
75
Strategy
Cooperative
Identification
Assessment
Teacher assigns points
for correct answers.
Strategy
Applying content
information in visual
form.
Assessment
Art characteristics and
explanation are
accurate for culture
Activity
Take on the role of an auctioneer or team informing
bidders about the historical quality of the work to justify
a high price. Information will be shared via oral and/or
power point presentation. Conduct research using print
and internet resources. In addition to showing how this
is an excellent example of a particular period/culture,
predict why you believe its value will rise in the future
(how it will influence current and future artists).
(Research, Technology)
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
Which works went for
the highest price
because the auctioneer
was able to convince
the audience of its
value by citing factual
information?
Independently conduct research on cultures and their artwork that have not been covered in class using
print, media, and computer technology.
Create a booklet of miniature artworks that use characteristics of each culture with contemporary subject
matter.
Create a model of a museum wall using images and text to teach about one or more cultures or periods of
art.
Application Level Assessment World Arts, CCO III: The student will compare and contrast art/crafts
and the culture it is derived from with reference to time period, place, characteristics of style and context.
Student Tasks:
Apply information you have learned about art to unfamiliar works presented by your teacher.
Compare and contrast two or more artworks considering several factors: culture, time, place, context, and
characteristics.
76
World Arts, CCO III, Art History and Culture Reflective Writing Worksheet.
Name:
Class:
Look at three artworks presented by your teacher that are labeled A, B, and C. Complete the chart below to compare/contrast the works.
Which culture is each work from?
Work A
Work B
Work C
Which characteristics are critical for determining the culture? WHY?
Work A
Work B
Work C
On the basis of which culture was chosen and the subject matter, when do you think the work was created? WHY?
Work A
Work B
Work C
77
What was life like at that time and place, and HOW did that influence the artist?
Work A
Work B
Work C
How was this work valued when it was created as compared to how it is valued today?
Work A
Work B
Work C
On the next page, write an essay comparing the importance of these works in the history of art. Support your opinions with information from the
charts you just completed.
78
Scoring Guide for World Arts, CCO III
Criteria
artworks from various
cultures on style,
characteristics, time, place,
and context.
• Mexican
• European (France, Spain,
Poland, etc.)
• African/AfricanAmerican
• Native American
(American Indian, Inuit, etc.)
• Asian
4
Advanced
•
•
•
•
Compares, contrasts, and
evaluates sets of artwork
Addresses the most
significant characteristics
of the work
Defends statements with
detailed reference to the
work
All information is correct
and specific
3
Proficient
•
•
•
•
evaluates sets of artwork
Addresses important
characteristics of the
work
reference to the work
2
Nearly Proficient
•
•
•
•
•
79
sets of artwork
Addresses less important
work
Supports some
statements with reference
to the work
Some important
comparisons are missing.
Some information may
be incorrect.
1
Progressing
•
•
•
Lists characteristics of
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
World Arts, CCO IV
Core Conceptual Objective IV, Integration: Students will make connections between Mexican folk art
and traditional Mexican culture.
Artists’ works reflect their culture.
FA 4,
Content and Skills:
By the end of this grade/course students should know:
Mexican artists communicate about their culture through their art.
Traditional Mexican Culture:
Agricultural economy, combined Native-American and Spanish
heritages, Spanish language; revolution of peasants against
landowners
students should be able to do:
Write an essay showing
connections between Mexican
artwork and Mexican culture.
Artwork:
Artists use patterns, colors, symbols, stylized shapes to communicate
about religion (ancient Aztec, Mayan and Catholic church), everyday
life (family), or political statements
Functions of artwork: Decoration of everyday objects, ceremonial
pieces, and festivals (Day of the Dead, Carnival) pieces, murals
decorate public buildings
Unit Vocabulary:
Aztec, Mayan, ceremonial artwork, festival artwork, Day of the Dead, Carnival
Pre-Assessment:
Students list typical characteristics of Mexican folk art and characteristics of the Mexican culture.
Activity
Students will be shown pictures of artwork from various
Mexican ceremonies or festivals and they must identify
which event the artwork is from.
Activity
representing the advertising company for a different
Mexican festival. Groups will research and teach others
about their festival and what artwork is created in
conjunction with it.
Activity
Students will critique a Mexican artwork and explain
how the artist reflected the culture.
80
Strategy
Memorization
Assessment
Matching test
Strategy
Oral Presentation
Assessment
Scoring Guide
Strategy
Art criticism guide,
modeling
Assessment
Scoring Guide
Students select another aspect of the culture (such as music) and explain how the culture has influenced it.
Students reenact a typical ceremony or aspect of a Mexican festival.
Students could create a PowerPoint presentation, poster or brochure to advertise for a festival instead of an
oral presentation.
Students will do research on another culture, then compare and contrast the effect of each on their artworks
Application Level Assessment World Arts, CCO IV: Students will make connections between Mexican
folk art and traditional Mexican culture.
Student Task:
Write an essay in which you analyze draw conclusions about the influence of Mexican culture on Mexican
folk art.
81
Scoring Guide for World Arts, CCO IV
Criteria
Analyze the influence of
Mexican culture on Mexican
folk art.
4
Advanced
•
•
•
•
•
•
•
Discusses four or more
examples
Relates subject matter in
art to cultural influences
Relates design style to
cultural influences
Relates function of
artwork to culture
reference to specific
examples in both the art
and the culture
Addresses subtle as well
as obvious influences
3
Proficient
•
•
•
•
•
•
Discusses three examples
Relates subject matter in
art to cultural influences
Relates design style to
cultural influences
Relates function of
artwork to culture
and the culture
82
2
Nearly Proficient
•
•
•
•
Discusses two examples
Relates two of the
following to cultural
influences: subject
matter, design style,
function
and the culture
Most information is
correct
1
Progressing
•
•
•
•
Discusses one example
Relates subject matter,
design style, or function
in art to cultural
influences
Information may be
incomplete.
Information may be
incorrect.
Art Fundamentals
83
Art Fundamentals Scope and Sequence
A
Line: Contour
Shape: Complex
Form/Value: Illusion of form (sphere, cylinder, cone, cube, pyramid) using the 5-value range.
Color: Color theory (wheel, primary, secondary, intermediate, tertiary), intensity, value, and
schemes (monochromatic, complementary, analogous, triad, split complement)
Relationship between Positive and Negative Space;
Balance: Formal, Symmetrical, Informal/Asymmetrical, Radial
Emphasis: Creating a focal point through contrast and convergence
Rhythm: Use of motif with regular and progressive rhythms
Proportion: Size relationships of the facial features of the head
B
Drawing:
Continuous tone,
Graduated tone (smooth tone without streaks),
Define edge with line or contrast
Painting:
-Mixing on palette
-Smooth, blended transition between colors/values
-Appropriate brush (size/type)
-Smooth application of paint
Sculpture:
Additive (paper/board)
Form “in the round”
Mixed Media combining two or more:Drawing, Painting, Collage, Printmaking, Digital,
Scanned, Photocopied
C
Still Life, Landscape, Portrait
Art as Communication,
Styles of Art (realistic, abstract, nonobjective)
84
Art Fundamentals Scope and Sequence
Aesthetics
Develop a personal definition for “Art” that separates all objects into either “Art” or “Non-Art”
categories.
Imitationalism, Emotionalism, Formalism, Functionalism
Art Criticism
Students use the four steps of Feldman’s model of art criticism: describe, analyze, interpret,
judge
Realistic Portrait: Leonardo DaVinci
Abstract Portrait: Pablo Picasso
Realistic Still Life: Audrey Flack
Abstract Still Life: George Braque
Realistic Landscape: John Constable
Abstract Landscape: PaulCezanne
Nonobjective Painting and Drawing: Victor Vasarely
Realistic Sculpture: Michelangelo
Abstract Sculpture: Henry Moore
Nonobjective Sculpture: David Smith
Art as Personal Communication: Aaron Douglas
Art as Mass/Graphic Communication: Andy Warhol
Connect the criticism process in Art to analytical writing in Language Arts.
85
Art Fundamentals, CCO I A
Core Conceptual Objective IA, Elements and Principles: Students will demonstrate knowledge of
elements and principles through the production of artwork.
Elements and principles are the visual language used by artists when they
create artwork.
Content and Skills:
know:
Line: Contour
Shape: Complex
Form/Value: Illusion of form (sphere, cylinder,
cone, cube, pyramid) using the five-value range.
Color: Review color theory (wheel, primary,
secondary, intermediate, tertiary), intensity,
value, and schemes (monochromatic,
complementary, analogous, triad, split
complement)
Relationship between Positive and Negative
Space;
Balance: Formal, Symmetrical,
Informal/Asymmetrical, Radial;
Emphasis: Creating a focal point through
contrast and convergence
Rhythm: Use of motif with regular and
progressive rhythms
Unity: Unified composition through three
elements
Proportion: Size relationships of the facial
features of the head
FA 1, FA 2
By the end of this grade/course students should be able to
do:
Create an artwork using contour line.
Create an artwork using complex shapes.
Create an artwork showing the illusion of form using a
range of 5 values.
Demonstrate color theory knowledge through the use of
primary, secondary, intermediate, and tertiary colors.
Create art that demonstrates color intensity.
Create monochromatic, complementary, analogous, triad,
and split complement color schemes.
Create artwork using actual, simulated and invented
textures.
Create an artwork that demonstrates the illusion of space
through linear perspective.
Create artwork that demonstrates each kind of balance:
formal, symmetrical, informal/asymmetrical, radial.
Create an artwork that demonstrates how to create a focal
point through contrast and convergence.
Create an artwork that has simultaneous contrast of
elements.
Create designs demonstrating regular and progressive
rhythms.
Create a unified composition through three elements.
Create an artwork that demonstrates the correct size
relationships of the facial features in a portrait.
Unit Vocabulary:
Line, contour line, shape, complex shapes, form, value, sphere, cylinder, cone, cube, pyramid, color, color
wheel, primary, secondary, intermediate, tertiary colors, intensity, value, monochromatic, complementary,
analogous, triad, split complement, texture, actual texture, simulated texture; invented texture, space, linear
perspective, horizon line, vanishing point, perspective lines, positive space, negative space, balance, formal
balance, symmetrical, informal/asymmetrical balance, radial balance, emphasis, focal point, contrast,
convergence, motif, regular rhythm, progressive rhythm, unity
Pre-Assessment:
Sketch an object using contour line.
Sketch a composition that uses complex shapes.
Apply shading to outlines of shapes on a worksheet.
Create sample swatches in each color scheme.
Label actual, simulated and invented textures in a photograph.
86
Create and label a sketch that demonstrates knowledge of how to create the illusion of space through linear
perspective.
Label the type of balance in a group of sample pictures.
Identify artworks that create a focal point through contrast or convergence.
Identify the elements used in simultaneous contrast in a sample picture.
Sort designs into regular and progressive rhythms.
Identify which elements are used to unify a sample composition.
Label a sample portrait with the correct size relationships/ proportions.
Activity
Students will create and label color schemes on a
graphic organizer.
Strategy
Memorization
Assessment
Percentage of correct
responses.
Activity
Students will mix colors and put them in the appropriate
places on a chart illustrating various color theories.
Strategy
Modeling
Assessment
Matching the colors
and their placement to
a chart
Activity
Students will work in groups to take an artwork that
clearly represents one type of balance and re-create it in
each of the other types of balance. Students will then
create arguments for which style is most effective.
Strategy
Cooperative decisionmaking, creating a
product, debate
Assessment
Checklist and Scoring
Guide
Student tasks can be completed through preliminary exercises and sketches or through finished, complex
artworks.
Student may choose media and subject (where possible.)
Students can work with a single element or to increase complexity by working with more than one.
Application Level Assessment Art Fundamentals, CCO I A: The student will demonstrate knowledge of
the Elements and Principles by completing the following student tasks:
Student Tasks:
Create an artwork using contour line.
Create an artwork using complex shapes.
Create an artwork showing the illusion of form using a range of 5 values.
Demonstrate color theory knowledge through the use of primary, secondary, intermediate, and tertiary
colors.
Create art that demonstrates color intensity.
Create monochromatic, complementary, analogous, triad, and split complement color schemes.
Create artwork using actual, simulated and invented textures.
Create an artwork that demonstrates the illusion of space through linear perspective.
Create artwork that demonstrates each kind of balance: formal, symmetrical, informal/asymmetrical, radial.
Create an artwork that demonstrates how to create a focal point through contrast and convergence.
Create an artwork that has simultaneous contrast of elements.
Create designs demonstrating regular and progressive rhythms.
Create a unified composition through three elements.
Create an artwork that demonstrates the correct size relationships of the facial features in a portrait.
87
Scoring Guide for Art Fundamentals, CCO IA
Criteria
Contour Line
4
Advanced
•
•
3
Proficient
Continuous line of
varying weight follows
edges of form
Shows specific details
•
•
•
2
Nearly Proficient
Continuous line follows
edges of form
Shows some accurate
details
Shows specific details
•
•
1
Progressing
Line shows simplified
edges of form
Shows few specific
details
•
•
•
Broken, sketchy line
Form is unclear
Form is shown as outline
only
Complex Shape
•
Draws shapes that
accurately depict the
subject matter.
•
Draws shapes that depict
the subject matter.
•
Draws simplified
versions of the subject
matter.
•
Draws stereotypes of the
subject matter.
Illusion of Form:
Sphere, Cylinder, Cone,
Cube, Pyramid
•
Shading creates the
illusion of form across a
range of 5 values using
smooth gradation
Shading clearly indicates
multiple light sources
Shading is consistent
from object to object
Cast shadow on flat
surface is accurate in
placement and shape
Five different forms used
alone or in combination
•
Shading creates the
illusion of form using 4
values
Shaded objects clearly
indicate light source.
Shading is mostly
continuous
Cast shadows that are
drawn approximate shape
and placement of cast
shadow on a flat surface
Student chooses four
different forms (alone or
in combination)
•
Few values created
through shading
Limited consistency in
indicating light source.
Shading is banded rather
than continuous
Cast shadow indicated,
but wrong shape, size or
placement
Three forms used (alone
or in combination)
•
•
Shading is sketchy
Shading is inconsistent
Shading does not
indicate light source
No cast shadow
Two forms used (alone
or in combination)
•
•
•
•
•
•
•
•
88
•
•
•
•
•
•
•
Monochromatic Color
Scheme
•
One color with tints and
shades (more than 5 steps
of each)
•
One color with its tints
and shades (5 steps of
each)
•
•
•
•
Complementary Color
Scheme
•
•
Analogous Color Scheme
•
•
Triad Color Scheme
•
•
Selects opposite colors
are opposites (across
from each other on color
wheel for example red
and green)
Uses tints, shades and
intensities for each color
•
Uses three colors next to
each other on the color
wheel on a 12-step color
wheel (for example: red,
red-violet, violet and
blue violet)
•
Selects a triadic color
scheme: three colors
equally spaced on a 12step color wheel (for
example: red, yellow,
and blue.)
•
•
•
Selects opposite colors
are opposites (across
from each other on color
wheel for example red
and green)
Uses tints and shades for
each color
•
Uses three colors next to
each other on the color
wheel
each color
•
•
•
•
•
scheme
each color
89
•
•
One color with one tint
and one shade (3 steps of
each)
One color with several
tints but no shades
One color with several
shades but no tints
More than one color with
several tints and shades
•
Selects near opposite
colors on the color wheel
(for example red and
blue-green)
Uses tints or shades
•
Selects near opposite
colors on the color wheel
(for example red and
blue-green)
Uses two colors next to
each other
Uses colors that are next
to each other on a 6 step
color wheel but not on a
12 step color wheel
•
Uses two colors next to
each other
Uses colors that are next
to each other on a 6 step
color wheel but not on a
12 step color wheel
scheme
•
•
•
•
Several colors used with
one tint and one shade of
each.
Only tints
Only shades
scheme
Split Complement Color
Scheme
•
•
Actual Texture
•
•
•
Simulated Texture
•
•
•
Invented Texture
•
•
Selects a split
complement color
scheme (a color and the
pair of colors next to its
complement (for
example, blue, yelloworange and red-orange.)
•
Uses three dimensional,
repeated surface design
Uses high and low relief
Creates a variety of
textures
•
Looks like threedimensional texture but
is flat
Shows observed texture
Demonstrates a variety
of textures
•
Complex and original
Variety of invented
textures
•
•
•
•
Selects a split
complement color
scheme
each color
•
Uses high and low relief
Selects a split
complement color
scheme
•
Selects a split
complement color
scheme
•
•
surface design
Looks like threedimensional surface but
is flat
Shows observed texture
•
is flat
Shows specific texture
•
Looks like threedimensional surface, but
is flat
Random marks
Original repeated surface
design
•
•
Repeated surface design
Modifies textures
invented by another artist
•
•
90
•
•
•
Repeated surface design
Copies textures invented
by another artist
Space – Positive and negative
•
Intentionally balances
positive and negative
space to support
composition
Intentionally arranges
space to support
expressive intent
•
Draws one-point
perspective with all
converging lines meeting
at one vanishing point
Draws all vertical and
horizontal dimensions
parallel to each other
Includes complex shapes
which might include
diagonal and curves
•
Formal – elements of
approximately the same visual
weight are arranged on either
side of a centerline/axis
Demonstrates a clear distinction
between perfect/approximate
symmetry
Symmetrical—elements on
either side of a centerline are
perfect mirror images of each
other
Compositions are complex, with
several elements precisely
arranged
•
•
Space – Linear Perspective
One point perspective
•
•
•
Balance
•
Formal approximate
symmetry
•
Symmetrical
•
•
•
Intentionally balances
space to support
composition
•
Draws one-point
Draws all vertical and
horizontal dimensions
parallel to each other
•
•
•
•
•
Formal – elements of
approximately the same
visual weight are
arranged on either side of
a centerline/axis
Symmetrical—elements
on either side of a
centerline are perfect
mirror images of each
other
91
•
•
Creates near balance
between positive and
negative space
Pays more attention to
positive space than
negative space
•
•
Arranges positive space
Negative space is
“leftover” rather than
being arranged in the
composition
Draws one-point
perspective with most
Some converging lines
go in the correct
direction but do not
touch the vanishing point
“Closes” the far side of
cubes with some nearly
horizontal/vertical lines
•
Draws most angled lines
toward but not meeting at
the vanishing point
“Closes” the far side of
cubes with a diagonal
line rather than
horizontal/vertical lines
Formal -the visual
weight on one side of the
work is slightly greater
than other
Symmetrical Distinction between
perfect/approximate
symmetry is unclear
•
•
•
•
Formal -the visual
weight is noticeably
greater on one side
Symmetrical—the two
halves of the
composition do not
match
Designs are very simple,
with few elements,
haphazardly arranged
Balance
•
Informal /
Asymmetrical
•
•
Balance
•
Radial
•
•
Emphasis: Emphasis
used to create a focal
point through contrast
•
Informal –elements are
informally arranged, scattered
throughout artwork, and balance
is achieved without use of a
centerline
Asymmetrical - elements on
either side of a centerline are
not perfect mirror images of
each other
arranged
•
Radial – arranges around a
center point (wheel, spiral, etc.)
Equal spacing and visual weight
arranged
•
Uses contrast in three elements
to draw attention to an area in
the composition (for example
a light, yellow, geometric
shape against a dark, violet,
organic background)
•
•
•
Informal –elements are
informally arranged,
scattered throughout
artwork, and balance is
achieved without use of a
centerline
Asymmetrical elements on either side
of a centerline are not
perfect mirror images of
each other
•
Radial – arranges
elements around a center
point
Equal spacing and visual
weight
•
•
•
•
Uses contrast in two
elements to draw
attention to an area in the
composition (for
example a light yellow
shape against a dark
violet background)
92
•
Informal – close to being
balanced with too much
in one area of the
composition
Asymmetrical –
composition shows
evidence of balance
though too much visual
weight on one area and
too little in others
•
Radial – general center
point
Elements may not be
evenly spaced or
weighted
Design may go part of
the way around center
•
Uses contrast in one
element to draw
attention to an area in the
composition (for
example a light shape
against a dark
background)
•
•
•
•
•
Informal – too much in
some parts and too little
in other parts of the
composition
Asymmetrical composition is
unbalanced, with too
much visual weight in
one area, and too little in
others
Designs are very simple,
with few elements,
haphazardly arranged
Radial –general center of
composition, but
elements are unevenly
spaced and weighted
elements
Design only goes part of
the way around center
Uses contrast in one
element across a
composition
Contrast doesn’t draw
attention to a specific
area in the composition
Emphasis: Emphasis
point through
convergence
•
Contrast: Simultaneous
contrast of two elements
•
Rhythm: Use of a motif
to demonstrate regular
rhythm
•
•
•
Draws attention to a vanishing
point by drawing all lines to it
Composition of many complex
objects all lead eye toward the
center
•
Uses differences in four
elements in the same
composition (for example,
light and dark values, bright
and dull colors, organic and
geometric shapes, vertical and
horizontal lines)
•
Repeats identical, original
motif with equal spacing
Designs complex motif
•
•
•
Draws attention to a
vanishing point by
drawing all lines to it
Composition of many
objects all lead eye
toward the center
•
Uses differences in three
composition (for
example, light and dark
values, bright and dull
colors, organic and
geometric shapes)
Repeats identical, original
motif with equal spacing
Designs simple motif
vanishing point by
drawing all lines to it
Simple composition of
few objects all lead eye
toward the center
•
central part of the
composition by drawing
lines in the general
direction
•
Uses differences in two
composition (for
example, light and dark
values, organic and
geometric shapes)
•
Uses differences in one
element in a composition
(for example, light and
dark values)
•
•
•
Repeats original motif
Spacing is nearly equal
Designs simple motif
•
Repeats motif that is
based upon another’s
work
Motif may be different
each time it repeats
Spacing may be unequal
•
•
•
Rhythm: Use of a motif
to demonstrate
progressive rhythm
•
•
Changes an original motif
each time it is repeated
Changes complex motif
from one idea to another
through many equal steps
(for example a black house
cat is transformed into a
yellow lion)
•
•
Changes an original motif
Changes simple motif from
one idea to another through
several equal steps (for
example a green apple is
transformed into a white
baseball)
93
•
•
•
Changes an element
Changes element from
one idea to another
through a few steps (for
example a circle is
transformed into a
square)
Steps may be unequal
•
Changes an element from
one idea to another in
one or two uneven steps
(for example a circle is
placed next to a square
rather than having steps
in between where the
circle gradually loses its
curves )
Unity: Unified
composition through
three elements
•
•
Proportion: facial
proportions
•
•
•
Uses three elements at
various places in a
light values, warm colors,
geometric shapes)
Complex composition
•
Accurately captures the
shape of facial features
spaces between all facial
features
Depicts a specific
individual’s head /face
•
•
•
•
Uses three elements at
various places in a
light values, warm colors,
geometric shapes)
Simple composition
•
Captures the shape of facial
features
Captures the spaces
between all facial features
Depicts an average, realistic
looking head /face but not
an individual’s variations
•
94
•
•
•
Uses two elements at
various places in a
composition (for
example, light values,
warm colors)
Simple composition
•
Uses one element at
various places in a
composition
Shows believable shapes
of all facial features
Shows believable spaces
between all facial
features
Shows a little distortion
from an average
face/head but doesn’t
match an individual
•
Stereotypes or
exaggerates shapes of
some facial features
Exaggerates spaces
between features as in a
cartoon
•
Art Fundamentals, CCO IB
Core Conceptual Objective IB, Media Processes and Skills: Students will demonstrate knowledge of
media processes and skills through the production of artwork.
Technical skill in using media and processes allows an artist to communicate
ideas through high quality art products.
Content and Skills:
Drawing:
Continuous tone,
Graduated tone (smooth tone without
streaks),
Define edge with line or contrast
Painting:
-Mixing on palette
-Smooth, blended transition between
colors/values
-Appropriate brush (size/type)
-Smooth application of paint
Sculpture:
Additive
“in the round”
Mixed Media combining two or
more:
Drawing, Painting, Collage,
Printmaking, Digital, Scanned,
Photocopied
FA 1, FA 2
Drawing:
Create smooth areas of a single value.
Use a variety of drawing materials.
Create areas where values change smoothly and gradually.
Use lines to define objects but also be able to show shape solely
through contrast of values (dark shape on light background, for
example.)
Painting
Mix colors on a palette.
Paint areas where colors change gradually from one hue or value
to another hue or value.
Choose brushes of an appropriate shape and size (flats, rounds,
sizes) for the task at hand.
Apply paint smoothly and evenly.
Sculpture
Create a sculpture by assembling or joining together paper/board
materials through slotting, scoring, folding and gluing.
Create a sculpture that is fully 3-dimensional (“in the round.”)
Mixed Media
Create an artwork that combines at least two of the following
media: drawings, paintings, collages, prints, digital arts, scanned
images, photocopied images.
Unit Vocabulary
Drawing: Continuous tone, smudge, value scale, highlight, core shadow, cast shadow, light source,
reflected light, graduated tone, edge, line, contrast.
Painting: Palette, palette knife, blended, transition, hues, values, intensity, primary, secondary,
intermediate, neutral, color wheel, complementary colors, application.
Sculpture: Additive, “in the round,” balance, support, structure, scoring, slotting.
Mixed media: collage, printmaking, digital, scanned, photocopied, copyright, series, brayer, printing plate.
Pre-Assessment:
Students compare and contrast artworks completed using different media skills.
Students describe methods and procedure of working in a given media.
Activity
Students paint into shapes on paper.
Strategy
Demonstration of
painting process
95
Assessment
Scoring Guide
Activity
Students create the same design several times using
various media, and then determine which is most
effective for communicating the idea.
Activity
Students create maquettes for a public sculpture. The
group role plays a city-planning panel to judge the
sculptures for intended locations and give suggestions
for improvement on each.
Strategy
Analysis
Assessment
Scoring Guide
Strategy
Role playing
simulation
Assessment
Scoring Guide
Students can draw either a simple or a complex objects.
Advanced students can use tube paints to create additional textures.
Students can copy media techniques from artists, or invent their own.
Application Level Assessment Art Fundamentals, CCO IB: Students will demonstrate knowledge of
Student Tasks:
Create a monochromatic drawing (black and white or single color) from observation that demonstrates the
ability to create smooth areas of value, smooth transitions between different values, objects defined both
through contrast and outline.
Demonstrate correct media skills with paint: mixing colors on a palette, creating smooth transitions
between hues or values, applying paint smoothly and evenly, choosing brushes of a size and type
appropriate for the task at hand.
Create a sculpture (or maquette) using additive methods that is fully 3-dimensional, with equal design
consideration given to all angles and views.
Completed an original artwork based upon the combination or alteration of images from at least two of the
following media: drawings, paintings, collages, prints, digital arts, scanned images, photocopied images.
96
Scoring Guide for Art Fundamentals, CCO IB
Criteria
Drawing:
Continuous tone
4
Advanced
•
Shading is smooth, solid
and consistent, covering
an entire area in one
value
3
Proficient
•
Shading is smooth and
solid with a few spots
slightly lighter or darker
than the one value
chosen
2
Nearly Proficient
•
•
•
Drawing:
Graduated tone
Drawing:
Object Edges with value
contrast
•
•
•
Painting:
Color Mixing
•
•
•
Shading is smooth with
more than 5 gradual
changes in value
•
Shows edges of objects
by changing value, not
an outline
Uses a range of 5 or
more variations in value
•
Mixes color completely
to eliminate streaks
Mixes more than 10
different experimental
colors
Mixes colors to match a
range of at least 5 tints,
shades and intensities
•
Shading is smooth with 5
gradual changes in value
•
•
•
•
•
Shows edges of objects
by changing value, not
an outline
Uses a range of 4
variations in value
•
Mixes color completely
to eliminate streaks
Mixes 8-10 experimental
colors
range of 4 tints, shades
and intensities
•
97
•
•
•
1
Progressing
Shading is smooth and
solid in some areas
Areas are lighter or
darker than the one value
chosen
Shading is sketchy,
showing some individual
lines and spaces
•
Shading is smooth in
most areas with 4 gradual
changes in value
Shading is sketchy,
showing some individual
lines and spaces
•
•
Shading shows 3 values
Shading is sketchy,
showing many lines and
spaces
Show edges of some
objects though outline
Uses a range of 3
variations in value
•
Show edges of most
objects though outline
Uses two variations in
value
Mixes most colors
completely with few
streaks
colors
range of 3 tints, shades,
and intensities
•
•
•
•
•
Many values are used to
fill an area
Shading is sketchy, with
few solid areas created
showing many lines and
spaces
Mixes most colors
completely with few
streaks
colors
range of 2 tints, shades,
and intensities
Painting:
Color Application
•
•
•
•
•
Sculpture:
Additive Methods
Board Construction
•
•
•
•
•
•
Applies even thickness
of paint across
composition
Uses a wide variety pf
brushstrokes to create
contrasting textures
including soft edges of
appropriate objects (for
example smooth lines,
dry brush, dabbing)
Creates smooth, hard
edges by controlling
brush
Smoothly blends wet
paint to gradually change
color or value
Selects from and uses a
wide variety of brush
types and sizes for
appropriate parts of the
composition
•
Cuts sharp edges of
complex shapes using
scissors and sharp knife
Joins surfaces with an
adhesive completely,
cleanly, and neatly
Scores board to make
crisp folds
Slots and joins pieces of
board
Creates physical balance
Complex compositions
with many parts
•
•
•
•
•
•
•
•
•
•
Applies even thickness
of paint across
composition
Uses a few different
brushstrokes to create
contrasting textures
including soft edges of
appropriate objects
Creates smooth, hard
edges by controlling
brush
Smoothly blends wet
paint to gradually change
color or value
Selects from and uses a
few different brush types
and sizes for appropriate
parts of the composition
•
Cuts sharp edges of
shapes using scissors and
sharp knife
adhesive completely,
cleanly, and neatly
crisp folds
board
Uses many parts in
simple composition
•
98
•
•
•
•
Applies paint with some
variation in thickness
Uses a couple of
brushstrokes to show two
textures
Creates hard edges by
controlling brush
Blends wet paint to
change color or value
with some “banding”
Uses two brushes of
different size or type for
appropriate parts of the
composition
•
•
•
•
•
•
•
•
•
•
Cuts sharp edges of
simple shapes using
scissors or sharp knife
adhesive with seams
showing or spots without
glue
folds
board
Uses few parts in simple
composition
•
•
•
•
•
•
Applies paint unevenly
with several thin or
lumpy spots
Uses one type of
brushstroke rather than
changing it to contrast
textures
Edges of objects may be
uneven, ragged, or
blurred
When blending wet
paint, there are distinct
“bands” or rows of each
color or value rather than
a smooth, gradual change
Uses on brush which
may be too large for
small details or too small
for evenly covering large
areas
Cuts uneven edges of
shapes using scissors
Joins some surfaces with
an adhesive so that
pieces do not stay
together
Glue may be visible,
oozing out of seams
Folds may be uneven or
rounded instead of crisp
angles
Slots and joins some
pieces of board
May not balance
Sculpture:
Additive Methods
Modeling
•
•
•
•
•
•
Sculpture:
Additive Methods
Wire
•
•
•
•
•
•
•
•
Mixed Media:
Use this with scoring guides
for selected media.
•
Joins pieces smoothly
and neatly
Bonds pieces so they
form a seamless, strong
bond
Forms the material with
hands and tools to create
a variety of shapes and
fine details
Complex composition
Creates physical balance,
self supporting
Finishes surface with
contrasting details and
textures
•
Bends. twists, and forms
wire with hands
Selects and uses various
tools most appropriate to
constructing idea
Uses minimum amount
of wire to express idea
Shows contours of form
Shows fine details
Joins pieces of wire
solidly and neatly
Complex composition
•
Integrates and balances
three or more media in a
complex composition
•
•
•
•
•
•
•
•
•
•
•
•
•
Joins pieces smoothly
and neatly
Bonds pieces so they
form a seamless, strong
bond
fine details
Complex composition
self supporting
Finishes surface with
some detail and clear
texture
•
•
wire with hands
tools most appropriate to
constructing idea
Uses minimum amount
of wire to express idea
Shows contours of form
Shows some detail
solidly and neatly
Simple composition
•
two media in a complex
composition
•
99
•
•
•
•
•
•
•
•
•
•
Joins pieces neatly
Bonds pieces with
uneven, visible seams
some details
Simple compositions
self supporting
Finishes surface with one
texture
•
•
wire with hands
Selects and uses few
tools
Shows simplification of
contour
May use more wire than
needed to show form
solidly
Simple composition
•
two media in a simple
composition
•
•
•
•
•
•
•
•
•
•
•
•
Joins pieces
Bonds some pieces with
uneven, visible seams
Some pieces come apart
due to incomplete
bonding
a few shapes
Compositions are simple
with a few pieces
May fall over
Surface may show finger
marks as unintentional
texture
wire with hands
Selects and uses one tool
that may not be best for
idea
May use more wire than
needed to show form
Joins some pieces of wire
solidly
Some pieces fall apart
May be unbalanced
Simple composition
Integrates two media in a
simple composition
Art Fundamentals, CCO IC
Core Conceptual Objective I, Theme or Subject Matter, C: Students will communicate themes/subject
matter through the creation of original artwork.
theme.
Content and Skills:
Work from observation:
Subject matter taken from direct observation (not invented),
often still life, landscape, portrait
Still Life:
Collection of objects of different shapes and sizes in one space
with one set of lighting.
Landscape
• Portrays outdoor spaces, holding a “mirror up to nature”
• Little distortion/alteration
• Uses atmospheric perspective
Portrait
• Individual is easily recognized, correct proportions
• Colors reflect skin tone and lighting conditions.
• Details unique to subject are present.
Art as Communication
Artwork clearly expresses meaning, ideas, and/or feelings.
• Mass Communication: art may be mass-produced for
wide audience (series of prints or images, commercial
reproduction for advertising/commercial products, etc.)
• Personal Communication: often symbolic, emotional,
abstracted and/or exaggerated to communicate ideas
Styles of Art
• Realistic
Individual and objects easily recognized,
Photographic attention to fine detail,
Exhibits correct proportions
• Abstract
Simplified to stress one or more element of art (line, shape,
form, etc.)
Actual colors of objects are unimportant, any color may be
chosen (invented color)
Often fractured shapes or spaces
Realistic portrayal (including sense of space, actual lighting
conditions) less important than design
• Nonobjective
Art that does not represent real objects in any manner
Stresses elements of art and their relationship to each other
FA 1, G 3.1
students should be able to do:
Create an artwork from observation.
Create an original still life.
Create an original landscape.
Create a portrait.
Create an artwork that communicates
ideas (either a mass-communication
artwork or a personal communication
artwork.)
Create an artwork that is realistic.
Create an artwork that is abstract.
Create an artwork that is nonobjective.
Unit Vocabulary:
Focal point, observation, invention, contrast, still life, sphere, cone, cube, cylinder, pyramid, texture,
positive/negative space, theme, landscape, convergence, space, depth, foreground, middle ground,
background, overlap, portrait, proportion, art as Communication, series, print, styles of Art, realistic,
abstract, nonobjective, distort, fracture, atmospheric perspective, symbolic,
100
Pre-Assessment:
Students will compare and contrast different subject matter through a graphic organizer that combines a
series of thumbnail sketches with written notes on characteristics.
Draw small sketches of both real and abstract versions of a portrait, landscape, and still life subjects.
Activity
Identify the theme/subject matter used in selected
artworks.
Activity
Students work in two teams to arrange a series of
artworks on two sides of a hallway to create a gallery
that shows degrees of change from realistic to abstract to
nonobjective styles of art.
Activity
Consider many aspects of yourself (appearance, family,
beliefs, feelings, personality, interests, strengths, taste in
music, clothes, food, etc.) and then create an artwork in
which you select appropriate subject matter, style of art,
and media to communicate your personal identity.
Strategy
Identification of
vocabulary terms
Assessment
answers
Strategy
Cooperative
Decision-making
Assessment
Scoring Guide
Strategy
Critical and creative
thinking, production
of product
Assessment
Scoring guide applied
to artwork and artist’s
written statement.
Draw from simple or complex still life or landscape compositions.
Arrange objects brought from home to communicate personal meaning in a still life or portrait.
Draw a simple object realistically, change it in a second drawing to an abstraction, and continue to modify
it until it becomes non-objective in a third example.
Application Level Assessment Art Fundamentals, CCO I C: Students will communicate themes/subject
Student Tasks:
Create an artwork from observation.
Create an artwork with the subject of still life.
Create an artwork with the subject of landscape.
Create an artwork with the subject of portrait.
Create an artwork that communicates ideas (either a mass-communication artwork or a personal
communication artwork.)
Create an artwork that is realistic.
Create an artwork that is abstract.
Create an artwork that is nonobjective.
101
Scoring Guide for Art Fundamentals, CCO IC
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
Theme or Subject
Working from
Observation
•
•
Creates original artwork
Develop realistic, detailed
contour, form, texture from
observed subjects
•
•
Shows realistic contour,
form and texture of
observed subjects
•
Theme or Subject
Still Life
•
•
Develops realistic, detailed
form and texture from
observed subjects
Creates balanced, varied
arrangement
•
•
Shows form and texture
of observed subject
matter
Creates balanced
arrangement
•
Includes horizon
Realistic proportion of
objects that are next to each
other
Objects change in scale,
growing smaller as they are
closer to the horizon
Creates a balanced
composition with
realistically rendered
landscape elements
Shows texture on near
objects
•
•
•
•
Theme or Subject
Landscape
•
•
•
•
•
•
•
•
•
Includes horizon
Realistic proportion of
objects that are next to
each other
Objects change in scale,
growing smaller as they
are closer to the horizon
Creates a balanced
composition with
realistically rendered
landscape elements
102
•
•
•
•
•
•
•
1
Progressing
Modifies artwork
created by another artist
Shows simplified
contour, form, and
texture of observed
subjects
•
Modifies artwork created
by another artist
Shows simplified form
and texture
Some spaces not
balanced
•
Modifies artwork
Includes horizon
Objects next to each
other may be unrealistic
in proportion
Many objects change in
scale, growing smaller
as they are closer to the
horizon
•
•
•
•
•
•
Copies another artist’s
work
Shows a simplified
form or contours
instead of matching the
observed one
work
Drawn subject matter
is not easily identified
Page lacks variety and
balance
work
Uses simplified forms
More variety is needed
Theme or Subject
Portrait
•
•
•
•
•
Theme or Subject
Art as Communication
•
•
•
Theme or Subject
Realistic Art
•
•
Shape of features match
individual
Proportion among features
matches individual
Gives indication of
personality by expression,
personal items, background
Details/textures match
individual
•
•
Creates an original artwork
that evokes a clear story or
emotion
Viewers understanding of
the artwork matches the
artist’s detailed statement
about the message of the
artwork
Complex, abstract ideas are
communicated in an
original way
•
Work is an accurate match
for what is seen line,
texture, shape/form, space,
and color
•
•
•
•
•
•
individual
Proportion among
features matches
individual
Gives some indication
of personality through
use of detail and
background
•
Creates an original
artwork that evokes a
clear story or emotion
Viewers understanding
of the artwork matches
the artist’s statement
artwork
Simple, concrete ideas
are communicated in an
original way
•
Work is an accurate
match for what is seen
line, texture, form,
color, and space
•
103
•
•
•
•
•
•
Modifies artwork
Shape of features are
believable but may not
match the individual
Proportions are
match the individual.
May be a simplified
version of the individual
person’s features
•
Modifies artwork
Viewers get a general
understanding of the
message that is related
to the simple, written
artist’s statement
Ideas may be
stereotypes
•
Modifies artwork
Work is a simplified
version of what is seen
line, texture, form,
color, and space
•
•
•
•
•
•
•
•
work
Exaggerates shapes of
features
Exaggerates sizes of the
features
Exaggerates proportions
Empty background
work
Writing may be unclear
or missing
Viewers have difficulty
getting the meaning
from the artwork
work
Work distorts or
exaggerates what is seen
Theme or Subject
•
•
Abstract Art
•
•
•
•
Theme or Subject
Nonobjective Art
•
•
•
•
•
•
The subject can be
identified
Line, shape/form, color,
value, texture, and space
are distorted in order to
make an interesting
composition
Composition is balanced
Distortion of elements leads
the eye through the
composition
Negative and positive
shapes/spaces are given
equal importance in
designing the space
•
•
No recognizable subjects
are arranged to make an
interesting composition
Elements lead the eye
through the composition
shapes/spaces are given
equal importance in
designing the space
•
•
•
•
•
•
•
•
The subject can be
identified
and value are distorted
in order to make an
Distortion of elements
leads the eye through
the composition
•
No recognizable
subjects
and value are arranged
to make an interesting
composition
Elements leads the eye
•
104
•
•
•
•
•
•
Modifies artwork
The subject can be
identified
Line, shape, and color,
make an interesting
composition
The composition is
almost balanced, some
parts need more
attention
•
Modifies artwork
No recognizable
subjects
Line, shape, and color,
are arranged in order to
make an interesting
composition
The composition is
almost balanced, some
parts need more
attention
•
•
•
•
•
•
•
work
It may not be possible to
identify the subject
Line, and shape are
distorted
The background may be
what is “left over”
instead of spaces that
were designed to be
interesting
work
Subject may be
recognized
Line, and shape are
arranged into a design
The background may be
what is “left over”
instead of spaces that
were designed to be
interesting
‘Art Fundamentals, CCO II
Different aesthetic theories /beliefs about what makes something “Art” are
used to judge the quality of artwork.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Content and Skills:
know:
able to do:
Aesthetics
Aesthetic is a field of philosophy in which big
questions are asked such as: What makes
something “Art”? What makes it good art?
Aesthetics
Develop a personal definition for “Art” that
separates all objects into either “Art” or “Non-Art”
categories.
representation.
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Art Criticism
Art Criticism
Feldman Model:
the artwork.)
artwork.)
media, themes.)
Unit Vocabulary:
Imitationalism, emotionalism, formalism, functionalism, realistic, abstract, nonobjective, describe, analyze,
interpret, judge, critique
105
Pre-Assessment:
Activity
Each student will be given an art postcard from a set and
then will write where elements and principles are used in
it on as “bullet points” on a blank index card.
Activity
representing an art gallery. Groups will compete against
each other at an auction of artworks. Their goal is to
assemble a collection for their gallery that represents all
four aesthetic approaches.
Activity
Given a collection of images, groups of students will
produce arguments for why their collection has the
strongest examples of each approach.
Students will conduct a mock trial where they will have
to defend a mixed-media artwork accused of copyright
infringement. Students representing the defense will
have to analyze the artwork and present evidence to
show that the artwork creates a unique aesthetic intent
different from the sum of its parts.
Strategy
Vocabulary
Identification
Assessment
Images and bullet
points will be
compared for accuracy
Strategy
Assessment
Checklist
Strategy
Debate
Assessment
Scoring Guide
Debate
Scoring Guide
Artwork could be student-generated or “masterworks” could be used.
Analysis could include cultural or cross-curricular links.
Application Level Assessment Art Fundamentals, CCO II: Students will use appropriate art vocabulary
to critique and respond to works of art.
Student Tasks:
Develop a personal definition for “Art” that separates all objects into either “Art” or “Non-Art” categories.
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
106
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
107
Scoring Guide for Art Fundamentals, CCO II
Criteria
4
Advanced
Define “Art”.
•
A good definition:
•
•
•
•
•
is clear and
specific
separates objects
into two easily
understood,
different
categories or
groups
can be used by
others to sort
objects
•
Art Fundamentals Aesthetics Scoring Guide
3
2
Proficient
Nearly Proficient
sorting objects into two groups
(“art” versus “not art”)
All objects fit into one of the
two categories
student’s definition and end up
with the same objects in each
group.
personal definition of art with
definitions from other
political groups
•
•
•
for sorting objects into two
groups (“art” versus “not
art”)
All objects fit into one of
the two categories
108
•
•
•
art”)
Others can use the
end up with most objects
in the same group
1
Progressing
•
•
the two groups (“art”
versus “not art”)
Examples are: “Art is
everything” or “Art is
nothing”
example, “It is art if I say
it is”
Art Fundamentals Art Criticism Scoring Guide
Criteria
4
Advanced
Introduction
the work: artist’s name,
title of piece, when and
what media was used, its
period, style, or culture.
•
Description
artwork
3
Proficient
piece
given
•
•
seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
Interpretation
cultural meanings),
emotional mood or
attitude toward the
subject, social
of the work.
•
•
•
•
2
Nearly Proficient
piece
given
•
•
the work
work
work
•
work
each important
meaning of the work
•
•
•
•
1
Progressing
personal piece
mentioned
Tells artist’s name and
title
•
Artist’s name or title
of work listed
•
•
Random mention of
one or two details
seen in the work
the work
•
Lists elements and
principles used
Tells how or where
some elements and
the work
•
and/or principles
ideas
•
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
toward subject, or
purpose
109
•
•
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
work and its context
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
110
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Art Fundamentals, CCO III
contexts.
FA 5, G 1.10
Content and Skills: *Indicates acceleration/enrichment content.
Style Name and
Characteristics of Style
Realistic Portraits
Renaissance-present
• Individual is easily
recognized
• Colors reflect skin tone and
lighting of observed subject
• Photographic attention to
fine detail
• Exhibits correct
proportions: eyes halfway down
when measuring from the top of
the head to the chin. Size and
spacing of all facial features
closely match the model
observed
Individual Artist’s Name and
Leonardo DaVinci
Mona Lisa, ca. 1503-1505
Italian Renaissance
Artist’s Context:
Time, Place, Events
High Renaissance
Sixteenth century 1452-1519
Italy
• World’s most famous
portrait
• Use of chiaroscuro
• Dramatic lighting
• Subject set against backdrop
of atmospheric perspective
• Formal composition: single
subject looking straight at viewer
• Modeling with light and
shadow and expressing
emotional states
• Studied human anatomy to
understand the underlying
processes of nature
• Artists claim divine
inspiration giving their work a
higher status in society then ever
before
• Other High renaissance
artists include Raphael,
Michelangelo, Titian
*Chuck Close
1940-present, United States
*Photo-Realism
1960’s-present
Europe, United States
• Modern American PhotoRealist
• Large-scale
• black and white as well as
color
• Extreme close-up view
• Formal composition: single
subject looking straight at viewer
• Disabled artist modified
equipment to continue painting.
(EQ).
• Trompe l’oeil “fool the eye”
with an extreme attention to
minute detail
• Other Photo -Realists:
Richard Estes
111
United States/1960’s
• American cultural revolution
of the 1960’s
• Viet Nam
war/photojournalism
Style Name and
Artist’s Context:
Time, Place, Events
Abstract Portrait
Late 19th century to present
Pablo Picasso
1881-1973, France
Cubism
Early twentieth century
• Representation of facial
features distorted or exaggerated
to reflect awareness of design
principles and or expressive
qualities.
• Either symbolic or arbitrary
color may be used
• Effects of lighting are not
realistic.
• Spanish artist who made
tremendous contributions to new
ways of representing the
surrounding world.
• Explored a wide range art
media including painting,
drawing, ceramics, sculpture
and printmaking
• Broke subject matter into
separate, distorted, angular
planes while suggesting a
combination of views seen at the
same time. .
• He stated, “ I paint forms as
I think them not as I see them”.
Abstract Still Life
20th century - present
George Braque
Fruit Dish and Cards
1913, France
• Collection of objects of
different shapes, sizes, etc
• Simplified to stress one or
more element of art (line, shape,
form, etc.)
• Actual colors of object are
unimportant, any color may be
chosen (invented color)
• Actual lighting conditions
usually less important than
shape or other elements
• Compositions of shapes and
forms abstracted from the real
world
• Forms dissected and placed
in dynamic interaction with the
space around it
• Dull colors used to focus
viewer’s attention on the form
• Collage as new medium
derived from the French word
Which means to stick
• Used massproduced
materials never before used in
fine art
• Shading seems to carve
space into flat planes
• Planes are turned into
transparent forms
112
• Rejected realistic looking
pictures
• Influenced by African art
• Critics in the French press
saw Cubism as revolution and
rebellion against tradition
• Other artists include George
Braque, Pablo Picasso, Robert
Delaunay
Cubism
Early twentieth century
• Rejected realistic pictures
• Influenced by African art
• Critics in the French press
saw Cubism as rebelling against
tradition
• Message was referenced in
the imagery and the nature of
the everyday materials (for
example newspaper in the shape
of a bottle makes connections
between bottles and
newspapers)
• Other artists include Pablo
Picasso, Robert Delaunay
Style Name and
Artist’s Context:
Time, Place, Events
Realistic Still Life
17th Century - present
*Clara Peeters
1594-ca. 1657, Holland
• Collection of objects of
different shapes, sizes, etc
• Objects gathered within a
specific space
• Lighting is uniform (does
not change from object to
object)
• Small details are visible
• Actual colors of objects are
used
• Effects of lighting are
shown
• Pioneer in the field of stilllife painting
• Beautifully crafted realistic
images
• Known for her paintings of
food and flowers and for still
life studies that included bread
and fruit.
• Highlights glint off
reflective surfaces as well as the
sheen of fabric.
• Women were not
considered serious artists in this
culture. (EQ)
*Dutch Baroque
Seventeenth century 1619-1693
Holland
Audrey Flack
1931- present, USA
Marilyn 1977
• Detailed and carefully
organized using photo-realistic
techniques
• Familiar objects from
contemporary culture
• Alludes to Dutch vanitas
painting with references to death
• She uses subject matter
related to women’s interests and
ideas. (EQ)
113
• Carefully arranged realistic
compositions
• Presented as if strewn
across a tabletop
• Revealed the pride Dutch
citizen’s had in material
possessions
• Paintings with images that
reference death called vanitas
paintings
• Subject matter references
life’s transience and mortality (a
peeled lemon suggests a
presence that has disappeared)
• Subject matter provides
insight into Dutch life, were
small scale and symbolic of
wealth
• Other Dutch Baroque
Artists include Pieter Claesz,,
Willem Kalf, Rachel Ruysch
Photo-Realism
1960’s – present
• It was a reaction against the
nonobjective artwork of the time
• Used photographs as sources
for images
• Reproduced in minute detail
commonplace facts and artifacts
reflecting popular culture
Style Name and
Artist’s Context:
Time, Place, Events
Realistic Figure Sculpture
Renaissance - present
Michelangelo
1475-1564, Italy
Renaissance
1400-1600, Italy
• Small details are visible,
including textures
• Emphasis on anatomy
• Correct proportions: figures
6-8 heads tall, 2 heads across,
legs begin halfway up the figure
• Italian Renaissance sculptor
• Media: carved marble
• Highly refined, very
smooth/polished
• “Ideal” attributes
emphasized
• Religious subject matter
• Paintings followed subject
and style of sculptures
• Period of learning and
accomplishment in the arts
• Influence of classical Greek
and Roman art/ideas.
• Artists worked for patrons,
men of wealth and political
power (including the Catholic
Church)
• Other Renaissance Artists:
Leonardo da Vinci, Raphael
*Duane Hanson
1925-1996, USA
*Photo-Realism
1960’s-1990’s USA
• Life- size figurative
sculptures
• Made plaster molds from
live models
• Filled molds with polyester
resin and painted with air brush
• Decorated sculptures with
wigs, clothes and accessories
• Familiar looking lower and
middle class Americans as
subject-matter
114
• Interested in
communicating what the public
would understand
• Showed people “frozen” in
everyday activities
• Focus on different types of
people to comment on American
culture
• Viewers often mistake
sculptures for real people
Style Name and
Artist’s Context:
Time, Place, Events
Abstract Figure Sculpture
Late19th century-present
Henry Moore
1898-1986, England
20th Century
form, etc.)
• Good design was more
important than looking realistic
• Fractured shapes and spaces
• Actual color of object not
important (invented color)
• Other abstract figurative
sculptors Barbara Hepworth,
Jacques Lipchitz, Alexander
Archipenko, Umberto Boccioni
• Modern British sculptor
• Media: Carved wood and
stone
• Frequently shows female
figure with simplified massive
forms
• Polished surface
• Large, abstract, curved
surfaces (no details)
• Interest in the relationship
between negative and positive
space in a sculpture
• Inspired by primitive
bronze-age sculpture, Mexican,
Egyptian and African artworks,
and the form of skeletal bones
• Had a profound love of
nature and knowledge of
organic forms and materials
• Drew parallels between
intriguing qualities in nature
such as the mystery of caves in
hillsides that are referenced in
his figurative work
20th Century-present
David Smith
1906-1965, USA
Minimalism
1940’-1970’s United States
• Art that does not represent
real objects in any way
• Subject matter of the work
is about elements of art and their
relationship to each other
• Large scale metal
sculptures
• Works consist of simple
geometric forms cubes,
cylinders and rectangular bars
made of stainless steel.
• Forms were welded
together and piled one on top of
another
• Burnished the metal surface
with steel wool to produce
swirling patterns which capture
light and add texture to the
sculpture
• Center of western art world
shifted from Paris to New York
following World War I
• Smith learned to weld in an
auto plant in 1925. Working in
large scale at the plant helped
him visualize the possibilities
for monumental metal sculpture.
• Emphasized extreme
simplification (“less is more.”)
• Encourages people to find
their own meaning in the
sculpture
• Other minimalists:
Ellsworth Kelly, Richard Serra,
Donald Judd, Sol LeWitt
115
• World War I (Moore was a
veteran.)
• World War II (Moore
completed a series of drawings
of people in bomb shelters.)
Style Name and
Artist’s Context:
Time, Place, Events
Realistic Landscape
19th century - present
John Constable
1776-1837, England
Romantic Landscape Painting
19th century
• Portrays outdoor spaces
• Holds a “mirror up to
nature,” showing outdoor scenes
with little distortion/alteration
• Objects and people are less
important than the setting.
• The setting is the subject.
• Uses atmospheric
perspective
• Best known of the English
landscape artists
• His large scale painting
titled The Haywain shows a
calm picturesque country scene
• dull green and gold colors,
and brushwork of clouds and
skies create the illusion of
weather conditions
• Figures are represented as
part of nature
• Constable studied the
science of weather which helped
him capture the texture that the
atmosphere gave to landscapes
• Worked from direct
observation of nature
• Europe and United States
• Landscape painting came
into its own for the first time as
a respected subject matter
• Tourism grew with the
expansion of the railroads
contributing to the popularity of
landscape paintings
• Landscapes were used to
communicate ideas of a
spiritual, moral, historical nature
• Concern for the negative
effects of Industrialization
supported interest in landscape
painting
• Artists of this time
incorporated an awareness of
the science of weather and
atmosphere.
• Other artists include
Thomas Cole, Frederic Edwin
church, George Inness
*Ansel Adams
1902-1984, United States
*Conservationist Photography
United States 20th centurypresent
• 20th Century American
photographer of natural settings
in the west.
• Life long interest and
involvement in National Parks
• 40 yr. leadership in the
Sierra Club
• Black and White images
• Conservationist
• Awarded the Presidential
Medal of Freedom – the highest
civilian medal awarded
116
• Communicates ideas
through a place, “Wild
America”, ideal world,
geographic features
• Focus on preservation of
national Heritage
• Conservation movement
and environmental awareness of
the 20th century
Style Name and
Artist’s Context:
Time, Place, Events
Abstract Landscape
20th Century to present
Paul Cezanne
1839-1906, France
form, etc.)
• Realistic portrayal less
important than design
• Fractured shapes and spaces
Actual color of object not
important (invented color)
• His aim was to understand
the structure behind what the
eye observes
• Tried to portray structure
and solidity of natural settings in
terms of color patterns, planes
and lines
• Mixed different points of
view in the same picture
Post Impressionism
Late 19th century-early 20th
century, France
Nonobjective Painting and
Drawing
20th Century to present
Victor Vasarely
1908-1997, France
• Art that does not represent
real objects in any matter
• Stresses elements of art and
their relationship to each other
• Hungarian born French
abstract painter - founder of the
Op Art movement of the 60’s
and 70’s.
• The rules that the eye
makes sense of an image are the
“subject” of the art work
• Bright colors/ black and
white
• Mathematically oriented
form of abstract art
• Exaggerated sense of depth,
foreground – background
confusion
117
• First artists to be labeled
Avant-garde which lead to the
development of the Fauves,
Cubists and Dada movement)
• Communication of a feeling
or idea about the subject is
shown
• These artists learned from
and later reacted against
impressionism to create new
approaches
• Other post – Impressionist
artists include Vincent Van
Gogh, Paul Gauguin, Georges
Seurat
Op Art
1960’s-1970’s
Europe & America
• First purely abstract
painting by Vassily Kandinsky
• Uses repetition of simple
forms and colors to create
vibrating effects
• Uses optical properties of
color as a unifying element
• Rows, grids, stripes and
other repeated arrangements
• American cultural
revolution of the 1960’s
• Other artists include Josef
Albers, M.C. Escher
Style Name and
Artist’s Context:
Time, Place, Events
Art as Personal
Communication
Aaron Douglas
1898-1979, New York, USA
Harlem Renaissance
1919-1929, New York, USA
• Born in Kansas, studied in
Nebraska and Paris, settled in
New York City to become part
of the Harlem renaissance
movement
•
Graphic artist in New York
City
• Incorporated designs from
African sculpture into his
paintings
• Influenced by cubism,
showed transparent geometric
planes
• Promoted the cultural
accomplishments of African
Americans
• Encouraged racial tolerance
across the United States
• Represented symbolically
the historical and cultural
memories of African Americans
*Edvard Munch
1863-1944
Working in France, Germany
The Scream, 1893
*Symbolism
1889-1900
Europe-
• Often symbolic
• Highly emotional
• Abstraction and
exaggeration used to
communicate ideas
• Norwegian painter linked in
spirit to the symbolist
movement and inspired the
German Expressionist
movement of the 20th century.
• Most of his art dealt with
his belief that humans were
powerless before the natural
forces of love, jealousy, desire,
despair and death.
He was opposed to the realistic
or impressionistic approaches
that were tangible. His interest
was in describing the inner
reality that was intangible.
Art as Mass/Graphic
Communication
• Often done as prints, series
of prints
• Advertising/commercial art
forms, products
Andy Warhol
1928-1927, USA
• 60’s Pop artist
• Self Portrait
• Subjects: celebrities, self
portrait, product labels
• Serial/mass produced
images
• Printmaking
• Bright, unrealistic colors
118
• European movement which
included both art and literature
• The task of the symbolist
was not to simply show reality
but look for deeper meanings and
emotions
• These artists were interested
in fantasy and imagination.
• Influenced by the work of
Sigmund Freud, the founder of
psychoanalysis
• Other artists: Henri
Rousseau, Odilon Redon
Pop Art
1960’s-1970’s, England, USA
• Artwork that used
mass/commercial products and
pop culture as its subject
• Other Pop Artists:
Rauschenberg, Lichtenstein
• 60’s cultural revolution
Compare and contrast artworks with reference to the time, place, context, and characteristics of style.
Unit Vocabulary:
abstract, artifacts, atmospheric perspective, avant-garde, chiaroscuro, conservationist photography, Cubism,
dramatic lighting, figurative, German Expressionism, graphic communication, Harlem Renaissance,
Minimalism, modeling, Nonobjective, Op Art, patron, photojournalism, Photo-Realism, Pop Art, PostImpressionism, Realism, Surrealism, Symbolism, trompe l’oeil, vanitas
Pre-Assessment:
Students identify works by style and period.
Students complete a Venn diagram on which they compare and contrast artworks on each attribute: time,
place, style name, characteristics of style, what life was like and how art was valued in the society/culture.
Activity
printed with: TIME, DATE, PLACE, CONTEXT,
STYLE NAME, STYLE CHARACTERISTICS, and
WHY WAS IT VALUED?
Activity
Create a miniature that the artist could have created (but
didn’t). Explain how this work would have fit in with
the times/culture in which the artist worked. Refer to the
place, time, context, characteristics of style, and give
information about the artist to defend your work.
Activity
is an excellent example of a particular period, predict
why you believe its value will rise in the future (how it
will influence current and future artists). (Research,
Technology)
Strategy
Cooperative
Identification
Assessment
Strategy
Applying content
form.
Assessment
Characteristics of style
must be present in the
art and the explanation
must refer to accurate
information.
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
the highest price
the audience of its
information?
Independently conduct research styles of art using print, media, and computer technology. (R)
Create a booklet of miniature artworks that use characteristics of each style with contemporary subject
matter.
Create a model of a museum wall using images and text to teach about one or more styles or periods of art
history.
Work in a cooperative team to present a simulation of historical artists in a panel discussion (role playing).
119
Create a “living tableau” of an artwork in which portraits “come alive” to discuss their lives and times.
Application Level Assessment Art Fundamentals, CCO III: The student will compare and contrast
artworks on the basis of style including reference to the time, place, context, and characteristics of each.
Student Task:
Apply information you have learned about art to unfamiliar works presented by your teacher. Compare and
contrast two or more artworks considering several factors: time place, context, style, characteristics, and
reason for being valued as art.
,
120
Art Fundamentals, CCO III, Art History Reflective Writing Worksheet Name:
Class:
Which style is each work?
Work A
Work B
Work C
Which characteristics are critical for determining the style? WHY?
Work A
Work B
Work C
On the basis of style and subject matter, when do you think the work was created? WHY?
Work A
Work B
Work C
121
On the basis of style and subject matter, where do you think the work was created? WHY
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
122
Scoring Guide for Art Fundamentals, CCO III
Criteria
artworks on style,
characteristics, and context.
• Realistic, abstract, and
non-objective drawings,
and/or paintings (portrait,
landscape, still life)
• Realistic, abstract and
non objective sculpture
• Art as Personal
Communication
• Art as Mass or Graphic
Communication
4
Advanced
•
•
•
•
evaluates sets of
artworks
Addresses the most
of the work
work
and specific
3
Proficient
•
•
•
•
evaluates sets of
artworks
Addresses important
work
2
Nearly Proficient
•
•
•
•
•
123
sets of artworks
work
Supports some
to the work
Some important
be incorrect
1
Progressing
•
•
•
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
Art Fundamentals, CCO IV
Core Conceptual Objective IV, Interrelationship with other subjects: Students will make connections
between visual arts and another content area.
Analysis of works in art is similar to the analytic reasoning process in
language arts.
Content and Skills:
The model for art criticism is based on analytical writing
methods where facts are examined, and relationships
between are deduced through analytic reasoning:
• Description (similar to concrete details)
• Analysis (similar to commentary)
• Interpretation (similar to thesis)
• Judgment (conclusions about the artwork)
FA 4, CA 1
be able to do:
Compare and contrast the art criticism method
with the process for analytical writing in
Language arts.
Unit Vocabulary:
Art criticism process, description, analysis, interpretation, judgment, deduction, analytic reasoning,
examination, concrete details, commentary, thesis, and conclusions
Pre-Assessment:
Students list and explain steps in the art criticism and analytic reasoning processes.
Activity
Students memorize definitions for each step in the art
criticism and analytic reasoning processes
Strategy
Memorization
Assessment
Matching test
Activity
Students use each of the processes to analyze art and
writing.
Strategy
Modeling
Assessment
Scoring Guide applied
to essay.
Activity
Students use a graphic organizer to teach connections
between art criticism and analytic reasoning.
Strategy
Peer teaching
Assessment
Scoring Guide
In cooperative groups, students learn and then jigsaw information to teach each other about art criticism
and analytic reasoning.
Use a Venn diagram to show similarities and differences between the art criticism and analytic reasoning
processes.
Application Level Assessment Art Fundamentals, CCO IV: The student will make connections between
visual arts and language arts.
Student Task:
Compare and contrast the art criticism method with the process for analytical writing in Language arts.
124
Scoring Guide for Art Fundamentals, CCO IV
Criteria
Compares and contrasts the
art criticism process with
the analytic reasoning
process in language arts
4
Advanced
•
•
•
•
art criticism and analytic
reasoning with reference
to steps in each
Addresses the most
of the processes
detailed reference to each
process
and specific
3
Proficient
•
•
•
•
to steps in each
Addresses significant
processes
reference to each process
2
Nearly Proficient
•
•
•
•
•
125
to steps in each
processes
Supports some
to the process
Some important
be incorrect
1
Progressing
•
•
•
Lists steps in each
process without
explanation
Information may be
incomplete
Information may be
incorrect
Drawing I
126
Drawing I Scope and Sequence
A
Line: Gesture, weighted
Form: Illusion of form, five value range, reflected light in complex arrangement
Texture: Mark making for texture and expression
Value: Value scales and application of hatching, crosshatching, stippling
Space: Negative space defines positive; Illusion of space through two-point linear perspective,
size relationships, overlapping, and atmospheric perspective (change of detail, clarity,
modeling)
Balance: Compositional structure through shape, value, texture
Emphasis: Focal point through contrast, convergence, isolation, location, overlapping, unusual
juxtaposition
Contrast: Simultaneous contrast of three elements
Rhythm: Direct viewer’s eye through repetition of an element
Proportion: Figure proportions – real versus “average”
Portrait proportions – real versus “average”
Unity: Unified composition through four element
B
Printmaking: Dry point etching
Pen and ink
C
Expressive Figure &
Portrait
Personal communication of an idea (self, peace, freedom, justice, love, war, nature)
Architecture
Landscape
Aesthetics
Compare and contrast the aesthetic point of view evident in drawings by Durer, Sargent,
Kollewitz, and Chinese landscape artists.
Art Criticism
Use the art criticism process to describe, analyze, interpret, and judge drawings.
127
Drawing I Scope and Sequence
Figure /Portrait: Edgar Degas, John Singer Sargeant, Kathe Kollwitz, Albrecht Durer
Landscape: Chinese pen and ink landscapes
Architecture: Classical, Gothic, Modern
Connect figure in drawing to anatomy studies in science.
128
Drawing I, CCO IA
visual language.
FA 1, FA 2
Content and Skills:
By the end of this grade/course students
should know:
Line: gesture, weighted
Create an artwork using gestured and weighted line.
Form: Illusion of form, five value range,
reflected light in complex arrangement
Create an artwork showing the illusion of form using a fivevalue range and reflected light.
Demonstrate knowledge of monochromatic color.
Texture: Mark making for texture and
expression
Create artwork that demonstrates textures and expressive texture
through mark making.
Value: Value scales and application of
hatching, crosshatching, stippling
Create artwork that demonstrates value through hatching,
crosshatching and stippling.
Space: Negative space defines positive;
Illusion of space through two-point
linear perspective, size relationships,
overlapping, and atmospheric
perspective (change of detail, clarity,
modeling)
through two-point linear perspective, size relationships, and
overlapping.
through atmospheric perspective (change of detail, clarity,
modeling).
Balance: Compositional structure
through shape, value, texture
Create an artwork that demonstrates compositional balance
through shape, value, texture.
Emphasis: Focal point through contrast,
convergence, isolation, location,
overlapping, unusual juxtaposition
Create an artwork that creates a focal point through contrast and
convergence isolation, location, overlapping, unusual and
juxtaposition.
Contrast: Simultaneous contrast of three
elements
Create an artwork that has simultaneous contrast of three
elements.
Rhythm: Direct viewer’s eye through
repetition of an element
Create an artwork that directs the viewer’s eye through
repetition of an element.
Proportion: Figure proportions – real
versus “average”
Portrait proportions – real versus
“average”
Create an artwork that demonstrates figure proportions – real
versus “average”.
Create an artwork that demonstrates portrait proportions – real
versus “average”.
Unity: Unified composition through four
elements
Create a unified composition through four elements.
129
Unit Vocabulary:
Line, gesture, weighted line ,form, illusion of form, five-value range, reflected light , color, monochromatic
color, texture, mark making, expressive texture, value, value scale, hatching, crosshatching, stippling
space, negative space, illusion of space, two-point linear perspective, overlapping, atmospheric
perspective, detail, clarity, modeling, balance, emphasis, focal point, contrast, convergence, isolation,
location, overlapping, unusual juxtaposition, rhythm, proportion, figure, portrait, real versus “average”
unity.
Pre-Assessment:
Sketch an object using gesture and/or weighted line.
Shade a sphere using a five-value range and reflected light.
Shade a sketch using a monochromatic color scheme.
Create examples of textural and expressive mark making.
Create value scales using hatching, crosshatching, and stippling.
Draw a box using two-point perspective.
Sketch a landscape showing atmospheric perspective (change of detail, clarity, and modeling).
Create a balanced composition using shape, value, and texture.
Using basic shapes (circle, square, triangle) create a focal point through contrast, convergence, isolation,
location, overlapping, and unusual juxtaposition.
Create a thumbnail sketch showing contrast of 3 elements.
Create a thumbnail sketch showing repetition of one element to create rhythm.
Sketch a “face map” labeling accurate facial proportions.
Sketch a figure labeling accurate figure proportions.
Show unity through four elements.
Activity
Students will shade an object using a 5 value range and
reflected light using hatching, cross hatching or
stippling.
Activity
Students will create a landscape illustrating atmospheric
perspective (change of detail, clarity, and modeling).
Activity
Students will create a self-portrait from, observation,
using a monochromatic color scheme to suggest a
specific mood and then self-evaluate using a scoring
guide.
Strategy
Drawing
Assessment
Checked for accuracy
Strategy
Modeling
Assessment
Scoring guide
Strategy
Modeling
Self-evaluation
Assessment
Scoring guide
Students draw more or less complex objects.
Students draw simple or more difficult figure positions (standing from front versus foreshortened).
Students create a ten-step value scale.
Take a photograph of a model and use it as a basis for a drawing.
Draw textures and details on “correct scale” buildings in two-point perspective.
Assemble and reassemble cut out shapes to create emphasis and unity in compositions.
130
Application Level Assessment Drawing I, CCO IA: The student will demonstrate knowledge of elements
and principles through the production of artwork.
Student Tasks:
Create an artwork using gestured and weighted line.
Create an artwork showing the illusion of form using a five-value range and reflected light.
Demonstrate knowledge of monochromatic color.
Create artwork that demonstrates textures and expressive texture through mark making.
Create artworks that demonstrate value through hatching, crosshatching and stippling.
Create an artwork that demonstrates the illusion of space through two-point linear perspective, size
relationships, overlapping.
Create an artwork that demonstrates the illusion of space through atmospheric perspective (change of
detail, clarity, and modeling).
Create an artwork that demonstrates compositional balance through shape, value, texture.
Create an artwork that creates a focal point through contrast and convergence isolation, location,
overlapping, unusual and juxtaposition.
Create an artwork that has simultaneous contrast of three elements.
Create an artwork that directs the viewer’s eye through repetition of an element.
Create an artwork that demonstrates figure proportions – real versus “average”.
Create an artwork that demonstrates portrait proportions – real versus “average”.
Create a unified composition through four elements.
131
Scoring Guide for Drawing I, CCO IA
Criteria
Line weight
4
Advanced
•
•
3
Proficient
Line weight varies
widely in the following
ways to describe the
subject: pressure, value,
width
Weight varies to add
expressive emphasis
•
•
2
Nearly Proficient
Line weight varies in the
following ways to
describe the subject:
pressure, value, width
Weight varies to capture
the form of the subject
•
•
1
Progressing
Line weight varies in two
of the three ways to
Weight varies to indicate
the form in some parts of
the subject
•
Line weight varies in one
of the three ways to
Gesture
•
Energetic line creates
tone and mass to quickly
and accurately describe
subject matter
•
Energetic line creates
tone and mass to quickly
describe most of the
subject matter accurately
•
Line creates tone and
mass with some
accuracy.
•
Captures little
information about subject
matter
Illusion of Form with
Complex Objects
•
Shading creates the
illusion of form across a
range of 5 values using
smooth gradation
Cast shadow on flat
surface is accurate in
placement and shape
Five different forms used
alone or in combination
•
Shading creates the
illusion of form using 4
values
indicate light source.
Most shading continuous
shadow on a flat surface.
Student chooses four
different forms (alone or
in combination)
•
Few values created
through shading
indicating light source
than continuous
placement.
Three forms used (alone
or in combination)
•
•
Shading is sketchy.
Shading does not
No cast shadow
Two forms used (alone
or in combination)
Demonstrates a five or
more value range
•
Demonstrates a four
value range
•
Demonstrates a three
value range
Several colors used
•
•
•
• highlight
• light halftone
• halftone
• dark halftone
• core of the shadow
• cast shadow
reflective light
•
•
•
•
Monochromatic Color
Scheme
•
•
•
•
•
132
•
•
•
•
•
•
•
•
Two value range
Several colors used
Only tints or only shades
Line: to create value
Hatching
•
•
•
•
•
Crosshatching
•
•
•
•
Stippling
•
•
Tone
•
•
•
•
Lines used next to each
other to create value
Parallel lines follow
shape of object
Line weight & length
varies
Variety of line closeness
to create 7 or more
values
Overlapping vertical,
horizontal and diagonal
lines to create value
shape of object in two or
more directions
Line weight & length
varies
Space between lines
varies to create 7 or more
values
Dots repeated to create
value
Value defines form
Dots gradually spaced
farther apart to create 7
or more values
Strokes overlap smoothly
Gradually presses harder
to create darker values
Gradually lessens
pressure for lighter
values
Creates 7 or more values
•
•
•
•
•
•
•
•
•
•
•
•
•
shape of object
to create 5-6 values
•
shape of object in two
directions
Space between lines
varies to create 5-6
values
•
value
Value defines form
farther apart to create 5-6
values
Gradually lessens
values
Creates 5-6 values
•
133
•
•
•
•
•
•
•
•
•
•
Some lines may cross
each other
to create 3-4 values
•
Crossing of lines may not
follow shape of object
Space between lines
varies to create 3-4
values
•
value
Value defines form
farther apart to create 3-4
values
Some streaks are visible
Gradually lessens
values
Creates 3-4 values
•
•
•
•
•
•
•
•
•
•
Many lines may cross
each other
to create 2 or less values
Random crossing of lines
unrelated to shape of
object
Space between lines
varies to create 2 or less
values
value
Outline defines form
farther apart to create 2
or less values
Lines are visible
Bands of value rather
than smooth blending
1-2 values
Simulated Texture
•
•
•
Space
•
Linear Two Point
Perspective
•
•
Looks like threedimensional texture but
is flat
Shows specific, observed
texture
Demonstrates a variety
of textures
•
Draws two-point
at one of two vanishing
points
Draws all vertical
dimensions parallel to
each other
Includes complex shapes
which might include
diagonal and curves
•
•
•
is flat
Shows specific, observed
texture
•
Draws two-point
points
Draws all vertical
dimensions parallel to
each other
•
•
•
•
is flat
Shows specific texture
•
Draws two-point
perspective with most
points
Some converging lines
go in the correct
direction but do not
touch the vanishing point
“Closes” the far corner of
cubes with lines that do
not converge to the
vanishing points
•
•
•
Looks like threedimensional surface, but
is flat
Random marks
Draws most angled lines
toward but not meeting at
the vanishing point
“Closes” the far corner of
cubes with lines that do
not converge to the
vanishing points
Space: Positive and
Negative
•
Negative space
accurately defines
positive space
•
Balances positive and
negative space
•
Pays more attention to
positive space than
negative space
•
Negative space is
“leftover” rather than
being arranged in the
composition
Space: Atmospheric
perspective
•
Consistently
Demonstrates more
clarity and detail in
foreground subject
matter and less in the
background
•
Demonstrates more
clarity and detail in
foreground subject
background, with some
inconsistency
•
Demonstrates more
clarity and details in
foreground subject
background, with
inconsistency
•
Atmospheric perspective
is not demonstrated
134
Space: Size relationship
•
•
•
•
•
Objects, next to each
other and equally far
from the viewer, are
realistic in relative size
Objects that are closer to
the horizon (farther from
the viewer) are drawn
smaller
Objects that are farther
from the horizon (closer
to the viewer) are drawn
larger
Similar sized objects are
used several times at
different distances to
create the illusion of
depth
Objects consistently get
smaller as they go back
in space (for example a
row of telephone poles)
•
•
•
•
from the viewer, are
realistic in relative size
smaller
larger
used several times at
depth
•
•
•
•
from the viewer, are in
correct scale to each
other
smaller
larger
used a couple of times at
depth
•
•
•
other, are unrealistic in
size (for example a
person’s height is too tall
for the door of a
building)
Objects are drawn the
same size whether they
are close to the horizon
or far from it
Similar-sized objects are
not repeated at different
distances so the space
looks flat
Space: Overlapping
•
Objects overlap
throughout the
composition to create the
illusion of deep space
•
Objects overlap in many
parts of the composition
to create the illusion of
space
•
Objects overlap at a
couple of places in a
composition
•
Objects are lined up side
by side or on top of each
other
Balance: Balanced
composition through shape,
•
All elements have equal
visual weight on both
sides of the composition
•
Three elements have
equal visual weight on
both sides of the
composition
•
Two elements have equal
Two elements are used in
unequal amounts on the
two sides of the
composition
•
One element has equal
Three elements are used
in unequal amounts on
the two sides of the
composition
135
•
•
Emphasis/Focal Point:
Emphasis/ Focal Point
through contrast,
convergence, isolation,
location, overlapping,
unusual juxtaposition
•
Three techniques are
used in combination to
create a strong focal
point
•
Two techniques are used
in combination to create
a strong focal point
•
One technique is used to
create a focal point
•
No area in the
composition gets the
most attention
Contrast: Contrast through
simultaneous use of three
elements (value, shape,
texture, or line)
•
Contrast is clearly
demonstrated by variety
in the simultaneous use
of 3 elements
•
Contrast is demonstrated
by variety in the
simultaneous use of 2
elements
•
Contrast is demonstrated
by variety in the use of 1
element
•
There is little variety in
the artwork
Rhythm: Rhythm through
the simultaneous use of
elements (value, shape, line,
or texture)
•
The viewer’s eye is
clearly directed through
the simultaneous
repetition of 3 elements
•
clearly directed through
the repetition of 2
elements
•
directed through the
repetition of one element
•
The viewer’s eye is not
clearly directed
Figure Proportion
•
Uses a measurement
system such as “number
of heads” to determine
accurate proportions
Shows accurate and
detailed shape of
observed body parts
Shows accurate position
and angles
Shows accurate size
(length & width) of
observed body parts
Detailed folds and/or
shadows on clothing
show the form
Shows foreshortened
proportions
•
Uses a measurement
Shows accurate shape of
observed body parts
and angles
Shows accurate size
(length & width) of
observed body parts
Folds and/or shadows on
clothing fit the form
•
Uses a measurement
proportions
Shows the shape of
generic or average body
parts
Shows generic or
average position and
angles
Shows generic or
average size (length &
width) of body parts
Folds and/or shadows
match parts of the form
but look flat (like they
were on a hanger instead
of a body) in some places
•
Judges proportions
without using a
measurement system
The length, size, and/or
shape of part(s) of the
figure need to be
changed to look like a
real person\
Head may be too large
Arms may be too short
with fingers at waist
instead of elbows at
waist
Legs may be too short
Angles between bones
are wrong
From observation of a live
model
•
Includes all observed body
parts: head, neck, shoulders,
arms, elbows, wrists, hands,
waist, hips, thighs knees,
calves, ankles, feet
•
•
•
•
•
•
•
•
136
•
•
•
•
•
•
•
•
•
Facial Proportions
•
model
•
Facial features include shape
and size of: head, neck, eyes,
ears, nose, mouth, eyebrows,
hair, and portion of the
shoulders
Unity through use of three
elements (line, shape, form,
texture, value, space)
•
•
shape of an individual’s
facial features
spaces between all facial
features
Depicts a specific
individual’s head /face.
Shows foreshortening
due to angle of model’s
head
• Unified through the use of
four elements
•
•
•
Captures the shape of
facial features
Captures the spaces
between all facial
features
Depicts an average,
realistic looking head
/face but not an
individual’s variations
three elements
137
•
•
•
Shows believable shapes
of all facial features
Shows believable spaces
between all facial
features
Shows a little distortion
from an average
face/head
two elements
•
•
•
Stereotypes or
exaggerates shapes of
some facial features
Exaggerates spaces
between features as in a
cartoon
Eyes may be too high
one element
Drawing I, CCO IB
Quality artwork requires the skillful use of media, techniques, and processes.
Content and Skills:
should know:
FA 1, FA 2
Create tones by controlling pressure with pencils, conte.
Create a dry point etching.
Printmaking: dry point etching
Create values artwork in pen and ink.
Pen and ink
Unit Vocabulary:
Hatching, crosshatching, stippling, dry point etching, pen and ink, conte
Pre-Assessment:
Create value scales using hatching, crosshatching and stippling.
Shade a sphere using a variety of media (pencil, pen, ink).
Activity
Students will shade a sphere in each of the techniques:
hatching, crosshatching and stippling.
Strategy
Draw
Assessment
Scoring guide
Activity
Students will create a detailed study of a complex still
life using their choice of technique and media.
Strategy
Investigate/construct
Assessment
Scoring guide
Strategy
Design/combine/
develop
Assessment
Scoring guide
Activity
Students will select media to communicate an idea (self,
peace, freedom, justice, love, war, nature).
Students use hatching, crosshatching, stippling, or invented marks to simulate textures.
Students mix soft and hard media.
Students may choose media that best expresses purpose of work.
Students may choose subject matter based upon student interest.
Application Level Assessment Drawing I, CCO IB: The student will demonstrate knowledge of media
processes and skills through the production of artwork.
Student Tasks:
Create tones by controlling pressure with pencil, charcoal, and conte.
Create a dry point etching.
Create values using hatching, crosshatching, and stippling.
138
Scoring Guide for Drawing I, CCO IB
Criteria
Use of pencil, conte crayon
to create gradated tone
4
Advanced
•
•
•
•
•
•
Use of pencil, conte crayon
to create line
•
•
•
•
•
•
•
•
•
3
Proficient
Uses side of tool to lay
down a band of value
Gradually lessens
values
Values follow form
Value used to show edge
of object
•
•
Line used to create hard
and soft edges of forms
Follows specific,
observed contour of
edges
Varies line length
Varies line direction
Varies pressure and
angle to create thicker
and thinner lines
Varies pressure to create
lighter and darker lines
Builds up texture through
layers
Varies line to create
emphasis
Uses for expressive
intent of the artist
•
•
•
•
•
•
•
•
•
•
•
•
2
Nearly Proficient
Gradually lessens
values
Values follow form
Value used to show edge
of object
•
•
Follows contour of edges
Varies line length
Varies pressure and
and thinner lines
Builds up texture through
layers
Varies line to create
emphasis
•
139
•
•
•
•
•
•
•
•
1
Progressing
Some streaks are visible
Gradually lessens
values
Values follow form
•
•
Follows general contour
of edges
Varies line length
Varies pressure and
and thinner lines
•
•
•
•
•
Lines are visible
Bands of value rather
than smooth blending
Value inconsistent in
following shape of object
Creates general outlines
of forms
Varies line length
Drypoint Etching
Creating Printing Plate
Printing
• Hatching and
crosshatching techniques are
used to create a range of 5
values
•
Hatching and
crosshatching techniques
are used to create a range
of 4 values
•
Hatching and
are used to create a range
of 3 values
•
Hatching and
are used to create 2
values
• Ink on plate surface is
wiped clean without smears
• Accurate registration
produced a clear image
•
Ink on plate surface is
wiped with few smears
Image is clear
•
Ink on plate surface is
wiped unevenly
Image is clear
•
Some areas of plate do
not print
Inaccurate registration
produced a blurry image
Fingerprints or smudges
•
•
•
•
140
Drawing I, CCO IC
Core Conceptual Objective I C, Theme or Subject Matter: Students will communicate themes/subject
matter through the production of original artwork.
Artists communicate ideas through their choice of subject matter and
theme.
FA 1, G 3.1
Content and Skills:
should know:
Expressive Figure & Portrait
Create an expressive figure & portrait drawing.
Personal communication of an idea (self,
peace, freedom, justice, love, war, nature)
Create an artwork that communicates a personal idea (self,
peace, freedom, justice, love, war, nature).
Architecture
Create a drawing of a building.
Landscape
Create a landscape.
Draw a complex object still life.
Unit Vocabulary:
Expressive figure, expressive portrait, personal communication of an idea, architecture, landscape, complex
object still life
Pre-Assessment:
Students will compare and contrast a variety of expressive portrait and figure drawings.
Students will view architectural examples to identify architectural elements.
Students will compare and contrast the personal ideas communicated in various master works.
Students will compare and contrast landscape drawings to analyze the different stylistic approaches used.
Students will create thumbnail sketches of a complex still life to explore different composition alternatives.
Activity
Students will identify architectural elements from
examples.
Activity
Students will sketch a variety of symbols and imagery
that communicate their own personal ideas. They will
be shared with the class and students will try to identify
each other by their drawings.
Activity
Students will develop a unique architectural drawing that
combines a variety of architectural elements to form a
new style.
141
Strategy
Memorization
Assessment
Matching Test
Strategy
Critical Thinking
Assessment
Scoring guide
Strategy
Critical Thinking
Assessment
Scoring guide
Students will design a building for a purpose based upon student interest.
Students express personal ideas based upon student interest.
Students will draw simple or complex views of the face and figure depending upon their skill level.
Application Level Assessment Drawing I, CCO IC: The student will communicate themes/subject matter
through the production of original artwork.
Student Tasks:
Create an expressive figure & portrait drawing.
Create an artwork that communicates a personal idea (self, peace, freedom, justice, love, war, nature)
Create a drawing of a building.
Create a landscape.
Draw a complex object still life.
142
Scoring Guide for Drawing, CCO IC
Criteria
Theme or Subject:
4
Advanced
•
•
•
•
•
Develops realistic,
detailed contour, form,
texture from observed
subjects
Chooses compositions
that are expressive
Composition has a
clearly identifiable focus
supported by the
elements
Chooses a particular
point of view
3
Proficient
•
•
•
•
•
form and texture of
observed subjects
that are balanced
Composition has a focus
Chooses a point of view
143
2
Nearly Proficient
•
•
by another artist
Shows simplified
contour, form, and
texture of observed
subjects
1
Progressing
•
•
•
work
Shows a simplified form
or contours instead of
matching the observed
one
Merely draws what is in
front of the student
without making
compositional choices:
includes too much/too
little, has no clear focus,
etc.
Theme or Subject:
Figure or Portrait Drawing
•
•
•
•
Evokes a clear story or
emotion
Viewer’s understanding
the artist’s detailed
statement about the
meaning of the artwork
All proportions clearly
match the observed
subject
•
•
•
•
•
Evokes a story or
emotion
about the meaning of the
artwork
Sets up major
proportions that are
correct: Figure Drawing:
6-8 heads tall, 2 heads
wide, arms 3 heads long,
legs 4 heads long.
Portrait: eyes halfway
down, and 1/5th the width
of skill, nose halfway
down from eyes, lips
halfway down from nose,
shoulders 2 heads wide
placement and size of
features are correct.
Any errors are minor and
do not detract from
drawing
144
•
•
•
by another artist
of the artwork and the
artist’s statement do not
match
Almost all major
proportions match the
observed subject
•
•
•
work
match
Only half of proportions
match the subject
Theme or Subject:
Communicating Ideas
•
•
•
•
Theme or Subject:
Architecture
•
•
Theme or Subject:
Still Life
•
•
•
•
•
emotion
statement about the
message of the artwork
Complex, abstract ideas
original way
•
•
Integrates many
examples of specific
architectural styles
influences in complex
arrangement within an
original artwork
Perspective lines
converge correctly
•
Develops realistic,
subjects
that are expressive
Composition has a
supported by the
elements
point of view
•
•
•
•
•
•
•
•
emotion
artwork
Abstract ideas are
communicated in an
original way
•
Integrates examples of
architectural styles
within an original
artwork
Perspective lines
converge correctly
•
form and texture of
observed subjects
that are balanced
•
145
•
•
•
•
by another artist
message that is related to
the simple, written
original way
•
Copies an architectural
style within an original
artwork
Perspective lines
converge, although not at
the same location
•
by another artist
Shows simplified
contour, form, and
texture of observed
subjects
•
•
•
•
•
•
work
or missing
Ideas may be stereotypes
work
Perspective lines are
parallel, not converging
work
one
without making
etc.
Theme or Subject:
Landscape
•
•
•
•
•
•
•
•
•
Location of horizon is
clearly indicated from
other elements on the
page
Draws near objects as
highly detailed, gradually
decreasing level of detail
for distant objects
Draws near objects with
high-contrast values;
middle ground objects
with less value contrast,
and far objects as
middle-range values
without contrast
Arranges objects to
create many instances of
overlap that reinforce the
sense of space
Places near objects away
from the horizon, distant
objects close to the
horizon
Creates a balanced
composition
Breaks up the space of
the drawing page in an
interesting way
Includes many details
with specific character
•
•
•
•
•
•
•
•
•
•
indicated from other
elements on the page
detailed, with less detail
distant objects
high-contrast values,
those farther away with
low-contrast, middlerange values
Arranges objects to
create instances of
sense of space
horizon
Creates a balanced
composition
Breaks up space
Includes many details or
details have specific
character
146
•
•
•
•
•
•
•
•
by another artist
detailed or distant objects
with less detail
high-contrast values
Arranges objects to
overlap
from the horizon, or
distant objects close to
the horizon
Includes large areas with
just a single color or
texture
Includes details that are
generic
•
•
•
•
work
Includes large, blank
areas
Needs more variety
Drawing I. CCO II
Artists communicate aesthetic beliefs through their choice of subject
matter, media techniques, and style.
Content and Skills:
know:
able to do:
Aesthetics
Artists communicate one or more aesthetic points of
view in their drawings.
• Durer – Imitationalism, Functionalism in
communicating religious stories
• Sargent – Emotionalism (romanticized view of
subjects), Imitationalism in observation,
Functionalism as commissioned portraits
• Kollwitz – Emotionalism, Functionalism in
communicating anti-war message
• Chinese Landscape Artists – Imitationalism,
Functionalism in communicating spiritual
beliefs related to nature
Aesthetic Theories
representation.
Formalism values the design or use of elements and
principles in a composition. The subject matter of
the artwork may be about an element such as shape
or color.
spiritual function of a mask in an African ceremony,
the persuasive purpose of an advertisement, or the
practical purpose of a teapot.
Art Criticism
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Aesthetics
Compare and contrast the aesthetic point of view
evident in drawings by Durer, Degas, Sargent,
Kollwitz, and Chinese landscape artists.
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Art Criticism
Feldman Model:
the artwork.)
artwork.)
media, themes.)
Unit Vocabulary:
147
Pre-Assessment:
Students identify aesthetic beliefs in artwork.
Activity
Match aesthetic theories to artists, explaining choices.
Activity
Students will select and conduct research on an artist’s
drawings, then role play the artist in a panel discussion
about the merits of various aesthetic theories..
Activity
Groups of students will each prepare a defense of one
point of view with reference to drawings by famous
artists. Teams will debate each other.
• “The best art copies life as it is observed,
photographically (imitationalism)”
• “The best art represents life (imitationalism) but
also communicates feelings (emotionalism”
also serves a purpose in society (functionalism)”
also can be appreciated by it’s use of elements and
principles (formalism)”
• “The best art represents life (imitationalism),
communicates feelings (emotionalism), and also
serves a purpose in society (functionalism)”
Strategy
Identification
Assessment
responses
Strategy
Simulation
Assessment
Scoring guide
Strategy
Debate
Assessment
Scoring Guide
Application Level Assessment Drawing I, CCO II: Students will use appropriate art vocabulary to
Student Tasks:
Compare and contrast the aesthetic point of view evident in drawings by Durer, Sargent, Kollwitz, and
Chinese landscape artists.
148
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
149
Scoring Guide for Drawing I, CCO II
Criteria
Compare and contrast the
aesthetic point of view evident in
each of the following artist’s
drawings
•
•
•
•
4
Advanced
•
•
Albrecht Durer
John Singer Sargent –
Kathe Kollwitz –
Chinese Pen and Ink –
•
•
evaluates artworks on the
basis of the aesthetic
intention.
Addresses the most
significant aesthetic points
of view in the work
work and the artist’s life.
and specific.
3
Proficient
•
•
•
•
Compares, contrasts,
and evaluates artworks
on the basis of the
aesthetic intention.
Addresses important
aesthetic points of view
in the work
Defends statements
with reference to the
work and the artist’s
life.
All information is
correct.
2
Nearly Proficient
•
•
•
•
•
•
150
artworks on the basis of
the aesthetic intention.
Addresses less
important aesthetic
points of view in the
work
Supports some
statements with
and the artist’s life.
Some important ideas
are missing.
be incorrect.
1
Progressing
• Describes
characteristics of
the artwork on the
basis of the
• Information may be
incomplete.
• Many pieces of
information may be
incorrect.
Criteria
4
Advanced
Art Criticism Scoring Guide
3
Proficient
Introduction
where it was created ,
period, style, or culture
•
Description
artwork
•
Logical, coherent, detailed
description of what is visible
in the work
Analysis
Elements (line, shape,
form, color, texture,
space, value)
emphasis, contrast,
rhythm, unity,
proportion)
•
work
Explains in detail how and
where each important
element and principle is used
•
Interpretation
cultural meanings),
emotional mood or
attitude toward the
subject, social
commentary,
spiritual/religious ideas,
story telling, or other
purpose of the work.
•
work (mood, symbolic idea,
attitude toward subject,
social commentary, spiritual
each important
meaning
•
•
•
•
Clearly states intention to
critique another artist’s work
or to explain the goal of a
personal piece
given (artist, title, date
media, dimensions)
•
•
•
•
•
another artist’s work or
to explain the goal of a
personal piece
Most available
information given
Logical, coherent
description of what is
visible in the work
2
Nearly Proficient
•
•
•
which are most
important in the work
each important element
and principle is used
•
Explains meaning of
work (mood,
symbolism, attitude
elements and principles
to ideas
•
151
•
1
Progressing
Artist’s work or a personal
piece mentioned
Tells artist’s name and title
•
of work listed
Description of what is visible
in the work but slightly
unorganized
•
Random mention of
one or two details
Lists elements and principles
used
Tells how or where some
elements and principles are
used
•
Partially lists
elements and/or
principles
Suggests meaning of work
but does not explain: mood,
symbolism, attitude toward
subject, social commentary,
spiritual purpose, story
telling
•
toward subject, or
purpose
Judgment
Aesthetic theories
are beliefs about
what makes
something “Art.”
Imitationalism- Art
should copy the
real or ideal world
Formalism – Art
should be an
interesting
arrangement of
elements /
principles
Emotionalism – Art
should express
feelings or mood
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
Evaluates how the work would be
valued according to aesthetic
theories (Imitationalism,
Formalism, Emotionalism or
Functionalism)
Supports statements with specific
references to the work and its
context
•
Free of errors
Consistently uses third person in
other artist’s work or first person
if own piece
References last name only after
introductory paragraph
correct order
•
•
•
•
•
•
would be valued according
to aesthetic theories
(Imitationalism,
Formalism, Emotionalism
or Functionalism)
Gives details, facts and
clues from work that
support theory
•
Few minor errors in
spelling or grammar
artist’s work or first person
if own piece
after introductory
paragraph
All steps of critique model
in correct order
•
152
•
•
•
•
•
the term
•
spelling without affecting
clarity
second person
First and/or last name of
artist used throughout
essay
model present but out of
order
•
Uses first, second and/or
third person
essay
may be missing or out of
order
•
•
•
Drawing I, CCO III
contexts.
FA 5; SS 6, CA4, G 1.9
Artist’s Context:
Time, Place, Events
Albrecht Durer, 1500’s (Germany)
• Prints (Engravings)
• Chiaroscuro- dramatic light and dark
contrast
• Complex, structured compositions.
• Extremely detailed, sharply rendered
textures using linear techniques (hatching and
crosshatching)
•
•
•
•
•
•
16th Century
Scientific discoveries, linear perspective
Art made for religious purposes
Artists were highly esteemed
Other Renaissance artists:
Hans Holbein
John Singer Sargent, (1856-1925) (American
ex-patriot)
• Painted upper class in flattering light
• Realistic style, influenced by
impressionists
• High contrast of light and dark
• Formal and informal compositions
•
•
Studied in Paris, then settled in London
Worked for wealthy patrons
Kathe Kollwitz
• Political and personal messages- protested
World War I and living conditions for the poor
• Black and white prints, etching, woodcut,
lithography
• Roughly textured images, dramatic
expressions and poses
• Distorted figures
• World War I, Europe
• 1914-18
• Art expressed emotions, protested war after her
son was killed in battle
Chinese Pen and Ink
• Calligraphic lines, thin washes
• Elongated scroll or screen format
• Artist’s role is to make beauty of nature
visible, figures are subordinate
• Creation of art is a spiritual experience
• Technical mastery is valued over
originality
• Preservation of nature, simplicity and
asymmetry
•
•
•
Traditional values in ancient cultures
Mainly agricultural
Emperors, dynasties control government
153
Classical Architecture (Greek and Roman)
500B.C.- 400A.D.
• Elements: Columns, Pediment, Arch,
dome, post & lintel, Arcade, Colonnade,
Sculpture in-the-round as decoration
• Function: Temples to individual gods,
Government, Shopping (mall), Entertainment
(coliseum)
Greek and Roman empires, wars
First democratic form of government
Olympics
Arts important to culture
Art reflected religious belief (mythology), government,
war, and sports
Gothic Architecture (Europe) 1200-1500
• Elements: Stained glass windows, flying
buttress, gothic arch, high relief, clerestory,
high ceilings
• Function: Church
Major patron was the Catholic church, art and
architecture were designed to tell illiterate population
about religion,
Master craftsmen in guilds
Feudal system, agriculture
Modern Architecture (America, Europe)
1875-present
• Elements: simple geometric design,
skyscrapers, steel balloon construction with
glass sheathing
• Function: public and private buildings
Patrons vary – government, museums, religion,
entertainment, commerce, individual houses
Architecture as creative expression
Architects develop individual styles
New technology – steel construction and elevator allow
buildings to be taller, sheet glass
Population moves to cities
Influence of Bauhaus idea – form follows function,
reaction against decorative architecture
By the end of this course/grade, students should be able to:
Unit Vocabulary:
Renaissance, Gothic, Classical, Modern, Romanticism, Expressionism
Pre-Assessment:
Activity
Identify examples of art by style and period.
Activity
Compare examples of Classical, Gothic, and Modern
architecture.
Activity
Evaluate architectural drawings.
154
Strategy
Memorization
Assessment
Multiple choice test
Strategy
Lecture, Essay
Assessment
Scoring Guide
Strategy
Critique
Assessment
Scoring Guide
Independently conduct research on styles of art using print, media, and computer technology. (Research)
matter.
history.
Application Level Assessment Drawing I, CCO III: The student will compare and contrast artworks on
the basis of style including reference to the time, place, context, and characteristics of each.
Student Task:
contrast two or more artworks considering several factors: artist, time, place, context, style, characteristics,
and reason for being valued as art.
155
CCO III, Art History Reflective Writing Worksheet.
Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
On the basis of style and subject matter, who created the work? When? WHY?
Artist:
Date:
Artist:
156
Date:
Artist:
Date:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
157
Scoring Guide for Drawing I, CCO III
Criteria
artworks on style,
and context.
Albrecht Durer
John Singer Sargent
Kathe Kollwitz
Chinese Landscapes
Architecture:
Classical (Greek & Roman)
Gothic
Modern
4
Advanced
•
•
•
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
reference to the work.
All information is
correct.
158
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Drawing I, CCO IV
Core Conceptual Objective IV, Interrelationship with other subjects: Students will connect the figure
in drawing to anatomy studies in science
When they create figure studies, artists use knowledge of human anatomy.
Content and Skills:
Skeletal and muscular structure of the human head and
figure from anatomy
Drawing observed human head/figure based upon
anatomy.
FA 4
be able to do:
Analyze the human head/figure to determine the
skeletal and muscular structure
Draw the head/figure of an observed model that
shows the underlying skeletal and muscular
structure.
Unit Vocabulary:
Human skeletal structure, musculature
Pre-Assessment:
Students label parts of the skeleton and muscle system on a diagram.
Students sketch and label proportions on a face and figure.
Activity
Students memorize parts of the skeleton and muscle
system.
Strategy
Memorization
Assessment
Matching test
Activity
Students draw “stick figures” of a skeleton in different
positions.
Strategy
Modeling
Assessment
Scoring Guide
Activity
Use knowledge of anatomy to evaluate an artist’s
depiction of the figure.
Strategy
Peer Review
Assessment
Essay
Students may combine multiple figures studies within the same composition.
Application Level Assessment Drawing I, CCO IV: The student will make connections between visual
arts and science.
Student Tasks:
Analyze the human head/figure to determine the skeletal and muscular structure
Draw the head/figure of an observed model that shows the underlying skeletal and muscular structure.
159
Scoring Guide for Drawing I, CCO IV
Criteria
Connect the figure in
drawing to anatomy studies
in science
4
Advanced
•
•
•
Carefully analyzes
examples of musculature
and skeletal anatomy
Creates detailed and
accurate studies of
musculature and skeletal
anatomy examples
Drawings consistently
and directly translate
observed proportions of
anatomy to the natural
proportions of the figure
3
Proficient
•
•
•
Carefully analyzes
examples of musculature
Creates detailed studies
of musculature and
skeletal anatomy
examples
Drawings translate
observed proportions of
160
2
Nearly Proficient
•
•
•
Analyzes examples of
anatomy
Studies of musculature
examples are inconsistent
Drawings inconsistently
translate observed
proportions of anatomy
to the natural proportions
of the figure
1
Progressing
•
•
•
Analyzes examples of
anatomy
Studies of musculature
and skeletal anatomy are
not accurate
Drawings inaccurately
translate proportions of
Painting I
161
Painting I Scope and Sequence
A
Texture: Illusion of depth through texture contrast
Value: Illusion of depth through modeling of contrasting color values, monochromatic color
scale
Rhythm: Specific, sequential movement within a composition using color/value
Proportion: Expressive and distorted
B
Watercolor Paints
• underpainting w/ a wash ( flat, graduated, variegated)
• glazing
• texture techniques – sponge, scaped when dry, scraped into wet, lifting when wet and
blotting, drybrush, spattering
• Watercolor painting process
Acrylic
• Scumbling
• Glazing t
• Acrylic painting process
C
Conceptual themes based
upon student interest
Landscape
Portrait
Aesthetics:
Compare and contrast the aesthetic value of painting in the context in which it was created with
viewer’s personal response.
Art Criticism:
Students use the four steps of Feldman’s model of art criticism to describe, analyze, interpret
and judge artworks
162
Painting I Scope and Sequence
Renaissance: Michaelangelo, Raphael
Impressionism: Monet, Degas
Post – Impressionism: VanGogh, Gauguin, Seurat
Cubism: Picasso, Braque
Use creative writing as source for imaginative paintings.
163
Painting I, CCO 1A
Core Conceptual Objective I A, Elements and Principles: Students will demonstrate knowledge of
Essential Understandings
create artwork
Content and Skills:
know:
FA 1, FA 2
do:
Paint a color intensity scale.
Create a painting using color for an expressive purpose.
Texture: Illusion of depth/form through texture
contrast
Create a painting using texture contrast to show the
illusion of depth or form.
Value: Illusion of depth through value contrast,
value scale
Paint a monochromatic value scale.
Create a painting using value contrast of values to show
the illusion of depth or form.
Rhythm: Specific, sequential movement within
a composition using color/value
Create a painting using color values to produce sequential
movement.
Unity: Unified composition through three
elements
Use three elements to achieve unity in a painting
composition.
Proportion: expressive and distorted
Create a painting that uses distorted proportions for an
expressive purpose.
Unit Vocabulary:
Expressive color, color intensity, color value, monochromatic, complementary, analogous, triad, split
complement, emphasis, texture, contrast, rhythm, sequential movement, distorted proportions, unity
Pre-Assessments:
Sketch a composition that uses a range of color intensities using color pencil or pastel.
Apply shading to outlines of shapes using a range of color values on a worksheet.
Create sample swatches in several color intensities and values..
Label a painting to identify three elements of design that demonstrate unity.
Create and label a sketch that demonstrates a scene using expressive color.
Identify examples where the illusion of space was created through texture contrast.
Identify and label artworks that use color value to create sequential movement in a composition.
Create a color sketch using several elements to unify a composition.
Draw two objects, one with realistic proportions and one with distorted proportions
Activity
Mix paint to create value and color intensity scales.
Strategy
Lecture, Modeling
164
Assessment
Check list
Activity
Students create an original composition demonstrating
use of a value range and an intensity range
Strategy
Modeling
Assessment
Scoring guide
Activity
Students will critique paintings of peers and themselves
on the expressive meaning communicated by a choice of
colors and distorted proportion.
Strategy
Problem-Solving,
Critique
Assessment
Scoring Guide
Choose painting media based on expressive purpose.
Choose subject matter based on student interest.
Vary the number of values or intensity steps required.
Application Level Assessment Painting I, CCO IA: Students will demonstrate knowledge of elements
Student Tasks:
Paint a color intensity scale.
Create a painting using color for an expressive purpose.
Create a painting using texture contrast to show the illusion of depth or form.
Paint a monochromatic color scale.
Create a painting using contrast of values and color intensities to show the illusion of depth or form.
Create a painting using color values to produce sequential movement.
Use three elements to achieve unity in a painting composition.
Create a painting that uses distorted proportions for an expressive purpose.
165
Scoring Guide for Painting I, CCO IA
Criteria
Expressive Color
4
Advanced
•
•
Illusion of Depth through
Texture
•
•
•
Value Contrast
•
•
Value Modeling
•
•
3
Proficient
Mixes a wide range of
unique colors that
express the artist’s
intent
Viewers easily read the
stated purpose of the
artist through the use of
color
•
Mark making creates the
illusion of depth by
decreasing clarity, size,
and value in the distance
Simulated observed
textures
Invented textures
•
•
•
2
Nearly Proficient
Chooses colors that
express the artist’s
intent
Viewers can see the
relationship between
colors chosen and the
stated purpose
•
decreasing clarity, size,
and value in the distance
Simulated observed
textures
•
•
•
1
Progressing
Chooses some colors
appropriate to the
artist’s intent
Viewers may be
confused about the
relationship between the
idea and the color
choices
•
decreasing clarity, size
or value in the distance
Some observed textures
match observed subject
•
•
•
Chooses colors that are
inconsistent in
expressing the artist’s
intent
Viewers may not see the
relationship of colors
chosen to the stated
purposed
decreasing size in the
distance
Observed textures are
stereotyped
Range of degrees of
contrast used from
low/subtle to
high/distinct
Contrast used
expressively
•
Range of degrees of
contrast used from
low/subtle to
high/distinct
•
Low/subtle or
high/distinct
•
Minimal variation of
contrast
Illusion of complex form
created through shading
Gradual or abrupt
transitions match
observed subject
•
Illusion of simple form
created through shading
Gradual or abrupt
transitions match
observed subject
•
Illusion of form created
through shading
Some gradual or abrupt
transitions match
observed subject
•
•
Subject looks flat
Gradual or abrupt
transitions may not relate
to observed form
•
166
•
Monochromatic Value Scale
•
•
•
•
Intensity Scale
•
•
•
•
Rhythm
•
•
•
Wide range of values
using one color its tints
and shades
9 steps of equal
increments
Smooth gradation of
values across 9 steps
Used expressively in a
composition
•
Wide range of intensities
using a color and its
complement
9 steps of equal
increments
Smooth gradation of
intensities across 9 steps
Used expressively in a
composition
•
Values intentionally lead
the viewer’s eyes
Color clearly supports
the specific, sequential
movement of the
composition
Value scales strongly
support the specific
sequential movement of
the composition
•
•
•
•
•
•
•
and shades
9 steps of equal
increments
Smooth gradation of
•
complement
9 steps of equal
increments
Smooth gradation of
•
Values intentionally lead
the viewer’s eyes
Color supports the
sequential movement
Value scales support the
sequential movement
•
167
•
•
•
•
•
•
Range of values using
one color its tints and
shades
5 steps of equal
increments
Smooth gradation of
•
Range of intensities
complement
5 steps of equal
increments
Smooth gradation of
•
Values lead the viewer’s
eyes through part of the
composition
Color supports
movement
Value scales used
•
•
•
•
•
•
•
and shades
3 steps of equal
increments
Smooth gradation of
complement
3 steps of equal
increments
Smooth gradation of
Value leads the viewer’s
eye through part of the
work in a haphazard way
Use of color
Few values used
Proportion: Distorted for
expressive purpose
•
•
•
•
Size relationship of parts
is intentionally
exaggerated
The distortion clearly
helps express an idea
The expressive purpose
is clear to viewers
The idea is complex or
abstract
•
•
•
•
is intentionally
exaggerated
The distortion clearly
helps express an idea
is clear to viewers
The idea is complex and
concrete
•
•
•
•
Unity: Created through the
use of three elements
•
•
Designs unique
composition that
demonstrates strong
intentional relationship
among elements and
principals
Uses four or more
elements to create unity
•
•
Designs composition that
demonstrates strong
among elements and
principals
Uses three elements to
create unity
168
•
•
Size relationship of some
parts are exaggerated
while other parts are
realistic
There is a weak
connection between the
distortion and an idea
is vaguely communicated
to viewers
The idea is simple
•
Modifies composition
from another source to
demonstrate the
elements and principals
Uses two elements to
create unity
•
•
•
•
to whole was not
intentionally changed
Size relationships not
match the idea being
expressed
Viewers are unaware of
or confused about the
expressive purpose
Copies composition from
another source
Uses one element to
create unity
Painting I, CCO IB
FA 1, FA 2
Content and Skills:
should know:
Watercolor Paints
Watercolor Paints
• Under painting with a wash ( flat,
graduated, variegated)
Using watercolors, the student will paint examples of flat,
graduated, and variegated washes used as under painting.
•
Students will paint wet transparent layers over dry ones to create
glazes.
Glazing
• Texture techniques – sponge,
scaped when dry, scraped into wet,
lifting when wet and blotting, dry brush,
spattering
Using watercolors, the student will demonstrate the following
texture techniques: sponge, scraping dry paint, lifting when
wet, blotting when wet, dry brush, and splattering.
•
Students will follow a traditional watercolor painting process.
Watercolor painting process
Acrylic Paints
Acrylic Paints
•
Scumbling
Uses thickly applied acrylic paint, the student will scumble two
colors together smoothly on the canvas.
•
Glazing
Students will paint wet transparent layers over dry ones to create
glazes.
•
Acrylic painting process
Using actylics, the student will follow a traditional painting
process.
Unit Vocabulary:
Characteristics of watercolor paints and brushes, characteristics of acrylic paints, brushes, and polymer
medium mixers, glazing, scumbling
Pre-Assessment:
Students will match media vocabulary to examples.
Students will demonstrate techniques.
Activity
Students will demonstrate and label examples of each
watercolor texture technique.
169
Strategy
Lecture,
Demonstration
Assessment
Checklist
Activity
Students will select and use texture techniques to match
observed textures with those in a realistic painting.
Activity
Students will critique their own and peer’s nature
paintings on their selection and use of watercolor
techniques to create observed textures.
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Critical Thinking
Assessment
Scoring Guide
Students select the theme and subject matter based upon student interest.
Students choose between watercolor and acrylic paints by matching the media with the expressive purpose
of an artwork.
Application Level Assessment Painting I, CCO IB: Students will demonstrate knowledge of media
Student Tasks:
Using watercolors, the student will paint examples of flat, graduated, and variegated washes used as under
painting.
Students will paint wet transparent layers over dry ones to create glazes.
Using watercolors, the student will demonstrate the following texture techniques: sponge, scraping dry
paint, lifting when wet, blotting when wet, dry brush, and splattering.
Students will follow a traditional watercolor painting process.
Using thickly applied acrylic paint, scumble two colors together smoothly on the canvas.
Students will paint wet transparent layers of acrylic paint over dry ones to create glazes.
Using actylics, the student will follow a traditional painting process.
170
Scoring Guide for Painting I, CCO I B
Criteria
4
Advanced
Watercolor technique:
Flat Wash
(seamless area of one
color/value)
•
Watercolor technique
Graduated Wash:
(seamless changes in
color/value across an area)
•
Watercolor technique:
Variegated Wash
(seamless changes in
color/value across an area)
•
Watercolor texture
techniques:
(sponge, scrapped when dry,
scraped when wet, spatter,
salt in wash, lifting when wet,
etching, dry-brush, blotting)
•
•
•
•
•
•
3
Proficient
2
Nearly Proficient
1
Progressing
Consistent control of the
technique throughout the
composition
Uses technique to
enhance expression of
the work
•
composition
•
Control of the technique
in most of the
composition
•
Inconsistent control of
the technique
composition
Uses technique to
the work
•
composition
•
in most of the
composition
•
the technique
composition
Uses technique to
the work
•
composition
•
in most of the
composition
•
the technique
Produces a wide range of
visual effects
Selects and uses
techniques that fit the
subject
Uses technique to
the work
•
Produces a range of
visual effects
Selects and uses
subject
•
Produces a few visual
effects
Selects and uses
subject
•
Produces a visual
technique
•
171
•
Watercolor painting
process
•
•
•
•
•
•
•
Acrylic painting process
•
•
•
•
•
Stretches watercolor
paper to keep paper flat
Blocks in areas of color
Uses masking or
reserving of white areas
Thins watercolor to
control the value
Layers semi-transparent
glazes
Builds up textures/details
through layers
Uses a wide variety of
techniques to enhance
the expression of the
work
•
Smoothly sizes the
canvas with gesso
Blocks in/under paints
areas of color
or opaque color
through layers
Uses a wide variety of
techniques to enhance
the expression of the
work
•
•
•
•
•
•
•
•
•
•
paper to keep paper flat
Uses masking or
Thins watercolor to
control the value
glazes
through layers
•
Stretches canvas flat and
tight
Smoothly sizes the
canvas with gesso
areas of color
or opaque color
through layers
•
172
•
•
•
•
•
•
•
paper with some
waviness
Uses masking or
Thins watercolor to
control the value
Directly paints
textures/details rather
than building them
through layers
•
Sizes the canvas with
gesso
areas of color
Layers opaque color
•
•
•
•
•
•
•
Rippled or wavy
watercolor paper
Uses watercolors without
thinning
Uses white paint rather
than reserving white
paper
Muddy colors
gesso leaving brush
texture
areas of color and
considers the work
finished
May paint in details
before under painting
Glazing in watercolors or
acrylic paints
•
•
•
Acrylic paint technique:
Scumbling
•
Thins paint with water or
medium to create an even
and semi-transparent
consistency
Uses three or more layers
wet paint over dry paint
to develop fullness and
depth
Controls mixing of
colors by layering semitransparent paint
•
Seamlessly blends, on
the canvas rather than on
a palette, two adjacent
colors/values of thick
paint
•
•
•
medium to create an even
and semi-transparent
consistency
Uses two layers wet paint
over dry paint to develop
fullness and depth
Controls mixing of
colors by layering semitransparent paint
•
Blends, on the canvas
rather than on a palette,
two adjacent
colors/values of thick
paint
•
173
•
•
•
medium to semitransparent consistency
Uses one layer of wet
paint over dry paint
Limited control of
mixing coloring by using
layers of semitransparent paint
•
Brushes two
colors/values into each
other on the canvas
Shows a visible edge
between colors
•
•
•
•
Uneven thickness or
consistency of paint
layers
Wet paint is opaque so
the layer underneath
doesn’t show through
color mixing
Brushes two
colors/values into each
other on the canvas
Shows a clear and visible
edge between colors
Painting I, CCO IC
Artists communicate ideas through the use of themes and/or subject
matter.
FA 1, G 3.1
Content and Skills:
should know:
Create a painting from observation.
Create an original still life painting that communicates an idea..
Conceptual theme based
Create an original conceptual painting based upon student
interest.
Create a painting in which the human figure is used to define
space.
Landscape
Create an original landscape painting.
Portrait
Create an original portrait painting.
Unit Vocabulary:
Still life, conceptual theme, figure, landscape, portrait and working from observation
Pre-Assessment: Students will make an example of a still life.
Students will match paintings with themes.
Students will create examples of a still life, landscape, and portrait artworks.
Students will create a word map or web in with a conceptual theme in the center, then do a series of
sketches showing how the words in the web could be expressed graphically.
Activity
Make a sketch of various still life objects that could be
included in a composition to communicate a theme.
Strategy
Modeling
Assessment
Checklist
Activity
Bring in objects that communicate a personal theme,
arrange them into an interesting composition, and create
an original still life painting based on observation.
Strategy
Deductive thinking
Modeling
Assessment
Scoring Guide
Strategy
Self- and PeerEvaluation,
Assessment
Scoring Guide
Activity
Critique own and peer’s still life paintings on their
ability to express a selected idea or conceptual theme.
174
Students select subject matter for still life and landscape paintings based upon student interest.
Students with advanced readiness work with more complex and abstract ideas while those with less
readiness work with simple and concrete ideas.
Application Level Assessment Painting I, CCO IC: The student will demonstrate
Student Tasks:
Create an original still life painting that communicates an idea..
Create an original conceptual painting based upon student interest.
Create a painting in which the human figure is used to define space.
Create an original landscape painting.
Create an original portrait painting.
175
Scoring Guide for Painting I, CCO IC
Criteria
Theme or Subject:
4
Advanced
•
•
•
•
•
Theme or Subject:
Still Life
•
•
•
•
•
3
Proficient
Develops realistic,
subjects
that are expressive
Composition has a
supported by the
elements
point of view
•
•
Develops realistic,
subjects
that are expressive
Composition has a
supported by the
elements
point of view
•
•
•
•
•
•
•
•
2
Nearly Proficient
form and texture of
observed subjects
that are balanced
•
form and texture of
observed subjects
that are balanced
•
176
•
by another artist
Shows simplified
contour, form, and
texture of observed
subjects
1
Progressing
•
•
•
•
by another artist
Shows simplified
contour, form, and
texture of observed
subjects
•
•
•
work
one
without making
etc.
work
one
without making
etc.
Conceptual theme based
•
•
•
•
Figure as a compositional
element
•
•
•
•
•
Student generates many
ideas, develops several into
sketches, evaluates and
modifies idea before
starting final work
Creates an original artwork
that evokes a clear idea,
story, or emotion
artwork
communicated in an
original way
•
Creates an original painting
Fills the page with one or
more figures
Uses shape, size, detail, and
color to balance the
figure(s) as positive space
with the background as
negative space
Creates rhythm through
position of figure(s) which
leads the viewer’s eyes
Complex composition
•
•
•
•
•
•
•
•
ideas, develops several
into sketches, evaluates
and modifies idea before
starting final work
Creates an original
artwork that evokes a
clear idea, story, or
emotion
artwork
original way
•
Creates an original
painting
more figures
Uses shape, size, detail,
and color to balance the
figure(s) as positive
space with the
background as negative
space
position of figure(s)
which leads the viewer’s
eyes through the
composition
Simple composition
•
177
•
•
•
•
•
•
Student generates a few
ideas, develops two of
them in sketches,
evaluates and modifies
idea before starting final
work
Simple idea
communicated in a
standard way
•
Modifies another artist’s
painting
Fills most of the page
with one or more figures
Uses shape and size,
and/or color to balance
the figure(s) as positive
space with the
space
Leads viewer’s eye
through part of the
composition
Simple composition
•
•
•
•
•
•
•
•
Student comes up with
one idea, develops it in
two sketches, and makes
small changes before
starting final work
Idea may be modified or
copied from another
artist
Idea may be a
stereotype
or missing
getting the meaning
from the artwork
painting
Too much background in
proportion to the
figure(s)
Uses size or shape to
balance the figure(s) as
positive space with the
space
Simple composition
Theme or Subject:
Landscape
•
•
•
•
•
•
•
•
•
Creates original painting
clearly indicated from
other elements on the
page
Paints near objects as
for distant objects
Paints near objects with
colors that are bright or
high in contrast,
gradually changing to
distant object that are
hazy and pale
Arranges objects to
create many instances of
sense of space
horizon
Creates a balanced
composition
interesting way
with specific character
•
•
•
•
•
•
•
•
•
•
distant objects
high in contrast, while
distant objects are hazy
and pale
Arranges objects to
create instances of
sense of space
horizon
Creates a balanced
composition
Breaks up space
Includes many details or
details have specific
character
178
•
•
•
•
•
•
•
•
by another artist
with less detail
high in contrast, or draws
distant objects as hazy
and pale
Arranges objects to
overlap
from the horizon, or
distant objects close to
the horizon
texture
Includes details that are
generic
•
•
•
•
•
work
areas
Needs more variety
Includes shapes and
details that are
stereotypes
Theme or Subject
Portrait
•
•
•
•
•
individual
Proportion among
features matches
individual
Gives indication of
personality by
expression, personal
items, background
individual
•
•
•
•
individual
Proportion among
features matches
individual
use of detail and
background
179
•
•
•
•
Modifies artwork
generic rather than
matching a real
individual
Proportions are
May be a simplified
person’s features
•
•
•
•
•
work
features
features
Empty background
Painting I, CCO II
The aesthetic theories /beliefs used to value paintings vary with the
cultural context.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Content and Skills:
know:
able to do:
Aesthetics
Aesthetics
There are culturally-based differences in the
aesthetic value of artworks between the context in
which they were created and the context in which
they are viewed today.
Compare and contrast the aesthetic value of
painting in the context in which it was created with
viewer’s personal response.
representation.
Art Criticism
Art Criticism
Feldman Model:
the artwork.)
artwork.)
media, themes.)
Unit Vocabulary:
interpret, judge, critique, Renaissance, Impressionism, Post-Impressionism, Cubism
Pre-Assessment:
Students identify aesthetic reasons for valuing the same artwork in different cultural contexts.
180
Activity
Identify the most important aesthetic reasons for valuing
artwork from various periods/styles of art.
Strategy
Memorization
Assessment
Multiple Choice Test
Activity
Create an exhibit of Cubist artworks with instructional
materials for a Children’s Museum.
Strategy
Synectics
Assessment
Scoring Guide
Strategy
Debate
Assessment
Scoring Guide
Activity
strongest examples of each period or style of art..
Application Level Assessment Painting I, CCO II: Students will use appropriate art vocabulary to
Student Tasks:
Compare and contrast the aesthetic value of painting in the context in which it was created with viewer’s
personal response.
181
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
182
Scoring Guide for Painting I, CCO II
Criteria
aesthetic value of painting
in the context in which it
was created with viewer’s
personal response.
•
•
•
•
Renaissance
Impressionism
Post-Impressionism
Cubism
Aesthetics Scoring Guide
3
Proficient
4
Advanced
•
•
•
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
All information is
correct.
2
Nearly Proficient
•
•
•
•
•
183
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Painting I, CCO II Art Criticism Scoring Guide
Criteria
4
Advanced
Introduction
•
Description
artwork
3
Proficient
piece
given
•
•
seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
Interpretation
cultural meanings),
emotional mood or
attitude toward the
subject, social
of the work.
•
•
•
•
2
Nearly Proficient
piece
given
•
•
the work
work
work
•
work
each important
meaning of the work
•
•
•
•
1
Progressing
personal piece
mentioned
title
•
of work listed
•
•
Random mention of
one or two details
seen in the work
the work
•
Lists elements and
principles used
Tells how or where
some elements and
the work
•
and/or principles
ideas
•
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
toward subject, or
purpose
184
•
•
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
185
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Painting I, CCO III
Core Conceptual Objective I: Students will demonstrate knowledge of art in historical and cultural
contexts.
Artists are influenced by the artists who came before them, and have an
impact on those who follow.
FA 5, G 1.10
Style/Period
Time/Place
Style
Characteristics
Artists
Context
Renaissance
1400-1600
Europe, began in
Italy
·
·
Realistic style
Expression of
emotion
Biblical,
allegorical,
mythological,
and portraits of
wealthy patrons
as subjects
Invention of
perspective
Architecture:
smaller, more
personal scale to
churches,
residences,
public
buildings:
revival of
classical
elements- arch,
dome, columns
·
·
Visible brush
strokes
Broken color,
colors appear to
mix
Colors show
atmospheric
effects
Working class
people,
cityscapes,
landscapes as
subjects
Influenced by
Japanese prints
·
·
·
·
·
Impressionism
1875-1905
Began in France,
spread through
Europe and to
USA
·
·
·
·
·
·
Michelangelo
Buonarroti,
Raphael (Raffaello
Santi)
·
·
·
·
·
Claude Monet
Edgar Degas
·
·
·
·
186
Powerful catholic church as
patron
Rich merchant class as
patron
Rebirth of classical ideas
and styles
Belief in individualism,
artist as hero
Belief in humanism, that
humans have value
independent of religion
Art used to teach illiterate
people religion
Industrial revolution:
locomotives, photography,
paint in tubes
Reaction against academic
art which had shown
religion, history, mythology
Reaction against upper class
and for the common people
Patriotic in showing the
fertility of French soil
Post –
Impressionism
1885-1920
France
·
·
·
·
Cubism
1907-1925
(however Picasso
and Braque
continued painting
in this style during
the 20th century)
France
·
·
·
·
·
Seurat:
pointillism,
solid forms
science of color
Cézanne: planes
of color shows
form over detail,
begins to flatten
forms which
influence
Cubism
Gauguin: flat
shapes,
expressive
color, Tahitian
subjects
Van Gogh:
linear brush
strokes, color
selected for
personal
expression
·
·
·
Rejection of
realistic
perspective,
lighting and
color
Faceted forms
Showed
multiple
viewpoints
Analytical
Cubism -light
and dark
passages of
neutral colors
suggest
modeling with
transparent
planes that are
seen at the same
time.
Synthetic
Cubism – First
use of collage
use of flat color
and pattern
including found
material
·
·
Geroges Seurat
Paul Gauguin
Vincent Van Gogh
·
·
·
Pablo Picasso
Georges Braque
·
·
·
·
·
187
Concerned more with
structure of composition and
effects of color theory rather
than the fleeting effects of
light
Unlike other movements,
the common feature was
responding to
Impressionism while each
artist developed a unique
style
Development of socialism
with writings of Karl Marx
Influenced by development
of motion pictures
Picasso was influenced by
the deigns of African masks
Developed by Picasso and
Braque working in close
contact
Received its name after
Matisse made the comment
about Braque’s art work
“avec des petites cubes”
(with little cubes). Matisse
and Picasso respected but
competed with each other
for acclaim
Cubism was the beginning
of abstract art and nonobjective art, had a great
influence on 20th century
artists
Compare and contrast artworks with reference to the artist, time, place, context,
and characteristics of style.
Show-Me Standards
G1.10, FA5
Unit Vocabulary:
Renaissance, Impressionism, Post-Impressionism, Cubism, facets, Pointillism
Pre-Assessment:
Students place historical periods on a time line.
place, style, characteristics of style, artists, and cultural context.
Activity
Students identify artworks by period or art movement.
Activity
Create a miniature painting with an original composition
showing characteristics of each style/period. Explain
how each work would have fit in with the times/culture.
Activity
Conduct research, prepare and present a power-point
slide show in which you take on the role of an art critic
in each age. (Research, Technology)
Strategy
Memorization
Assessment
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Role Playing
Critique
Assessment
Scoring Guide
Conduct research on an artists or style based on personal interest.
history.
Application Level Assessment Painting I, CCO III: The student will compare and contrast artworks with
reference to the period/movement, stylistic characteristics, media, time, place, artists, artistic influences,
and cultural context.
Student Task:
Apply information you have learned about paintings from the Renaissance, Impressionist, PostImpressionist and Cubist eras to unfamiliar works presented by your teacher. Compare and contrast two or
more artworks considering several factors: the period/movement, stylistic characteristics, media, time,
place, artists, artistic influences, and cultural context.
188
Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
189
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
190
Scoring Guide for Painting I, CCO III
Criteria
artworks on style, artists,
and context.
• Renaissance
• Impressionism
• Post-Impressionism
• Cubism
4
Advanced
•
•
•
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
All information is
correct.
191
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Painting I, CCO IV
Creative writing in language arts can be a source for imaginative painting.
Content and Skills:
Creative writing in language arts can be a source for
imaginative painting.
FA 4, CA 1
be able to do:
Use a student-composed creative writing as the
stimulus for an imaginative painting.
Unit Vocabulary:
Creative writing, imaginative painting
Pre-Assessment:
Students match creative writing examples to imaginative paintings.
Activity
Sort and match creative writings and artworks by theme
or expression.
Strategy
Structured inquiry
Assessment
Scoring Guide
Activity
Take a piece of creative writing from Language arts and
do a series of sketches that communicate similar ideas.
Strategy
Problem-Solving
Assessment
Scoring Guide
Strategy
Creative Thinking
Assessment
Scoring Guide
Activity
Write an original poem using sensory and descriptive
language. Use the poem as a starting point for the
development of an idea that expresses a similar theme
and/or emotion,
Use a Venn diagram to show similarities and differences between creative writing and imaginative
painting.
Start with an imaginative painting, then create a poem or short story that captures the idea/emotion of the
art.
Application Level Assessment Painting I, CCO IV: The student will make connections between visual
arts and language arts.
Student Task:
Use a student-composed creative writing as the stimulus for an imaginative painting..
192
Scoring Guide for Painting I, CCO IV
Criteria
Use a student-composed
creative writing as the
stimulus for an imaginative
painting.
4
Advanced
•
•
•
•
•
•
Creates an original
writing that expresses a
theme or emotion
through the use of richly
descriptive sensory and
visual imagery
Creates an original
artwork that expresses
the theme and emotional
attitude of the writing
Selects and uses a wide
and effective range of
to communicate idea
Selects best media for
expressive purpose
Demonstrates excellent
craftsmanship to
communicate ideas
Viewers easily see
student’s writing and
painting
3
Proficient
•
•
•
•
•
•
Creates an original
theme or emotion
through the use of
sensory and visual
imagery
Creates an original
Selects and uses an
effective range of
to communicate idea
expressive purpose
Demonstrates very good
craftsmanship to
communicate ideas
Viewers understand the
painting
193
2
Nearly Proficient
•
•
•
•
•
Modifies a writing by
another author that
expresses a theme or
emotion
Modifies an artwork that
expresses the theme and
emotional attitude
Selects and uses several
to communicate idea
Demonstrates good
craftsmanship to
communicate ideas but
choice of media may not
fit writing
idea of the artwork’s
connection to the writing
1
Progressing
•
•
•
•
•
•
Copies from another
author’s writing
Copies an artwork about
an event in history
Demonstrates use of a
few elements of art
Low quality of
craftsmanship may
interfere with audience’s
understanding of
message.
Errors in communicating
idea in writing
Viewers are confused
about the connection
between the artwork and
the writing
Sculpture I
194
Sculpture I Scope and Sequence
A
Form: organic figure
Texture: contrast of actual surface qualities
Space: balance between postive space (mass) and negative space (void)
Balance: actual or visual stability in 3-dimensional form
Contrast: texture
Proportion: realistic 3-dimensional human proportions
Unity: repetition of form and texture to create harmony
B
Additive
Subtractive: Carving a block with traditional tools
Casting
Creating a mold from a simple form or found object
C
• Figurative
• Organic form
Human Figure: observed versus abstracted human proportions
Styles of Art:
• Realism
• Abstract
• Nonobjective
Conceptual Piece: expressing a personal/cultural issue.
Public Sculpture: proposal and maquette designed for a specific site
195
Sculpture I Scope and Sequence
Aesthetics
Compare and contrast aesthetic value and meaning among sculptures created in various
historical periods and cultures.
Art Criticism
Abstract Figurative Sculpture:
Jaques Lipshitz
Ernst Trova
Personal/Cultural Issues: makes political and social statements, addresses stereotypes
Bettye Saar
George Segal
Modern:
Alexander Calder
Public Sculpture:
Claes Oldenburg
Connect sculpture that communicates about cultural or social issues to the society in which it
was created.
Sources for artistic inspiration can be newspaper, web sites, art journals, and news magazine
commentaries on issues such as politics, education, race, freedom, or war.
196
Sculpture I, CCO IA
create artwork.
FA I, FA 2
Content and Skills:
Create a 3-dimensional sculpture using contour line.
Form: organic figure
Create an organic figure sculpture.
Texture: contrast of actual surface
qualities
Create a 3-dimensional artwork emphasizing contrast in surface
qualities (texture).
Space: balance between positive
space(mass) and negative space (void)
Create 3-dimensional artworks with balance between positive and
negative space.
Balance: actual or visual stability in
3-dimensional form
Create 3-dimensional artworks representing actual physical
stability.
Contrast: texture
Create 3-dimensional artwork using contrast of textures.
Proportion: realistic 3-dimensional
human proportions
Create a 3-dimensional artwork representing realistic human
proportions.
Unity: repetition of form and texture
to create harmony
.
Create unity in sculpture through the repetition of form and
texture.
Unit Vocabulary:
Line, contour line, form, organic form, free form, geometric form, actual texture, simulated texture,
invented texture, contrast, positive space, mass, negative space, void, asymmetrical balance, symmetrical
balance, visual balance, actual balance, proportion, unity, repetition, harmony
Pre-Assessment:
Sketch a form using contour line.
Model the contour of simple form in the round using wire.
Model an organic figure using clay.
Apply contrasting textures to a piece of clay.
Model a 3-dimensional open form with balance between positive and negative space.
Assemble a simple form that demonstrates actual stability.
Identify 3-dimensional artworks that represent formal/symmetrical, informal/asymmetrical, and radial
balance.
Identify 3-dimensional artworks representing visual balance between different elements.
Sketch and label a human form representing realistic human proportions.
Sketch a human model from 3 or more points of view in various poses.
Identify how form and texture are repeated to create harmony in samples of 3-dimensional artworks.
197
Activity
Students will work individually or in small groups to
identify how the elements and principles have been
combined in the creation of a given sculpture.
Strategy
Structured Inquiry
Assessment
Scoring guide
Activity
Students will carve a sculpture based upon the
proportions of the human form.
Strategy
Modeling
Assessment
Scoring guide
Activity
Students will write a critique of a sculpture applying
appropriate vocabulary to support their thoughts and
opinions.
Strategy
Group Investigation
Critique
Assessment
Scoring Guide
Difficulty level and complexity of subject matter or task can vary with student ability.
Students can vary the final dimensions of artwork.
Students can very initial dimensions of media prior to carving.
Student may choose media and subject (where possible).
Application Level Assessment Sculpture I, CCO IA: The student will demonstrate knowledge of the
Elements and Principles by completing the following student tasks:
Student Tasks:
Create a 3-dimensional sculpture using contour line.
Create an organic figure sculpture.
Create a 3-dimensional artwork emphasizing contrast in surface qualities (texture).
Create 3-dimensional artworks with balance between positive and negative space.
Create 3-dimensional artworks representing actual physical stability.
Create 3-dimensional artwork using contrast of textures.
Create a 3-dimensional artwork representing realistic human proportions.
Create unity in sculpture through the repetition of form and texture.
198
Scoring Guide for Sculpture I, CCO IA
Criteria
Three-dimensional contour
line
4
Advanced
•
•
Combining shapes into
forms
•
•
•
Closed Form
•
•
•
3
Proficient
edges of multiple planes
of a 3-D form
Shows accurate details
•
Combined geometric,
organic, and/or freeform
shapes
Complex design
Composition from all
sides includes variety
and repetition of shapes
•
3-dimensional mass
No voids or negative
spaces within form
Interesting composition
from 4 sides and top
views
•
•
•
•
•
2
Nearly Proficient
two planes (front to back,
side to side)
Shows details
•
Combined geometric,
shapes
Composition from 3
and repetition of shapes
•
3-dimensional mass
spaces within form
from 4 angles
•
•
•
•
•
•
1
Progressing
Lines follow one edge of
plane
Stereotyped form
Few details
•
Combined geometric,
shapes
Composition from 2
and/or repetition of
shapes
•
3-dimensional mass
spaces within form
from 3 angles
•
•
•
•
•
Lines are not related to
edges of form
No details are shown
Shapes are combined in a
flat manner
Composition from front
view includes variety or
repetition of shapes
3-dimensional mass
Void or negative spaces
within form
from 2 angles
Relationship between
positive and negative space
•
•
Complex forms
Negative space is as
interesting as positive
space
•
•
Developed Form
Negative space is
addressed creatively
•
•
Simple Form
Negative space is
suggested in form
•
•
Suggested Form
Little negative space
Varied surface qualities
•
High degree of surface
experimentation
Contrast of four textures
or colors
•
•
Surface experimentation
Contrast of three textures
or colors
•
Some development of
surface qualities
Two textures or colors
•
Little development of
surface quality
Single texture/color
•
199
•
•
Balance
Actual or Visual
•
•
•
Contrast through texture
•
•
Figure Proportion
•
model
•
Includes all observed body
parts: head, neck, shoulders,
arms, elbows, wrists, hands,
waist, hips, thighs knees,
calves, ankles, feet
•
•
•
Sculpture is physically
stable
From any angle, the
visual weight is equal on
both sides of an invisible
center line
Base, pedestal, or
freestanding support is
integrated into the design
of the piece
•
Different textures are
used to provide variety
and interest
Clear, distinct,
intentional textures add
to the expressive quality
of the piece
•
Uses a measurement
Shows accurate and
detailed shape of
observed body parts
and angles
Shows accurate size
(length & width) of
observed body parts
Detailed clothing fits the
form
•
•
•
•
•
•
•
•
stable
From 4 angles, the visual
weight is equal on both
sides of an invisible
center line
Base, pedestal, or
freestanding support
complements the design
of the piece
•
and interest
Clear, distinct,
intentional use of
textures
•
Uses a measurement
Shows accurate shape of
observed body parts
and angles
Shows accurate size
(length & width) of
observed body parts
Clothing fit the form
•
200
•
•
•
•
•
stable
center line
•
and interest
Some inconsistency in
each texture
•
•
Single texture
Texture looks accidental
or inconsistent
Uses a measurement
proportions
Shows the shape of
generic/average body
parts
Shows generic/average
position and angles
Shows generic/average
size (length & width) of
body parts
•
Judges proportions
without using a
measurement system
figure don’t look real
Head may be too large
Arms may be too short
with fingers at waist
instead of elbows at
waist
Legs may be too short
Angles between bones
are wrong
•
•
•
•
•
•
Sculpture may wobble or
lean
center line
Unity through form and
texture
•
•
Repetition of similar
types of forms (i.e.
organic or geometric)
and textures create visual
harmony
Forms and texture lead
the viewers eye to create
visual rhythm
•
and textures create visual
harmony
201
•
create visual harmony
Or
• Repetition of similar
types of textures create
visual harmony
•
Limited repetition of
form and/or texture
Sculpture I, CCO IB
Technical skills in using media and processes allow an artist to
communicate ideas through high quality art products.
Content and Skills:
FA I, FA 2
Additive
Modeling form upon a student-created
armature.
Additive:
Construct an armature.
Model a form using pliable media.
Manipulate wire by bending, twisting and joining it to create a
sculpture.
Subtractive
Carving a block with traditional tools
Subtractive:
Use carving techniques and tools to create a sculpture.
Use carving techniques and tools to create contrast in form and
texture.
Create a sculpture using 3 or more 3-dimensional media (wire,
cardboard, paper, metal, etc.)
Casting
Creating a mold from a simple form or
found object
Casting:
Model a design without undercuts and with strong drafts.
Make a mold from student-designed model.
Cast multiple forms from student-created mold.
Unit Vocabulary:
Additive: Modeling, clay, score, slip, press, pinch, pull, wire, bend, join, twist, assemblage, armature
Subtractive: Carve, positive space, negative space, concave, convex, rasp, plaster, clay
Mixed Media: 3-dimensional collage, adhesive, found objects
Casting: Mold, cast, draft, undercut, positive, negative, plaster, low-relief (bas-relief), high relief, freestanding, in the round
Pre-Assessment:
Identify sculpting techniques being used in different sculpture examples.
Describe steps of methods, and procedures for working with a given media.
Identify appropriate tools for different approaches, techniques, surface effects.
Activity
Students will identify methods/techniques used to create
various sculptures.
202
Strategy
Memorization
Assessment
Matching Test
Activity
Students will model a piece of clay demonstrating
knowledge of how to score and slip to attach pieces as
well as pressing, pinching, pulling or carving into the
clay to alter the surface.
Activity
Students will critique their use of media techniques in a
sculpture they created.
Strategy
Direct Instruction
Modeling
Assessment
Scoring guide
Strategy
Self-Evaluation
Critique
Assessment
Scoring Guide
Vary the dimensions of artwork.
Vary the number of elements/principles to be applied.
Before beginning a sculpture, students will draw a series of sketches from 3 or more points of view of a
concept for a sculpture in the round.
Application Level Assessment Sculpture I, CCO IB: Students will demonstrate knowledge of media
Student Tasks:
Additive:
Construct an armature.
Model a form using pliable media.
Manipulate wire by bending, twisting and joining it to create a sculpture.
Subtractive:
Using carving techniques and tools create a sculpture.
Using carving techniques and tools create a sculpture showing contrast in form and texture.
Create a sculpture using 3 or more 3-dimensional media (wire, cardboard, paper, metal, etc.)
Casting:
Model a design without undercuts and with strong drafts.
Make a mold from student-designed model.
Cast multiple forms from student-created mold.
203
Scoring Guide for Sculpture I, CCO IB
Criteria
Additive Method
Board (foam core or other
sheet material) – cut, join,
score, slot
4
Advanced
•
•
•
•
•
•
•
Additive Method
Modeling form upon a
student-created armature
•
•
•
•
•
•
3
Proficient
Cut edges are precise and
smooth, whether straight
or curved
Slots match thickness of
media
Scoring used to make
clean folded edges
Multiple pieces are
securely joined
Adhesive, if needed, is
evenly spread on joints
and invisible
Complex shapes
Overall effect of
•
Stable armature created
to support a modeled
form
Armature was removed
without changing the
form
Modeling material pieces
securely joined
controlled surface
Consistent, correct
thickness of modeling
material
Excellent craftsmanship
•
•
•
•
•
Cut edges are smooth,
whether straight or
curved
Slots match thickness of
media
Scoring used to make
clean folded edges
Multiple pieces are
securely joined
evenly spread on joints
and invisible
2
Nearly Proficient
•
•
•
•
•
•
•
•
•
•
form
When armature was
removed, changes in the
form were corrected
securely joined
controlled surface
Consistent, correct
material
204
•
•
•
•
•
1
Progressing
Some cut edges are
smooth while some are
uneven
Some slots match; other
slots are too thick or thin
for the media
Scoring may be too
shallow or too deep to
make clean folded edges
Some pieces are securely
joined while others are
loose
Adhesive, if needed, may
be unevenly spread
Some adhesive is visible
•
•
Unstable but usable
armature created to
support a modeled form
When armature was
removed, some changes
in the form were
corrected
Some modeling material
pieces securely joined
Generally controlled
surface
Thickness of modeling
material varies
•
•
•
•
•
•
•
•
•
•
Cut edges are uneven
Slots are larger or
smaller that the thickness
of media
Pieces fall apart
applied unevenly and/or
is visible
Adhesive was needed but
not used
Sculpture is unstable
Unstable armature
created
Armature created by
someone else was used
When armature was
removed, few changes in
the form were corrected
Parts of the modeling
material crack or come
off
Surface shows
inconsistent control
Modeling material too
thick or thin
Additive Method
•
•
•
•
•
Subtractive
Carving stone-like material
with traditional tools
•
•
•
Assemblage
Mixed Media
•
•
•
Wire securely joined to
make sculpture stable
Ends aesthetically joined
If appropriate to design,
kinetic parts enhance the
sculpture
multiple media are
incorporated
Overall effect of
•
Sculpture touches all 6
sides of the original
material
Correctly uses traditional
carving tools to create
elaborate effects
Intentional, consistent
textures whether rough
or smooth and polished
•
3 or more media are
combined
Components are
attached effectively
Complex composition
•
•
•
•
•
•
•
Wire securely joined to
make sculpture stable
Minimally wrapped ends
kinetic parts are used
multiple media are
incorporated
•
material
carving tools
Consistent textures
whether rough or smooth
and polished
•
3 or more media are
combined
Components are attached
effectively
•
•
205
•
•
•
•
Some wire joints allow
wire to slip, move, or
unravel, making
sculpture somewhat
unstable
Some ends may be bulky
Too little or too much
wire used in some area to
communicate idea
•
Sculpture touches parts
of all/ or some of the 6
material
Traditional carving tools
are used
Inconsistent textures
•
2 media are combined
Components are attached
•
•
•
•
•
•
•
Wire joints allow
structure to slip, move, or
unravel
Unstable structure
Ends may be bulky
Too little or too much
wire used to
communicate idea
All 6 sides of the
sculpture are not
modified
are used inconsistently
Texture is lacking in a
controlled manner
A dominant media is
applied throughout
Components are
inconsistently attached
Casting
Modeling a positive
Creating a mold of
the positive
Casting positives from the
mold
•
•
•
A complex relief
composition showing
contrast and concave vs.
convex surfaces
Mold has a strong draft,
lacking undercuts
3 or more successful
casts are produced
•
•
•
A relief composition
showing contrast and
concave and/or convex
surfaces
Mold has a draft, lacking
severe undercuts
3 or more casts are
produced
206
•
•
•
showing some contrast
and shallow concave
and/or convex surfaces
Mold has slight draft and
undercuts
2 or more casts are
produced
•
•
•
Mold lacks draft and has
undercuts
1 or more casts are
produced
Sculpture I, CCO IC
Core Conceptual Objective IC, Theme or Subject Matter: Students will communicate themes/subject
theme.
Content and Skills:
FA I, G 3.1
Subject matter taken from direct
observation (not invented)
• figurative
• organic form
Create a sculpture from observation.
Human Figure:
Observed versus abstracted human
proportions
Create a sculpture based upon the human figure.
Styles of Art:
• Realism
Work representing accurate details
• Abstract
Work representing distortion of size,
shape, form, etc. to convey a concept.
• Nonobjective
Work emphasizing specific elements
to convey a concept.
Create a realistic sculpture.
Create an abstract sculpture.
Create a non-objective sculpture.
Conceptual Piece: Work expressing
a personal/cultural issue.
Create a sculpture that expresses a personal or cultural issue.
Public Sculpture: Concept design,
how to create a maguette, choosing a
sight location.
Design a sculpture for a specific site.
Create a maquette to represent their concept.
Choose a site location appropriate for their sculpture.
Unit Vocabulary:
Realism, abstract, nonobjective, maquette, public sculpture
Pre-Assessment:
Identify theme or artist’s intent through analysis of sculpture.
Draw designs for realistic, abstract and nonobjective sculptures based upon a single theme, concept, or
subject.
Identify ways artists use to measure proportions of the human figure.
Activity
Identify themes and processes used to create various
examples of public sculpture.
207
Strategy
Modeling
Assessment
Written response
Activity
Make 3-dimensional sketches of realistic, abstract, and
non-objective designs for a sculpture.
Activity
Students select a relevant personal or cultural issue,
develop ideas for communicating it through sculpture,
execute the best idea, and critique the final work.
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Problem-Solving
Assessment
Scoring Guide
Difficulty level and complexity of composition can vary with student ability.
Vary the size of dimensions of artwork.
Vary in required number of elements to be applied.
Students choose a theme for sculpture based upon personal beliefs or interests.
Students work in small groups to identify whether or not specific sculptures of the human form represent
accurate or distorted proportions. Then classify them into categories based upon style.
Application Level Assessment Sculpture I, CCO IC: Students will communicate themes/subject matter
Student Tasks:
Create a sculpture from observation.
Create a sculpture based upon the human figure.
Create a realistic sculpture.
Create an abstract sculpture.
Create a non-objective sculpture.
Create a sculpture that expresses a personal or cultural issue.
Design a sculpture for a specific site.
Create a maquette to represent their concept.
Choose a site location appropriate for their sculpture.
208
Scoring Guide for Sculpture I, CCO IC
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
•
Subject is accurately
represented as it is
observed including fine
details
•
observed
•
Subject is similar to what
is observed
•
Some connection to the
observed subject
Human figure
•
Proportion is accurately
rendered including fine
details
Head, torso, arms, legs,
hands and feet are
rendered in detail
•
Proportion is accurately
rendered
hands and feet are
rendered
•
Human proportion is
attempted
hands and feet are
attempted
•
Proportions are
inconsistent
hands and feet – some
are attempted
Creates original
composition
Work is an accurate
match for what is seen in
subject matter, line,
texture, form, and space
•
Modifies composition of
artwork created by
another artist
Work is a simplified
version of what is seen in
subject matter, line,
texture, form, and space
•
The subject can be
identified
Line, form, texture, and
space are distorted in
order to make an
spaces are considered in
the design
•
Modifies artwork
The subject can be
identified
Form, texture, and space
make an interesting
composition
The negative space is
less important than the
positive space
•
•
Theme or Subject
•
•
Realistic Art
Theme or Subject
•
•
Abstract Art
•
•
•
Creates original composition
Work is an accurate match
for what is seen in subject
matter, line, texture, form,
and space
•
The subject can be
identified
space are distorted in order
to make an interesting
composition
spaces are given equal
importance in designing the
space
•
•
•
•
•
209
•
•
•
•
•
•
•
•
•
•
work
Work distorts or
exaggerates what is seen
work
It may not be possible to
identify the subject
Form is distorted
Only positive space was
considered in designing
the sculpture
Theme or Subject
Nonobjective Art
•
•
•
•
•
Conceptual Sculpture
Expression of a personal or
cultural issue
•
•
•
•
No recognizable subjects
space are arranged to make
an interesting composition
Elements lead the eye
spaces are given equal
importance in designing the
space
•
•
Creates original sculpture
Personal or cultural
issues are clearly
communicated to viewers
Media, elements and
principles are used to
communicate the artist’s
point of view
Complex and/or abstract
idea or message
•
•
•
•
•
•
•
No recognizable
subjects
Line, form, texture and
space are arranged to
make an interesting
composition
Elements leads the eye
spaces are considered in
the design
•
issues are communicated
Media, elements and
principles are used to
communicate the artist’s
point of view
Simple or concrete idea
or message
•
210
•
•
•
•
•
•
Modifies artwork
No recognizable
subjects
Form, texture, and space
are arranged in order to
make an interesting
composition
The negative space is
less important than the
positive space
•
by another artist
issues may be unclear or
confusing to viewer
Media and/or elements
and principles are
applied with little
connection to the issue
Simple or concrete idea
or message
•
•
•
•
•
•
work
Subject may be
recognized
Form and space are
arranged into a design
Only positive space was
considered in designing
the sculpture
work
issues are not clear
and principles contradict
the expressive purpose of
the work
Public sculpture
•
•
•
•
•
Creates original maquette
Appropriate scale for site
Clear relationship
between maquette design
and environment
Proposal includes plan
for final materials and
construction
Style of sculpture, choice
of materials, and idea
communicated by
sculpture are all
integrated with specific
buildings and landscape
in environment
•
•
•
•
Creates original maquette
Appropriate scale for site
Clear relationship
and environment
construction
•
•
•
•
•
211
Modifies maquette based
on another artist’s work
Scale too large or too
small for site
Some relationship
and environment
construction
•
•
•
Copies maquette from
another artist’s work
Unclear connection to a
specific site
Little or no presentation
materials
Sculpture I, CCO II
Core Conceptual Objective II, Aesthetics and Art Criticism: Students will use appropriate vocabulary
Sculpture expresses meaning and is valued for different aesthetic reasons
in various historical periods and cultures.
Content and Skills:
Aesthetics
Sculpture expresses meaning and is valued for different
aesthetic reasons in various historical periods and cultures.
FA 2, FA 3, CA 1, CA 4,
G I.5, G 2.4
should be able to do:
Aesthetics
Compare and contrast aesthetic value and
meaning among sculptures created in various
historical periods and cultures.
Lipchitz – formalism
African – functionalism – spiritual, religious purpose
Asian – stylized, embodied spiritual belief about nature
Trova – formalism, expressionism - message about
relationship between man and machine
B. Saar – functionalism – expresses messages regarding
African-American stereotypes
Segal – formalism/imitationalism, functionalism –
expresses message about culture and people in everyday
environments
Egyptian – functionalism-served a purpose in afterlife,
stylized with two points of view combined into one image
Calder – formalism
Noguchi – formalism, emotionalism
Hepworth – formalism, emotionalism
Cassilly – imitationalism
Oldenburg – imitationalism, emotionalism
Art Criticism
Write a critique of a sculpture that follows the Feldman
Model:
Describe (use art terms and descriptive language to
explain, in detail, what is seen in the artwork)
Analyze (explain how and where important elements and
principles are used in the artwork)
Interpret (make a clear connection between how the artist
used the elements and principles and the artist’s intended
meaning/message/effect)
Judge (evaluates the quality of the artwork on the use of
elements, principles, usage of media, themes)
Art Criticism
Write critiques of sculpture using the Feldman
Model (describe, analyze, interpret, judge)
Unit Vocabulary:
Sculptor, sculpture, 3-dimensional art form, imitationalism, emotionalism, formalism, functionalism,
realistic, abstract, nonobjective, describe, analyze, interpret, judge, critique
212
Pre-Assessment:
Students connect the terms to supporting statements.
Students match aesthetic theories to artist’s works.
Students critique sculpture using the Feldman model.
Activity
Students, in small groups, will look at samples of
sculpture and identify the style represented with
supporting statements of how they see the elements and
principles have been applied.
Strategy
Assessment
Oral and written
presentation of group
findings applying
vocabulary
Activity
Students will research and analyze historical figurative
sculptures to interpret the artist’s intention.
Strategy
Structured Inquiry
Assessment
Scoring Guide
Activity
Students will critique a sculpture using the Feldman
model.
Strategy
Critique
Assessment
Scoring Guide
Students will use appropriate vocabulary to critique and respond to works of art.
Application Level Assessment Sculpture I, CCO II: Students will use appropriate vocabulary to critique
and respond to works of art.
Student Tasks:
Compare and contrast aesthetic value and meaning among sculptures created in various historical periods
and cultures.
Write critiques of sculpture using the Feldman Model (describe, analyze, interpret, and judge).
213
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
214
Scoring Guide for Sculpture I, CCO II
Criteria
meaning and aesthetic point of
view evident in each of the
following artist’s/culture’s
sculptures:
Lipchitz
Trova
B. Saar
Segal
Calder
Oldenburg
4
Advanced
•
•
•
•
intention.
Addresses the most
of view in the work
work and the artist’s life.
and specific.
3
Proficient
•
•
•
•
on the basis of the
Addresses important
in the work
Defends statements
life.
All information is
correct.
2
Nearly Proficient
•
•
•
•
•
•
215
the aesthetic intention.
Addresses less
important aesthetic
work
Supports some
statements with
and the artist’s life.
are missing.
be incorrect.
1
Progressing
• Describes
characteristics of
the artwork on the
basis of the
incomplete.
• Many pieces of
information may be
incorrect.
Criteria
4
Advanced
3
Proficient
Introduction
•
Description
everything in the artwork
•
in the work
Analysis
space, value)
emphasis, contrast,
rhythm, unity,
proportion)
•
work
•
Interpretation
and cultural meanings),
emotional mood or
attitude toward the
subject, social
commentary,
•
each important
meaning
•
•
•
•
personal piece
media, dimensions)
•
•
•
•
•
personal piece
Most available
information given
Logical, coherent
visible in the work
2
Nearly Proficient
•
•
•
which are most
•
Explains meaning of
work (mood,
symbolism, attitude
to ideas
•
216
•
1
Progressing
piece mentioned
•
of work listed
unorganized
•
Random mention of
one or two details
used
used
•
Partially lists
elements and/or
principles
telling
•
toward subject, or
purpose
Judgment
Aesthetic theories
are beliefs about
what makes
Imitationalism- Art
should copy the
real or ideal world
Formalism – Art
should be an
interesting
arrangement of
elements /
principles
should express
feelings or mood
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
Functionalism)
context
•
Free of errors
if own piece
correct order
•
•
•
•
•
•
(Imitationalism,
or Functionalism)
support theory
•
Few minor errors in
spelling or grammar
if own piece
after introductory
paragraph
in correct order
•
217
•
•
•
•
•
the term
•
clarity
second person
essay
order
•
third person
essay
order
•
•
•
Sculpture I, CCO III
contexts.
FA 5; SS 6, CA4, G 1.9
Content and Skills: *Acceleration/enrichment content.
Style Name and
Abstract Figurative Sculpture
• Representational
• Distorted or exaggerated
proportions
*Asian Art
o Figurative
o Stylized
o Religious
Artist’s Context:
Time, Place, Events
•
*African Art
• Figurative
• Stylized
• Geometric Motif
• Symbolic Imagery
• Exaggerated Proportions
Jacques Lipchitz
• Modern
• Figurative and still-life
• Abstract
• Geometric
• Flowing and angular lines
• Bronze castings
Ernest Trova
• Modern, Post-Modern
• Simplified form
• Abstract
• “Falling Man” series
• Human form challenged by
technology
• Assemblage and casting
processes
218
•
•
*China, Japan, Korea
Ancient-present times
Nature theme
*Africa
19th Century-present
Sculpture are exaggerated
for symbolic purpose,
fertility
Masks used in ceremonies to
represent ancestor spirits
Lithuanian-born, worked in
France until WWII, then USA
Cubist
1891-1973
• Influenced by African
sculpture
•
United States
1927- present
Trova’s gift of 40 works and
materials started the
collection of the Laumeier
Sculpture park in St. Louis
County, Missouri
Personal/Cultural Issues
•
•
•
Political and social
statements
Figurative
Addresses stereotypes
Betye Saar
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Modern
·
Elements & principles are
the subject matter
·
Simple forms
·
Surfaces are smooth rather
than decorated
·
·
·
·
·
·
·
Post-Modern
Assemblage
“Personal Icons”, shadow
boxes of objects
Relief and Installation
Political Art
African American
Stereotypes
George Segal
Post-Modern
Figurative
Casts in plaster and gauze on
human models
Texture of rough canvas
Realistic, simplified forms
Monochromatic, white
•
•
•
•
•
African-American
1928-present
Celebrates AfricanAmerican heritage
Comments on racial and
gender stereotypes
Daughter, Alison Saar, is
also a sculptor, wood
carvings and assemblage
United States
1924-2000
Pop Art Sculptor
Showed the physical and
emotional connections
between people and their
environment
Places figures in settings of real
objects
*Egyptian
Carving
Relief
Casting
“Frontal Style”, showing
front and side view at the
same time
Free-standing
Storytelling
Alexander Calder
Invented mobile and
contrasted them to stabiles
Organic and geometric
shapes joined to become
forms
Large scale
Kinetic sculptures
Bright, flat colors
*Isamu Noguchi
Media used: bent metal,
wood, stone, neon, concrete,
cast bronze
Abstract and non-objective
style
219
•
•
·
·
·
·
·
·
*Early, Middle and Late
Dynasties
5000 B.C.-300 B.C.
Sculpture in tombs of
Pharaoh (ruler) and other
important people serve as
home for his spirit in the
afterlife
Works glorify Pharaoh
United States
1898-1976
Family of artists
Studied mechanical
engineering
*Japanese-American
1904-1988
Born to an American mother
& Japanese father lived in
Japan as a child, then US
Influenced by Brancusi
Designer as well as sculptor
Japanese aesthetic,
simplicity, integrated with
nature
Public Sculpture
• Large scale
• Function varies to: educate,
to entertain, commemorate a
person or historic event,
communicate an idea
• Style varies from realistic to
abstract to non-objective
• Integrated with natural and
built environment
•
•
*Barbara Hepworth
Abstract simplified organic
and non-objective forms
Innovator in using void as an
abstract element
•
•
•
·
·
·
·
·
·
*Robert Cassilly
Representational animal
sculpture
Realistic portrait sculpture
Claes Oldenburg
Monumental sized scale
Realistic everyday objects
“Soft” sculpture, stuffed
sewn fabric early work
Later work for exterior
spaces in more durable
materials, cast metal
·
·
·
·
·
·
*England
1903-1975
Expresses sense of nature,
and person in it
Standing form represents
figure in landscape
Two forms represent the
interaction of two things in
nature
*United States
1949-living
Founder of the City Museum
in St. Louis
Swedish-born, American
(1929-living)
Son of a diplomat, he grew
up living in many countries
Pop Art movement
Raised aesthetic issues
regarding the difference
between “art” and massproduced, functional objects
Commentary on culture
Works collaboratively with
his wife Coosje van Bruggen
Unit Vocabulary:
Public sculpture, figurative sculpture, social issues, Modern Art, Pop Art
Pre-Assessment:
Activity
WHY WAS IT VALUED?
220
Strategy
Cooperative
Identification
Assessment
Activity
Create a miniature that the artist could have created (but
didn’t). Explain how this work would have fit in with
the times/culture in which the artist worked. Refer to the
place, time, context, characteristics of style, and give
information about the artist to defend your work.
Activity
Technology)
Strategy
Applying content
form.
Assessment
information.
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
the highest price
the audience of it’s
information?
matter.
Create a model of a museum using models of famous sculptures and text to teach about one or more styles
or periods of art history.
Application Level Assessment Sculpture I, CCO III: The student will compare and contrast artworks on
Student Task:
221
Course:
, CCO III, Art History Reflective Writing Worksheet.
Name:
Hour:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
222
Work C
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
On the next page, write an essay comparing the importance of these works in the history of art. Support your opinions with information from the charts you just
completed.
223
Scoring Guide for Sculpture I, CCO III
Criteria
Human Figure
• Jean-Antoine Houdon
• Ernest Trova
4
Advanced
•
•
•
•
Personal and or Cultural
Issues
• Betye Saar
• George Segal
•
•
•
•
3
Proficient
Compares, contrasts and
evaluates the human
figure as a theme from
all artists, cultures and
periods specified
Specific characteristics
of each artist, culture and
period are compared
detailed references to the
work from specified
artists, cultures, and
periods
and specific
•
evaluates personal and
cultural issues as a theme
from all cultures and
periods specified
period are compared
work from specified
artists, cultures and
periods
and specific
•
•
•
•
evaluates the human
figure as a theme from
artists, cultures and
periods specified
Characteristics of artists,
cultures and periods are
compared
references to the work
from artists, cultures and
periods
2
Nearly Proficient
•
•
•
•
•
•
•
•
evaluates personal and
cultural issues as a theme
from cultures and periods
specified
Characteristics of each
artist, culture and period
are compared
from specified artists,
cultures and periods
•
•
•
•
•
224
1
Progressing
the human figure as a
theme from artists,
cultures or periods
specified
characteristics of artists,
Supports some
to the artist, culture or
periods
Some important
comparisons are missing
Most information is right
•
personal or cultural
issues as a theme from
specified
cultures or periods are
compared
Supports some
periods
Some important
Most information is right
•
•
•
•
•
•
•
•
•
the human figure as a
theme
Less important
characteristics are listed
Statements are not
supported with
references
Important information is
missing
Information is incorrect
personal or cultural
issues from cultures or
periods specified
Less important
cultures or periods are
listed
Statements are not
supported with
references
Important comparisons
are missing
Modern
•
•
•
Alexander Calder
Jacques Lipchitz
•
•
•
Public Sculpture
• Claes Oldenburg
•
•
•
•
evaluates key issues of
Modern sculpture in
relation to each artist
specified
of each artist’ style are
compared
work from specified
artists
and specific
•
evaluates key issues as
they apply to public
sculpture
evaluates 3 specific
characteristics of each
artist’ style
work from specified
artists
and specific
•
•
•
•
•
•
•
evaluates issues of
Modern sculpture in
relation to specified
artists
Characteristics of each
artist’ style are compared
from specified artists
•
evaluates issues that
apply to public sculpture
evaluates 2
artist’ style
•
225
•
•
•
•
•
•
issues of Modern
sculpture in relation to
specified artists
Supports some
to characteristics of the
artist’ style
Some important
Most information is
correct
•
some issues that apply to
public sculpture
1 characteristic of 2
artist’ styles
Supports some
statements with
characteristics of
specified artist’ work
Most information is
correct
•
•
•
•
•
•
•
•
Modern sculpture with
artists
Statements are not
supported with
references
are missing
Lists issues that apply to
public sculpture
public sculpture
Statements are not
supported with
references to the
sculpture
missing
Sculpture I, CCO IV
There are relationships between concepts in visual arts and current events
in social studies.
Content and Skills:
Connect sculpture that communicates about cultural or
social issues to the society in which it was created.
Sources for artistic inspiration can be newspaper, web
sites, art journals, and news magazine commentaries
on issues such as politics, education, race, freedom, or
war.
FA 4
able to do:
Compare and contrast sculptor’s commentary with
articles about current events or issues.
Conduct research into an issue, and then create a
sculpture and writing that communicate a social,
political, or cultural message.
Unit Vocabulary:
Patron, propaganda, protest, cultural or social issues, commentary
Pre-Assessment:
Students will match sculptures to articles about issues or current events.
Activity
Students will conduct research to identify cultural issues
that sculptors have addressed.
Activity
Students will take an idea from social studies and use it
as the basis for a sculpture design.
Activity
Students will compare, contrast, and evaluate the
effectiveness of journalism and sculpture commentaries
on the same issue.
Strategy
Research
Assessment
Checklist
Strategy
Modeling
Problem-Solving
Assessment
Scoring Guide
Strategy
Critique
Assessment
Scoring Guide
Students can research issues of personal as well as cultural or social interest.
Students can deal with either simple and concrete issues or complex and abstract ones.
Application Level Assessment Sculpture I, CCO IV: The student will make connections between
commentary in sculpture and social studies.
Student Tasks:
Compare and contrast sculptor’s commentary with articles about current events or issues.
Conduct research into an issue, and then create a sculpture and writing that communicate a social, political,
or cultural message.
226
Scoring Guide for Sculpture I, CCO IV
Criteria
Compare and contrast
sculptor’s commentary with
articles about current
events or issues.
4
Advanced
•
•
Create a sculpture and
writing that communicates
a social, political, or
cultural message.
•
•
3
Proficient
Compare, contrast, and
evaluate the relative
effectiveness of
commentary in articles
about issues and
sculptor’s visual
messages.
Statements are supported
with reference to details
in the sculpture and
article
•
A social, political, or
cultural issue is
comprehensively
analyzed from many
points of view before
being reflected in student
work
Ideas are clearly
communicated in both art
and writing
•
•
•
2
Nearly Proficient
Compare and contrast,
social/political
commentary and
sculptor’s visual
messages.
Statements are supported
sculpture and article
•
cultural issue is analyzed
from a couple viewpoints
before being reflected in
student work
Ideas are clearly
communicated in both art
and writing
•
227
•
1
Progressing
Compare social/political
commentary and
sculptor’s visual
messages.
•
cultural issue is analyzed
from one point of view
before being reflected in
student work
Ideas are communicated
in both art and writing
•
•
•
List characteristics of
sculpture and a
commentary article that
relate to the same issue
Ideas are supported with
opinions rather than facts
Student work is related to
an issue but the idea is
not clear
Incomplete or unclear
writing accompanies
student artwork.
Graphic Design I
228
Graphic Design I Scope and Sequence
A
Line: text as line
Shape: letterforms, text body as shape
Color: symbolism (psychological, cultural, personal)
Emphasis: differentiate the use of dominant and subordinate elements in a layout.
Unity: unified composition through the use of 4 elements and mixed media.
Proportion: Grid systems, letter spacing (kerning, leading).
B
Layout Techniques: mixed media, cut and paste
Technology:
PHOTOSHOP
• Tool Bar (Selection tools, type tool, foreground/background)
• Transform tool
• Layers palette (copy, rename layer, opacity, flatten)
• Color palette
• Saving/images formats (.jpg , .gif, .psd , .eps, .bitmap )
ILLUSTRATOR
• Tool Bar (selction tool, shape tools, type tools, fill , stroke, pen).
• Color pallette
SCANNER
• Scan,import,save, adjust image resolution
DIGITAL PHOTOGRAPHY
• Importing student photos into graphics programs
PRINTING
• Specialty papers
C
Social Commentary
Historical Styles, Cultural Influences
Symbolism
Advertising
229
Graphic Design I Scope and Sequence
Aesthetics
Develop a personal definition for “Design” that separates works into either “Design” or “Fine
Art” categories.
Analyze the relationship between definitions of good design and a particular target audience.
Art Criticism
• Art Nouveau
• Bauhaus
• Digital Revolution (David Carson)
Connect Graphic Design in art to current events in social studies.
230
Graphic Design I, CCO IA
visual language.
FA 1, FA 2
Content and Skills:
should know:
Line: text as line
Create a layout using text as line.
Shape: letterforms, text body as shape
Create a layout using letterforms and text bodies as shapes.
Color: symbolism
• Based on psychological research
• Based on cultural meaning
• Based on personal meaning
Use research-based psychological color information to
communicate an idea.
Use culturally-based color symbolism to communicate an idea.
Use color based upon personal meaning to communicate an idea
or feeling.
Emphasis: differentiate the use of
dominant and subordinate elements in a
layout.
Unity: unified composition through the
use of 4 elements and mixed media.
Proportion: grid systems, letter spacing
(kerning, leading)
Create a layout creating emphasis through dominant elements.
Create a layout creating emphasis through subordinate elements.
Create a unified layout through the use of 4 elements and mixed
media.
Create a layout that demonstrates proportion using a grid
system.
Create a layout that demonstrates proportion by adjusting letter
spacing (kerning, leading).
Unit Vocabulary:
Line, text lines, shape, letterforms, text body, color, color psychology, symbolism
emphasis, dominant, subordinate, unity, proportion, grid systems, letter spacing, kerning, leading.
Pre-Assessment:
Repeat the word “anger” so that it reflects the meaning of the word.
Illustrate an idea using letterforms as shapes.
Illustrate an idea using text bodies as shapes.
Analyze an advertisement in terms of the color psychology. Discuss how color influences consumers.
Identify ideas associated with specific colors, on a worksheet.
Analyze the dominant and subordinate elements of a layout.
Analyze how unity is created in a layout.
Analyze the grid system used in a layout.
Adjust kerning and leading in Adobe Illustrator.
Activity
Label the parts of a letterform drawn by the student.
231
Strategy
Labeling.
Assessment
Correct labels
Activity
Create a black and white advertisement using a grid to
organize the composition.
Activity
Students will create an advertisement for a product that
incorporates color psychology.
Strategy
Drawing
Assessment
Scoring guide
Strategy
Critical problemsolving and creating
Assessment
Scoring guide.
Choice of media may vary based on student abilities.
Students can create alternate version of their designs.
Students can create a product based upon personal interests.
Application Level Assessment Graphic Design I, CCO IA: The student will demonstrate the elements
and principles through the creation of original works of art.
Student Tasks:
Create an example using text as line.
Create an example using letterforms and text bodies as shapes.
Use research-based psychological color information to communicate an idea.
Use culturally-based color symbolism to communicate an idea.
Use color based upon personal meaning to communicate an idea or feeling.
Create a layout creating emphasis through dominant elements.
Create a layout creating emphasis through subordinate elements
Create an example of unified layout through the use of 4 elements and mixed media.
Create an example that demonstrates proportion using a grid system.
Create an example that demonstrates proportion by adjusting letter spacing (kerning, leading).
Create a layout that demonstrates proportion by adjusting letter spacing (kerning, leading).
232
Scoring Guide for Graphic Design I, CCO IA
Criteria
Line: Text as Line.
4
Advanced
•
•
Shape: Letterforms, text
body as shape.
•
•
•
Color Symbolism
• Psychological effects of
color
• Culturally-based
symbolism
• Personal color meaning
•
•
•
•
3
Proficient
2
Nearly Proficient
1
Progressing
Arranges words into a
line (direction, kind) that
expresses a complex idea
Arranges lines of text to
lead the viewer’s eye
through a composition
•
expresses a complex idea
•
describes a simple idea
•
straight line
Creates a complex
composition using
multiple type styles.
letterforms for different
expressive purposes
Designs blocks of text as
shape in a composition
related to expressive
message
•
Creates a composition
using two type styles
Selects and uses
letterforms for different
expressive purposes
Designs blocks of text as
shape in a composition
•
using one type style
Relates the use of a
letterform to one
expressive purpose
•
using one type style
Applies psychological
color research to
communicate meaning
Applies several examples
of culturally-based color
symbolism to
communicate meaning
Uses several colors in a
personally symbolic way
to communicate meaning
Evaluates, compares, and
contrasts effectiveness of
all color choices
•
color research to
communicate meaning
Applies two examples of
culturally-based color
symbolism to
communicate meaning
Uses two colors in a
the effectiveness of all
color choices
•
color research to
communicate meaning
Uses one example of
culturally-based color
symbolism to
communicate meaning
Uses one color in a
Compares two of the
types of color symbolism
used
•
Uses color to create
psychological meaning
without basing it on
research
Uses personal
interpretations of color
that may not be clearly
understood by viewers
Lists colors and
meanings
•
•
•
•
•
233
•
•
•
•
•
•
Emphasis: Differentiate the
use of dominant and
subordinate elements in a
layout
•
•
•
Creates emphasis
through the use of
dominant elements in a
layout
Creates emphasis
through the use of
layout
Creates a complex layout
using both dominant and
subordinate elements in
an inventive way
•
•
•
Creates emphasis
through the use of
layout
Creates emphasis
through the use of
layout
Creates a simple layout
using both dominant and
subordinate elements in
an inventive way
•
•
•
Creates emphasis
through the use of
layout
Creates emphasis
through the use of
layout
Creates a simple layout
using dominant and
subordinate elements
•
Creates emphasis
through the use of
layout
Unity: Unified composition
through the use of 4 elements
and mixed media.
•
Creates unity through the
use of four elements in a
complex, mixed media
composition
•
use of four elements in a
simple, mixed media
composition
•
use of three elements in a
simple, mixed media
composition
•
use of two elements in a
simple, mixed media
composition
Proportion: Grid systems,
letter spacing (kerning,
leading).
•
Apply multiple grid
systems to a complex and
original layout design
All letters and spaces in a
type layout are in correct
proportion
•
Develop an appropriate
grid system and apply
that system to a layout
design
Most letters and spaces
in a type layout are in
correct proportion
•
Uses a grid presented by
the teacher to design a
layout
Many letters and spaces
in a type layout are in
correct proportion
•
Makes some errors in
using a grid presented by
the teacher to design a
layout
Few letters and spaces in
a type layout are in
correct proportion
•
•
234
•
•
Graphic Design I, CCO IB
Content and Skills:
should know:
Layout Techniques:
Mixed media, cut and paste
Software Technology:
PHOTOSHOP
-Tool Bar (Selection tools, type tool,
foreground/background)
-Transform tool
-Layers palette (copy, rename layer,
opacity, flatten)
-Color palette
-Saving/images formats (.jpg , .gif, .psd ,
.eps, .bitmap )
ILLUSTRATOR
-Tool Bar (selction tool, shape tools,
type tools, fill , stroke, pen).
color pallette
SCANNER
- Scan,import,save, adjust image
resolution
DIGITAL PHOTOGRAPHY
-importing student photos into graphics
programs
PRINTING
-specialty papers
FA 1, FA 2
Create an example using mixed media techniques.
Create artwork using Adobe Photoshop tool bar, layers palette,
color palette, and file saving formats.
Create artwork using Adobe Illustrator tool bar and color
palette.
Scan, import and adjust images using computer technology.
Create images with a digital camera, import and use them in the
creation of artwork.
Demonstrate knowledge of printing on a variety of specialty
papers.
Unit Vocabulary:
Adobe Photoshop, tool bar, selection tools, type tool, foreground/background, transform tool, layers palette, opacity,
flatten image, color palette, image formats; .jpg , .gif, .psd , .eps, .bitmap, Adobe Illustrator, selction tool, shape tools,
type tools, fill , stroke, pen tool, scan, import, save, image resolution, specialty papers.
Pre-Assessment:
Students will open an image file in Adobe Photoshop and go through a checklist of various tools to
demonstrate their readiness level.
Students will open a new file in Adobe Illustrator and go through a checklist of various tools to
demonstrate their readiness level.
Students will take a series of photographs using the digital camera while demonstrating their understanding
of various camera functions.
Activity
Students will complete a Photoshop tutorial such as
“Selections” and “Layer Basics”. (Technology)
Strategy
Direct Instruction
235
Assessment
Checked for
completion and
accuracy
Activity
Students will analyze the tools used in creating an
example done in Photoshop. (Technology)
Strategy
Group investigation
Assessment
Checklist
Activity
Students will scan their own photographs into the
computer, and manipulate them with Photoshop to create
a “Surreal Self-portrait”. (Technology)
Strategy
Critical thinking and
problem solving
Assessment
Scoring guide
Challenge students by increasing the complexity of the assignment.
Application Level Assessment Graphic Design I, CCO IB: The student will demonstrate knowledge of
media skills and processes through the creation of original works of art.
Student Tasks:
Create an example using mixed media techniques.
Create artwork using Adobe Photoshop tool bar, layers palette, color palette, and file saving formats.
Create artwork using Adobe Illustrator tool bar and color palette.
Scan, import and adjust images using computer technology.
Create images with a digital camera, import and use them in the creation of artwork.
Demonstrate knowledge of printing on a variety of specialty papers.
236
Scoring Guide for Graphic Design I, CCO IB
Criteria
Typography:
4
Advanced
•
•
•
•
Mixed Media
•
•
Application of Photoshop
techniques:
Variety of Photoshop Tools
•
•
3
Proficient
Typeface and style are
appropriate
Leading and kerning are
adjusted to clearly match
the idea
Manipulates typeface to
communicate a specific
idea to the audience
Type arrangement clearly
matches idea
•
Uses a variety of media
to create different
colors, textures and
values to reinforce their
idea
Uses the media
deliberately and
correctly.
•
Independently goes
beyond teacher
directions
Demonstrates the ability
to select a variety of
Photoshop tools to
expand beyond the
objective of the
assignment
•
•
•
•
•
2
Nearly Proficient
Typeface and style are
appropriate
adjusted correctly and
are legible
Type arrangement
reflects an idea
•
within the same design
Uses the media
deliberately and correctly
•
Follows general teacher
directions
to select the correct
Photoshop tools for the
objective of the
assignment
•
237
•
•
•
•
1
Progressing
Too many type styles are
used
Too many type faces are
used
inconsistent
Type arrangement
reflects the idea in some
areas
•
Uses two different media
Uses the media correctly
•
With teacher prompting,
demonstrates the ability
to select Photoshop tools
for the objective of the
assignment
•
•
•
•
•
Type style does not
match idea
Selection of typeface
does not match idea
not adjusted
Type arrangement does
not match the idea
Uses one media within
the same design
The media was not used
correctly
Depends upon teacher or
another student to select
appropriate Photoshop
tools for the objective of
the assignment
techniques:
Selection tools
techniques:
Type Tool
Independently:
• Selects objects using the
marquee tool, lasso tool
and magic wand tool
• Selects both positive and
negative space around
objects
• Inverts a selection
• Selects cleanly around
objects with smooth
curves or straight edges
where needed
• There is no halo around
the object
• Uses feathering or antialiasing to blend the
object’s edges into the
background
• Techniques are applied
with originality
• Additional techniques are
used with accuracy
directions to:
• Selects objects using the
and magic wand tool
objects
• Selects cleanly around
objects with smooth
curves or straight edges
where needed
• Uses feathering or antialiasing to blend the
object’s edges into the
background
Independently:
• Inserts type into a layer
• Uses four or more type
sizes to express an idea
• Integrates a variety of
fonts into the design
• Uses colored type to
express an idea
• Uses bold and italic font
styles to express an idea
• Complex, abstract idea
directions to:
• Inserts type into a layer
• Uses three type sizes
• Uses a variety of fonts
• Uses colored type to
express an idea
styles to express an idea
• Simple, abstract idea
238
With teacher prompting:
• Selects objects using two
of the following tools:
and magic wand tool
the object
• Selects around the object
with smooth curves or
straight edges in most
places
• A small halo exists
around the object
selection
• Feathering or antialiasing is not used to
blend the object’s edges
into the background
•
• Inserts type into a layer.
• Uses two type sizes
• Uses one kind of font
• Uses colored type that
does not express an idea
styles
• Simple, concrete idea
•
•
•
•
•
•
•
•
•
•
•
•
peer to accomplish tasks
Selects objects using one
of the following tools:
and magic wand tool
Selects only positive or
the object
Does not demonstrate the
ability to invert a
selection
Selection around the
object is ruff and
inconsistent with the
edge of the object
A large halo exists
around the object
selection
The object’s edges do not
blend into the
background
peer to accomplish tasks:
Inserts type into a layer
Uses one type size
Uses one kind of font
Uses colored type that
opposes the idea
Uses bold and italic font
styles
techniques:
Transform Tool
techniques:
Layers Palette
Independently:
• Transforms object by
rotating, skewing, and
resizing
• Resizes objects by
constraining proportions
• Skews and integrates
objects to create
movement, direction and
dynamics
• Rotates objects to create
dynamics
Following general teacher
directions:
resizing
• Resizes objects by
• Skews object to create
dynamics
• Rotates objects to create
dynamics
two of the three methods:
resizing
• Resizes objects without
so the resulting image is
slightly distorted
• Skews object to create
some movement and
direction
• Rotates object
•
Independently:
• Creates new layers
• Arranges layers so that
objects are in the right
order from foreground to
background
• Deletes layers when
needed
• Duplicates layers
• Renames layers to help
with organization
• Puts layers in layer sets
and color codes them
• Blends images, color,
and texture by changing
layer opacity
• Flattens layers
Following general teacher
directions:
background
needed
with organization
and texture by changing
layer opacity
• Flattens layers
background most of the
time
needed
with organization
and/or texture by
changing layer opacity
• Flattens layers
•
239
•
•
•
•
•
•
•
peer to accomplish tasks:
Transforms object by one
of the three methods:
resizing.
Resizes objects without
so the resulting image is
distorted
peer to accomplish tasks
Creates new layers
Arranges layer
incorrectly from
foreground to
background, causing
objects to unintentionally
overlap
Unintentionally deletes
layers
Unintentionally
duplicates layers
Blends either images,
color, or texture by
changing layer opacity
techniques:
Saving/images formats (.jpg ,
.gif, .psd , .eps, .bitmap )
•
Uses .jpg’s and .gif’s for
web, .psd’s for layering,
.eps’s for vector art, and
.bitmap and .tiffs for
print
Saves documents as a
.jpg , .gif, .psd , .eps, or
.bitmap
Uses the correct format
for cross-program use
(ex. Photoshop vs.
Illustrator)
Saves the file as a .psd
when the file has layers
•
Creates circles, ovals,
squares, rectangles and
polygon using the correct
shape tool
• Uses the shift key to
constrain proportions to a
square and circle
• Resizes vector shape to
the correct size
• Manipulates shape by
pulling on anchor points
to create a new shape
• Uses the shift key to
constrain anchor points or
line segment to the
vertical and horizontal
axis
•
•
•
•
Application of Illustrator
techniques:
Shape Tools
•
•
•
•
•
•
Uses .jpg’s and .gif’s for
web, .psd’s for layering,
.eps’s for vector art, and
print
Saves documents as a
.jpg , .gif, .psd , .eps, or
.bitmap
Uses the correct format
for cross-program use
(ex. Photoshop vs.
Illustrator)
Saves the file as a .psd
when the file has layers
•
shape tool
Uses the shift key to
constrain proportions to a
square and circle
Resizes vector shape to
the correct size
•
240
•
•
Uses some of the
following file formats:
.jpg’s and .gif’s for web,
.psd’s for layering, .eps’s
for vector art, and
print
Saves documents
•
Uses one file format”
.jpg , .gif, .tif, .psd , .eps,
.bitmap
shape tool.
Shapes are not
consistently proportioned
•
Creates a few of the
shapes using the correct
shape tool
Shapes are not equally
proportioned
•
techniques:
Type Tool
•
•
•
•
•
techniques:
Pen tool
•
•
Creates type on a
curvilinear path and
moves the type along
the path to the desired
position to express an
idea
Creates type in a
paragraph and resizes
the column’s width
Selects and moves a
paragraph to the desired
position to create
balance
Rotates type vertically,
horizontally, and
diagonally to express an
idea
Rasterizes the type to
create vector anchor
points. Manipulates the
position of the anchor
points. Also, changes
the curve and angle of
the line to create a new
letterform
•
Plots anchor points in the
correct location to create
a smooth curved path
(not on the tip of the
curve)
Pulls the anchor handles
to form smooth curves
•
•
•
•
•
Creates type on a
curvilinear path and
moves the type along the
path to the desired
position
Creates type in a
paragraph and resizes the
column’s width.
Selects and moves a
paragraph to the desired
position
Rotates type vertically,
horizontally
•
a curved path
to form curves
•
241
•
•
•
Creates type on a
curvilinear path
Creates type in a
paragraph
Selects and moves a
paragraph
•
Plots too many or too
few anchor points
causing the shape to
become jagged
too much on one side
(curve not smooth)
•
•
•
Creates type on a
curvilinear path but it is
not positioned correctly
Creates type in a
paragraph
few anchor points
become jagged
Does not pull on the
anchor handles
techniques:
Stroke Lines and Fill and
Stroke Shapes
Application of Scanner
techniques
• Customizes stroke weight
and color of line and shape
to relate to specific content
and audience
• Customizes a color to
relate to specific content
and audience
• Customizes a gradient
(radial or linear) to blend
three colors
•
• Scans an image with the
appropriate resolution: 72
dpi for web design and
100-300 dpi for print
design
• Enlarges or decreases the
size of the image to fit the
project’s needs.
• Scans an image with the
appropriate color mode:
RGB, CMYK, Index
Color, Black and White to
enhance the meaning of
the artwork
•
•
•
•
Lines and shapes are
stroked with a variety of
line weights.
to fill shapes with
different colors
Uses a custom gradient
to blend one color to
another, when filling
shapes
•
Scans an image with the
appropriate resolution,
size and color/contrast
Scans an image with the
appropriate color mode:
RGB, CMYK, Index
Color, Black and White
•
•
•
•
242
Some lines and shapes
are stroked with a variety
of line weights
Uses the default color
and gradient settings
tools to fill shapes
•
Scans the image
resolution too high but is
able to decrease the
resolution in Photoshop
Scans the image larger
than the physical
dimensions needed but is
able to decrease the size
in Photoshop
Scans the image with the
inappropriate color mode
but is able to change it in
Photoshop
•
•
•
•
stroked with the same
weight
Uses default colors to fill
shapes
Scans the image and does
not use enough
resolution for the
objectives of the
assignment
Scans the image smaller
than the physical
dimensions need for the
assignment
Scans the image with the
inappropriate color mode
Application of Digital
Photography
Application of Printing
• Uses the correct digital
photographic settings to
create the best quality
picture
• Scrolls through previously
taken photographs and
deletes images when
appropriate
• The lighting, color and
composition of the digital
photograph reinforce the
idea they are trying to
communicate
•
•
•
•
•
•
Prints the project at the
appropriate size.
Chooses the correct
printer in the printer
options box.
Prints the appropriate
number of copies.
Uses specialty papers to
enhance the texture of
the image.
•
•
•
•
•
Uses the correct digital
photographic settings to
create a quality picture
Scrolls through
previously taken
photographs and deletes
images when appropriate
Demonstrates an
understanding of light,
color and composition in
the digital photograph
•
•
appropriate size.
Chooses the correct
options box.
Prints the appropriate
number of copies.
Uses specialty papers
•
243
•
•
Uses the digital camera
Scrolls through
previously taken
photographs
Demonstrates some
•
•
appropriate size.
Chooses the correct
options box
•
•
•
Uses the digital camera
Has difficulty scrolling
through previously taken
photographs
Did not demonstrate an
Prints the project at an
inappropriate size
Prints to the incorrect
printer
Graphic Design I, CCO IC
theme.
Content and Skills:
should know:
Social Commentary
FA 1, G 3.1
Create an original artwork that communicates social
commentary to a mass audience.
Historical styles and Cultural
Influences
Create an original artwork that communicates historical and
cultural influences to a mass audience.
Symbolism
Create an original artwork that uses symbolism to communicate
to a mass audience.
Advertising
Create an advertisement.
Unit Vocabulary:
Propaganda, symbolism, target audience, visual hierarchy, design strategy
Pre-Assessment:
Identify social commentary messages in selected art works.
Match graphic images to historical influences.
Identify symbols in selected artworks.
Identify the target audience and visual hierarchy of an advertisement.
Activity
In small groups students will sort various examples by
theme and subject matter.
Activity
Students will create an advertisement for a product.
Activity
Students will create a personal logo, which is also used
in a self-promotional campaign, and then self-evaluate
using the scoring guide.
Strategy
Cooperative groups
Assessment
Checklist
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Creative &Critical
thinking
Assessment
Scoring guide
In pairs, students will analyze the design strategy used in an advertisement.
Students follow personal interests to research a product and plan an advertising campaign for it.
244
Application Level Assessment Graphic Design I, CCO IC: The student will create original artworks that
communicate ideas to a mass audience.
Student Tasks:
Create an original artwork that communicates social commentary to a mass audience.
Create an original artwork that communicates historical and cultural influences to a mass audience.
Create an original artwork that uses symbolism to communicate to a mass audience.
Create an advertisement.
245
Scoring Guide for Graphic Design I, CCO IC
Criteria
Communicating to a
specific Audience:
4
Advanced
•
•
Social Commentary
•
•
Communicating to a
specific Audience:
•
•
History and Culture
•
•
3
Proficient
Creates original art
Modifies typography,
illustration and/or
photography to
communicate a social
statement
Arranges elements to
support a social
statement
Artwork clearly matches
artist’s written statement
about the intention of the
work
•
•
illustration and/or
photography to illustrate,
express, or reflect a
historical style or culture
support a historical
period or culture
work
•
•
•
•
•
•
2
Nearly Proficient
Selects typography,
illustration and/or
photography to
communicate a social
statement
support a social
statement
Artwork reflects artist’s
written statement about
the intention of the work
•
Selects typography,
illustration and/or
photography to reflect a
historical period or
culture
period or culture
•
246
•
•
•
•
•
•
1
Progressing
work
Uses typography,
illustration and/or
photography to
communicate a statement
support a statement
Artwork reflects some of
the artist’s written
intentions
•
•
work
Uses typography,
illustration and/or
photography to reflect a
historical period or
culture
period or culture
intentions
•
•
•
•
•
•
Copies another artist
Uses typography,
illustration and/or
photography
Statement is unclear
Ideas in artwork do not
match statement
Uses typography,
illustration and/or
photography
Historical period or
culture is unclear
match statement
Communicating to a
specific Audience:
•
•
Personal Messages
•
•
Communicating to a
specific Audience:
•
•
Advertising
•
•
Modes of Communication:
•
•
Symbolism
•
•
illustration and/or
photography to
communicate a personal
message
support a personal
message
work
•
•
illustration and/or
photography to advertise
a product
Arranges elements
appeal to a specific
audience
work
•
•
Develops simplified
imagery to communicate
a clear purpose
audience
•
•
•
•
•
•
•
•
Selects typography,
illustration and/or
photography to
communicate a personal
message
support a personal
message
•
Selects typography,
illustration and/or
a product
audience
•
Selects simplified
imagery to communicate
a clear purpose
audience
written statement
•
247
•
•
•
•
•
•
•
•
•
work
Uses typography,
illustration and/or
photography to
communicate a message
support a message
intentions
•
•
work
Uses typography,
illustration and/or
a product
appeal to an audience
intentions
•
•
work
Uses imagery to
communicate purpose
appeal to an audience
intentions
•
•
•
•
•
•
•
•
Uses typography,
illustration and/or
photography
Message is unclear
match message
Uses typography,
illustration and/or
photography
Audience is unclear
match statement
Uses detailed imagery
Audience is unclear
match statement
Graphic Design I, CCO II
Core Conceptual Objective II, Aesthetics and Art Criticism: Students will use appropriate art vocabulary
There are similarities and differences between the definitions of “Fine Art”
and “Design”.
Content and Skills:
know:
Aesthetics
Aesthetic is a field of philosophy in which big
questions are asked such as: What makes
something “Design versus Fine Art”?
What makes it good design for a particular
target audience?
Art Criticism
• Written Critiques follow the Feldman
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
By the end of this grade/course students should be able
to do:
Aesthetics
Develop a personal definition for “Design” that
separates works into either “Design” or “Fine Art”
categories.
Analyze the relationship between definitions of good
design and a particular target audience.
Art Criticism
Write a critique of an artwork that follows the Feldman
Model:
• Describe (use art terms and descriptive language
to explain, in detail, what is seen in the artwork.)
elements and principles are used in the artwork.)
• Interpret (make a clear connection between how
the artist used the elements and principles and the
artist’s intended meaning/message/effect.)
• Judge (Evaluates the quality of the artwork
according to aesthetic theories considering use of
elements, principles, usage of media, themes.)
Unit Vocabulary:
Imitationalism, emotionalism, formalism, functionalism, design, graphic design, critique, target audience
Pre-Assessment:
Students critique a graphic design.
Students write personal definitions of both “Art” and “Design”.
Activity
Students will identify the kinds and uses
of type in a variety of advertisements.
Strategy
Memorization
248
Assessment
responses.
Activity
representing a graphic design company. Each
group will analyze an advertisement / logo for a
similar product such as soft drinks. Groups will
compete against each for selling their ad to a
common client.
Strategy
Debate
Activity
Students will evaluate a range of graphic products using the
aesthetic theories of Imitationalism, Emotionalism, Formalism,
and Functionalism. They will suggest changes in each piece that
would improve the work from each perspective.
Assessment
Scoring Guide
Strategy
Modeling, inferential
thinking
Assessment
Scoring Guide
Change the target audience, and then suggest ways in which the product would be modified.
Artwork could be student-generated or taken from the field of graphic design.
Application Level Assessment Graphic Design I, CCO II: Students will use appropriate art vocabulary to
Student Tasks:
Develop personal definitions for “Art” and “Design”, comparing and contrasting the work in each category.
Analyze the relationship between definitions of good design and a particular target audience.
Write a critique of a graphic design product using the Feldman model of art criticism.
249
Name________________________________
Class_________________ Date:______
Using the Art Criticism Scoring Guide, write a five-paragraph essay about this design product.
Take as much space as you need for each paragraph. If you are completing this with pen/pencil,
you may continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
250
Scoring Guide for Graphic Design I, CCO II
Criteria
4
Advanced
Develop a personal
definition for
“Design”.
•
A good definition:
• is clear and
specific
• separates objects
into two easily
understood,
different
categories or
groups
• can be used by
others to sort
objects
•
Analyze the
definitions of good
design and a
particular target
audience.
•
•
•
•
•
Graphic Design I Aesthetics Scoring Guide
3
2
Proficient
Nearly Proficient
“design”)
Uses a Venn diagram to show
similarities and differences
between definitions of “fine
art” and “design”.
student’s definition and end
up with the same objects in
each group.
personal definition of design
with definitions from other
political groups.
Evaluates the quality of a
design based upon four
different target audiences
Suggests ways to improve
each design for the four
specific target audiences.
quality designs based upon a
common target audience.
•
•
•
•
•
for sorting objects into
two groups (“fine art”
versus “design”)
Uses a Venn diagram to
show similarities and
differences between
definitions of “fine art”
and “design”.
design based upon three
target audiences
each design for the three
specific target audiences.
251
•
•
•
•
•
“design”)
Others can use the
end up with most
objects in the same
group.
design based upon two
target audiences
Suggests ways to
improve each design for
the two specific target
audiences.
1
Progressing
•
•
•
nothing”
example, “It is art if I
say it is”.
Explains a connection
between good design and
a particular target
audience.
Graphic Design I Art Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
Introduction
•
Description
Write sentences that list
artwork
•
detailed description of what
is seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
work
in the work
•
Interpretation
cultural meanings),
emotional mood or
attitude toward the
subject, social
of the work.
•
work
each important
meaning of the work
•
•
•
•
explain the goal of a
personal piece
given
•
•
•
•
•
2
Nearly Proficient
personal piece
given
•
the work
•
•
the work
•
ideas
•
252
•
1
Progressing
personal piece
mentioned
title
•
of work listed
•
Random mention of
one or two details
seen in the work
Lists elements and
principles used
Tells how or where
some elements and
the work
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
•
and/or principles
toward subject, or
purpose
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
253
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Graphic Design I, CCO III
contexts.
Artists both influence, and are influenced by, the world in which
they live.
Artists are influenced by the artists who came before them, and
have an impact on those who follow.
FA 5, G 1.10
Content and Skills: *Acceleration/enrichment content:
Style Characteristics
*Ancient Letterforms: Sumerian
3000 BC –2000 BC
Cuneiform – wedge shaped letterforms
Pictographic drawings of objects, numerals and
personal names
• Reed stylus sharpened to a point and carved in
clay tablets
• Picture symbols began to represent the sounds
of objects rather than of the object themselves.
• Pictures became graphic symbols for sound.
•
•
•
Context
Code of Hammurabi –
Artist Unknown
•
Knowledge
was disbursed
among people.
•
Enabled
society to stabilize
under the rule of
law – Code of
Hammurabi
• Shows the divine
authority given to King
Hammurabi to rule the
people of Babylon.
• Defines the laws and
social order of the society
through written cuneiform
*Ancient Letterforms: Egypt Hieroglyphs
• 2920 BC- 30 BCE
• The artist could write vertically, horizontally,
left to right or right to left – allowed for a
lot of design flexibility
• Written on clay tablets, stone and papyrus
(paper-like substance made out of the
papyrus plant that grew along the Nile
River)
• Illustrations often accompanied the writings.
*Ancient Letterforms: Chinese Calligraphy
• 5000-1200 BCE
• Purely visual language – composed of
differently shaped lines within an
imagery square
• Pictographs - not realistic but abstract
design
• Often expressed feelings through line
weight and direction
Artists
The Rosetta Stone – Artist
Unknown
Through the use of three
different languages used
on this stone, scholars
were able to translate
Egyptian Hieroglyphs
Artists use “chops”, a
visual symbol to stamp
their name on work.
254
• Cover the interior and
exteriors of Egyptian
tombs, furniture,
coffins, clothing,
utensils, buildings and
jewelry.
The study and practice
of calligraphy is an art
form with spiritual
meaning
*Ancient Letterforms: Greek and Roman
Greek 900-31 BCE
Trajan’s column
• Applied geometric structure and order to letterforms
• Letter and component strokes are somewhat
standardized because of the system of horizontal,
vertical, curved and diagonal strokes
• Uncials - a later style of writing. It could be written
more quickly. Its more rounded letters were formed of
fewer strokes.
•
Roman 753-BCE
• Roman serif was invented. It had small lines
extending from the ends of the major strokes of a
letterform.
• Capitalis quadrata – “square capitals.” It was written
slowly with a flat pen and had square capitals. It had
stately proportions and outstanding legibility.
• Capitalis rustica – (rustic capitals) – extremely
condensed letterform, written quickly to save space.
Inscription testifying
to the Imperial
strength of the Roman
Empire.
Used capitalis
monumentalis
(“monumental
capitals”) – drawn in
thick and thin strokes
with organically
straight and curved
lines.
*Illuminated Manuscripts – Eastern Islamic and Western European
Book of Kells, the Chi
• 500-1400
Rho page. – the letter
• Combination of both illustration and
combination used to write
typography
Christ in manuscripts is
• In most cases, text was lettered in rustic
called the Chi-Rho, after
capitals or unicals (freely drawn letters that
the first two letters of the
were more rapidly drawn than square
Greek word for Christ, chi
capitals or rustic capitals).
(X) and rho (P). The Chi
• In most cases, illustration was framed in
Rho in the Book of Kells
bright bands of color.
is composed of
shimmering color and
Celtic design
intricate, convoluted form
• It is abstract and extremely complex. The
blossoming over the
geometric linear patterns, weave, twist and
whole page.
fill a space with thick visual textures and
bright pure colors.
• Layout - Ornamental frames or borders
enclosed full-page illustrations. The opening
pages of each gospel were also illuminated.
Carpet pages were full-page decorative
design.
• Interlacing – two dimensional decoration
formed by a number of ribbons or straps
woven into a complex symmetrical design
• Large initials
255
Letterforms were
determined by
the carving tools
and the way they
were held.
Serifs were
invented to
smooth the rough
top and bottom
edges created by
carving tools.
• They were drawn and
written by hand. They
were costly and time
consuming.
• Understood the value
of pictures for
educational use.
• Often had spiritual or
mystical purposes.
*Moveable Type
• 1438
• Block Printing was too fragile for multiple
uses.
• Guttenberg’s printing press used a type
mold. A steel punch stamps an impression
of the letterform into a softer brass matrix.
A mold was made from the matrix and
filled with molten lead alloy.
• Type was stored in compartmentalized
cases and pulled out letter by letter to set in
lines.
• The term “leading” was used for the lead
blocks placed between rows of type
Art Nouveau
• Influenced by nature
• Detailed patterns and curvilinear design
• Mostly Asymmetrical
• Wanted to erase the distinction between arts
and crafts
• Late 19th Century to Early 20th Century
Bauhaus
• 1919-1932
• Combined fine and applied arts to create a
unity of art and technology. Sought to solve
the problems of industrialization.
• Drew inspiration from Expressionism
• Maholy Nagy described Typography as “a
tool of communication….The emphasis
must be on absolute clarity.”
• Advocated “an uninhibited use of all linear
directions,” in typography (not just
horizontal)
• Elasticity, variability, and creativity of
typographical composition are dictated by
expression and the optical effect.
• Bold use of color in typography
• Normal viewpoint was replaced by worm’s
eye, bird’s eye, extreme close-up, and angled
viewpoints.
• Photography emphasized texture, light and
dark interplay as well as repetition
John Gutenberg;
• Gutenberg Bible – two
columns of type with
generous margins. Blank
spaces were left for
decorative initials to be
drawn by a scribe.
Henri de Toulouse-Lautrec
• Allowed for fast
execution of printing
and large productions
of writing.
• People of all classes
began to read the
Bible as opposed to
just the priests,
noblemen and
scribes.
• Written documents
were widely
distributed
throughout Europe.
• Parisian social-life
• Interested in social subjects
• Printmaker, draftsman and
painter
Moholy –Nagy
• Explored painting,
photography, film, sculpture
and graphic design
• Investigated through new
techniques such as
photomontage and the
photogram, visual means
including kinesthetic motion,
light and transparency.
• Wanted to unit typography
and photography in graphic
design
• Used photography to
influence poster design
through techniques such as
enlargement, distortion,
dropouts, double exposures
and montage
256
• The school Das
Staatliches Bauhaus
(literally translated,
The State Home for
Building) was
founded by Walter
Gropius
• Wanted to raise the
functional and
aesthetic qualities of
mass production,
particularly in lowcost consumer
products.
• Utopian desire to
create a new spiritual
society
• Tension between
Bauhaus and the
German government
in Weimer cause the
school to move from
Weimer to Dessau.
Digital Revolution
• 1983 – to present
• Death of typography in the sense of an
aesthetic beyond its purest function of legible
distribution of information
• Type on the web – screen resolution makes
finely serifed faces unsatisfactory
• San serifs works best.
• Print now tries to imitate some of the Web’s
more loose and vibrant designs.
• Type aesthetics on a website are far less
important than navigation, and easy, logical,
speedy access of information.
David Carson
• Eschewed grid formats and
consistent layout or
typographic patterns – chose
to explore the expressive
capabilities of each subject
• Rejected conventional ideas
about typographic syntax,
visual hierarchy and imagery.
• Article titles were letter
spaced erratically across
images or arranged in
expressive rather than
normative sequences.
• Parts of letters were sliced
away, causing the view to
have to decipher the message.
• Designs came from the
meaning of the words or
make a comment about the
subject
• Sought to bring together the
expression of the layout and
the expression of the writing.
• There is more
typeface choice than
ever before
• General loosening of
typographic standards
• Focus moves away
from printed media to
computer web media.
Compare and contrast artworks with reference to the artist, time, place, context, and characteristics of style.
Unit Vocabulary:
*San serif, uncials, Roman serif, Capitalis quadrata, .Capitalis rustica, typographic syntax, capitalis monumentalis,
layout
Pre-Assessment:
Students complete a Venn diagram on which they compare and contrast artworks on each attribute: time, place,
style name, characteristics of style, artists, and cultural context.
Activity
Students work on teams playing an art “game show”. The goal
is to be the first team to correctly identify information about
each artwork that is shown when the teacher holds up and reads
a large card. Cards are printed with: TIME, DATE, PLACE,
CONTEXT, STYLE NAME, STYLE CHARACTERISTICS,
and WHY WAS IT VALUED?
257
Strategy
Cooperative
Identification
Assessment
Activity
Create a piece of artwork that has similar characteristics
to the typography they are studying. Explain how this
work related to the historical context..
Activity
Write a critique on a modern piece of commercial
design that has been influence by art history.
Evaluate similarities and differences in elements
used.
Strategy
Modeling
Strategy
Critique
Assessment
Characteristics of style must be
present in the art and the
explanation must refer to accurate
information.
Assessment
Scoring Guide
Independently conduct research styles of lettering using print, media, and computer technology. (Research)
Create a booklet of miniature artworks that use characteristics of each style with contemporary subject matter.
Application Level Assessment Graphic Design I, CCO III: The student will compare and contrast artworks with
reference to the period/movement, stylistic characteristics, function, technology, media, time, place, artists, artistic
influences, and cultural context.
Student Task:
Apply information you have learned about art to unfamiliar works presented by your teacher. Compare and contrast
two or more artworks considering several factors: the period/movement, stylistic characteristics, function,
technology, media, time, place, artists, artistic influences, and cultural context.
258
CCO III, Art History Reflective Writing Worksheet Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
259
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
260
Scoring Guide for Graphic Design I, CCO III
Criteria
graphic artworks on time, place,
style, characteristics, context,
media and use of technology.
- Art Nouveau
- Art Deco
- 20th Century Europe
(Bauhaus, Russian
Constructivism, DeStijl,
Swiss School)
- 20th Century America (War
posters, New York School,
American Conceptualism)
- Digital Age (Muriel Cooper,
David Carson)
4
Advanced
•
•
•
•
evaluates sets of graphic
media
Addresses the most
of the work
work
and specific
3
Proficient
•
•
•
•
media
Addresses important
work
2
Nearly Proficient
•
•
•
•
•
261
sets of graphic media
work
Supports some
to the work
Some important
be incorrect
1
Progressing
•
•
•
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
Graphic Design I, CCO IV
There are relationships between concepts in visual arts and concepts in
other subjects.
Content and Skills:
Connect Graphic Design in art, to
current events in social studies.
FA 4, CA 1
Analyze graphic design examples (posters, magazine layouts,
pamphlets, brochures, etc.) made to protest or promote current
events.
Unit Vocabulary:
Protest, propaganda, politics, persuasion, marketing
Pre-Assessment:
Have students brainstorm instances where they have been influenced by graphic design created to promote
or protest current events.
Activity
Identify which historical or current events are presented
in various examples of printed media.
Strategy
Modeling
Assessment
Checked for accuracy
Activity
Research designs for specific historical events and write
an analysis of the messages being communicated.
Strategy
Research
Assessment
Scoring guide applied
to essay/critique
Activity
Create thumbnails sketches for a poster design that
either promotes or protests a current event, then critique
the effectiveness of the design.
Strategy
problem solving
Assessment
Scoring Guide
Students may develop thumbnail sketches into final compositions.
Students may design products to promote events within the school or community.
Application Level Assessment Graphic Design I, CCO IV: The student will relate graphic design posters
and current events.
Student Task:
Analyze graphic design examples (posters, magazine layouts, pamphlets, brochures, etc.) made to protest or
promote current events.
262
Scoring Guide for Graphic Design I, CCO IV
Criteria
Visual interpretation of
current events and social
studies.
4
Advanced
•
•
•
•
Clearly analyzes the
influence of social and
environmental issues of a
time period on graphic
design
Integrates stylistic
characteristics of a time
period into their own
graphic design as well as
adds their own creative
perspective
Considers and modifies
work based upon the
target audience
Creates a commentary on
current events through
graphic design
3
Proficient
•
•
•
Clearly analyzes the
influence of social and
environmental issues of a
time period on graphic
design
Integrates stylistic
characteristics of a time
period into their own
graphic design
Considers and modifies
work based upon the
target audience
263
2
Nearly Proficient
•
•
Analyzes the influence of
social and environmental
issues of a time period on
graphic design
Considers a target
audience
1
Progressing
•
Connects subject matter
between a graphic design
work and a social or
historical event
Ceramics I
264
Ceramics I Scope and Sequence
A
Form: organic, geometric, freeform
Texture: applied, incised/carved, impressed
Balance: symmetrical
Proportion: parts of functional object - lip, neck, shoulder, body, foot
Unity: through continuous repetition of a motif
B
Pinch: footed, 1/8” thick walls
Coil: 8" vessel,
Slab: beveled joints and welded seams
Join pinch, coil, and slab-built forms
Skills: pulled handle/strap, wedging/kneading
Decorative Techniques: glaze, underglaze/slip, sgraffito, burnish/polish
C
Ceremonial Objects
Decorative Objects
Art Criticism
and judge artworks.
Aesthetics
What is the relationship between form and ceremonial function?
How does the cultural context affect the way a ceramic piece is valued?
265
Ceramics I Scope and Sequence
Ceremonial Objects:
Native American (Acoma)
Chinese (Han Dynasty tomb models (architecture, human, animal)
Utilitarian Containers:
Maria Martinez
Josiah Wedgewood
Decorative Objects:
Pablo Picasso
Robert Arneson
266
Ceramics I, CCO IA
elements and principles through the production of clay forms.
create artwork.
Content and Skills:
know:
FA 1, FA 2
do:
Form:
Organic
Geometric
Freeform
Create an organic clay form.
Create a geometric clay form.
Create a freeform clay form.
Texture:
Applied
Incised/Carved
Impressed
Create an applied ceramic texture.
Create an incised/ carved ceramic texture.
Create an impressed ceramic texture.
.Balance:
Symmetrical
Create a clay form with symmetrical balance.
Proportion:
Parts of functional object: lip, neck, shoulder,
body, foot
Create a functional clay form with a lip, neck, shoulder,
body, and foot.
Unity:
Through continuous repetition of a motif
Create a clay form with a unified continuous repetition
motif
Unit Vocabulary: organic, geometric, freeform, applied texture, incised, carved, impressed texture,
symmetrical balance, parts of a functional clay form – lip, neck, shoulder, body, foot, motif, unity,
Pre-Assessments:
Students will make an organic, geometric, and freeform clay form
Students will make applied, incised, and impressed textures in clay.
Students will describe symmetrical balance.
Students will identify the 5 parts of a functional clay object.
Activity
Students will identify elements and principles used in a
ceramic form
Activity
Students will create a symmetrical clay form with
applied and incised textures Incorporating the 5 parts of
a functional object – lip, neck, shoulder, body, and foot
267
Strategy
Identification of
vocabulary terms
Assessment
responses.
Strategy
Modeling
Assessment
Scoring Guide
Activity
Students will evaluate their fired clay form.
Strategy
Critical thinking
Assessment
Guide
artworks.
Student may choose media and subject (where possible.)
Application Level Assessment Ceramics I, CCO IA: The student will demonstrate knowledge of the
Elements and Principles by completing the following student tasks.
Student Tasks:
Create an organic clay form.
Create an geometric clay form.
Create an freeform clay form.
Create an applied ceramic texture.
Create an incised/carved ceramic texture
Create an impressed ceramic texture.
Create a ceramic form with symmetrical balance.
Create a functional clay form with a lip, neck, shoulder, body, and foot.
Create a clay form with a unified continuous repetition of a motif.
268
Scoring Guide for Ceramics I, CCO IA
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Form:
• Organic
•
Complex forms/shapes
that are detailed and
accurate representations
of natural objects.
•
Forms/shapes are
representations of natural
objects.
•
Simple forms/shapes are
somewhat accurate
representations of natural
objects.
•
Forms/shapes are
stereotyped
representations and are
not identified as natural
objects.
Form:
• Geometric
•
Forms/shapes are
accurately mathematical
and include one or more
sophisticated shapes
(e.g., originating from
more than 4 sides).
•
Forms/shapes are basic
and accurately
mathematical.
•
Forms/shapes are
mathematically based
and have some
inaccurate edges.
•
Forms/shapes are not
identified as
mathematical.
Form:
o Freeform
o
Forms/shapes are unique
with no representation
of a natural or
mathematical shape and
have a unique degree of
complexity.
•
Forms/shapes show no
representation of a
natural or mathematical
shape.
•
Forms/shapes have a
relationship with a
natural or mathematical
shape.
•
Forms/shapes are
representational of
objects in nature or math.
•
Design is added/built on
to the clay.
Each applied piece has
been scored and slipped
•
Clay has been applied but
is not a planned design.
Pieces may fall off
because they were not
properly scored and
slipped.
•
Design may have texture
but is not applied.
Texture:
• Applied
•
•
Detailed and precise
design is added/built on
to the clay.
Each applied piece has
been scored and slipped
•
269
•
Texture:
• Incised/Carved
•
Detailed and precise
design is cut/carved into
clay.
•
Design is cleanly
cut/carved into clay.
•
Design is cut/carved into
clay leaving some rough
edges.
•
Design is textured but
not cut/carved into clay.
Texture:
• Impressed
•
Detail and a precise
design is created by
pressing tools into the
clay.
•
Design is added by
pressing tools into the
clay.
•
Design is not clear but
has been added by
pressing tools into clay.
•
Decoration may have
texture but it is not by
impression.
Balance:
• Symmetrical
• Two opposite sides of
form are exact mirror
images
• Texture and surface
decorations are exact
mirror images
• Two opposite sides of
form are nearly mirror
images
decorations are nearly
mirror images
•
Two opposite sides of
form are similar but not
mirror images
decorations are balanced
but not with mirror
image designs
•
Two opposite sides of
form are very different
from each other.
Textures or surface
decorations are balanced
but not with mirror
images
•
•
•
•
Proportion:
• Parts of functional
object (lip, neck,
shoulder, belly, foot)
Handles, lip, neck, spout,
shoulder, and belly foot
of a pot are visually
balanced.
• Overall piece is stabile.
• Relative size of each part
is designed to lead the
eye from one to the next.
•
Handles, lip, neck, spout,
shoulder, belly, and foot
of a pot are visually
balanced.
Overall piece is stabile.
270
•
Some parts (handles, lip,
neck, spout) are either
too large or too small for
the size of the belly of a
pot.
Overall piece is stabile.
•
•
Many parts (handles, lip,
neck, spout) are either
too large or too small for
the size of the belly of a
pot.
Piece may wobble or
need to be propped up in
order to be stable.
•
•
Unity through Form
Unity through Surface
Decoration
•
All parts of a piece look
like they fit together
• Similar types of forms are
repeated in all parts of a
piece (for example,
repeated use of organic
forms for the foot,
shoulder, belly, spout,
handle, lip, and lid of a
teapot).
• Forms are complex.
•
• Line, shape, texture and
color repeated in similar
ways across /around a
piece (for example,
applied vines of flowers
and leaves intersect as
they wind aro0.und and
over a pot
•
•
Most parts of a piece
look like they fit together
Similar types of forms
are repeated in many
parts of a piece (for
example, repeated use of
organic forms for the
belly, spout, handle, and
lid of a teapot).
•
Line, shape, texture and
color are repeated in
similar ways across
/around a piece (for
example, an applied vine
of leaves and flowers
winds around a pot).
•
271
•
Many parts of a piece
look like they fit together
Similar forms are
repeated in a few parts of
a piece (for example,
repeated use of rounded
forms for the handle,
belly, and spout of a
teapot).
•
color are repeated in
similar ways across
/around part of a piece
(for example, four tiny
flowers are applied, one
on each side of a large
pot).
•
•
Few parts of a piece look
like they fit together
Many types of forms are
joined (for example, a
square belly of a teapot
with a wavy spout, a
cowboy-hat shaped lid,
and a zig-zag shaped
handle).
color are used in one part
of the piece (for example
a single flower is applied
on the front of a pot).
Ceramics I, CCO IB
Core Conceptual Objective IB, Media Skills and Processes: Students will demonstrate knowledge of
media and skills through the production of artwork.
Content and Skills:
• Pinch
FA 1, FA 2
Create a footed pinch-formed object that has 1/8” thick walls.
• Coil
Create a coil-built vessel that is 8” in any dimension.
• Slab
Create a slab-built form that has beveled joints and welded seams.
• Combination form
Create an object combining the hand-building techniques of pinch,
coil, and slab.
• Skills:
· wedging/kneading
· pulled handle/strap
• glaze
• underglaze/slip
• sgraffito
• burnish/polish
Demonstrate wedging/kneading clay in preparation to forming
Produce a pulled handle or strap that can be added to a form.
Use glaze as a decorative finish.
Use underglaze/slip as a decorative finish.
Use sgraffito as a decorative finish.
Burnish/polish a form as a decorative finish.
Unit Vocabulary
Production Methods: pinch, coil, slab, wedging/kneading, damp clay, leather-hard, greenware, bisque,
bevel(ed), slip-and-score, combination form.
Decorative Techniques: glaze, underglaze, slip, sgraffito, burnish.
Pre-Assessment:
Students compare and contrast ceramic works completed using different media skills.
Students describe methods and procedures of creating hand-building ceramics.
Students describe methods and procedures using the identified decorative techniques.
Activity
Students will describe ceramic production processes and
define related vocabulary.
Strategy
Word bank
Assessment
Summative
Activity
Students will create a footed pinch bowl, approximately
3” in diameter, uniformly built with 1/8” thick walls.
Strategy
Critical Thinking
Assessment
Scoring Guide
272
Activity
Students will evaluate their fired pinch pot.
Strategy
Critical thinking
Assessment
Scoring Guide
artworks.
Choice of subject matter, where possible, can vary (e.g., vase, ovoid).
Application Level Assessment Ceramics I, CCO IB: The student will demonstrate their media skills
through the completion of the following student tasks.
Student Tasks:
Create a footed pinch-formed object that has 1/8” thick walls.
Create a coil-built vessel that is 8” in any dimension.
Create a slab-built form that has beveled joints and welded seams.
Create an object combining the hand-building techniques of pinch, coil, and slab.
Demonstrate wedging/kneading clay in preparation to forming
Produce a pulled handle or strap that can be added to a form.
Use glaze as a decorative finish.
Use underglaze/slip as a decorative finish.
Use sgraffito as a decorative finish.
Burnish/polish a form as a decorative finish.
273
Scoring Guide for Ceramics I, CCO IB
Criteria
Ceramic Production
Methods:
Footed 1/4” Pinch
4
Advanced
•
•
•
•
•
•
Ceramic Production
Methods:
• 8” Coil Vessel
•
•
•
•
•
3
Proficient
Clay is smoothly
modeled and shaped by
hand
Closed form
Symmetrical
Minimum size is more
than 5 inches in one
direction
Attached foot
Walls of even ¼ inch
thickness
•
Clay is rolled and shaped
by hand
Open form
Symmetrical
Minimum size is more
direction
Finished walls are even
¼ inch thickness
•
•
•
•
•
•
•
•
•
•
2
Nearly Proficient
Clay is modeled and
shaped by hand
Closed form
Symmetrical
Minimum size 5 inches
in one direction
Attached foot
Walls of even ¼ inch
thickness
•
Clay is rolled and shaped
by hand
Open form
Symmetrical
Minimum size is 8 inches
in one direction
Finished walls are even
¼ inch thickness
•
274
•
•
•
•
•
•
•
•
•
1
Progressing
Clay is somewhat
hand
Closed form
Symmetrical
Minimum size 5 inches
in one direction
Uneven wall thickness thick and thin areas
Attached foot
•
Clay coils are unevenly
rolled and shaped by
hand
Open form
Symmetrical
in one direction
Finished walls are not ¼
inch thickness
•
•
•
•
•
•
•
•
•
•
Clay is not evenly
hand
Not a closed form
Not Symmetrical
Minimum is not 5 inches
in one direction
Does not have a foot
Wall are uneven
thickness
Clay coils are unevenly
rolled and shaped by
hand
There are gaps between
ends of coils and layers
of coils
Not symmetrical
Minimum size is not 8
inches in one direction
Cracks evident
Ceramic Production
Methods:
• Slab with Beveled
Joints
•
•
•
•
•
•
Ceramic Production
Methods:
• Combination of pinch,
coil, and slab forms
•
•
•
•
Ceramic Production
Methods:
• Pulled Handle/Strap
•
•
•
•
Slab Technique
Slabs are even thickness
Slabs beveled on edges
Slabs are joined with slip
and score
Slabs have coil joints
inside the form for
stability
Slabs have clean straight
edges at joints
•
•
•
•
•
•
Evenly roughens both
surfaces
Applies slip to both
surfaces
Presses surfaces together
and smooth joint
Joins pieces of different
forms and size with
smooth transitions
•
Uses water to stretch and
thin a cylinder of clay
Thinned shape is curved
into a handle or strap
Thickness should be
between ¼ and ½ inch
thick
Pulls handles in a variety
shapes and sizes
•
•
•
•
•
•
Slabs is rolled to even
thickness, 3/8 inch
Symmetrical
in one direction
Slabs have beveled edges
scored and slip added
inside the form for
stability – welded seam
Slabs have clean straight
edges at joints
•
•
•
Evenly roughens both
surfaces
surfaces
and smooth joint
Joins pieces of similar
form and size with
smooth transitions
•
•
Thickness should be
between ¼ and ½ inch
thick
•
275
•
•
Slabs are unevenly rolled
Symmetrical
Minimum size is less
direction
Slabs have uneven
beveled edges, scored
and slip added
inside the form for
stability – welded seam
•
•
•
•
•
•
•
•
•
•
Roughens both surfaces
surfaces
and smooth joint
Joins pieces of same
form and size with
smooth transitions
•
•
Thickness is less than ¼
and/or greater than ½
inch thick
•
•
•
•
•
Slabs are rolled unevenly
and more than 3/8 inch
thick
Not symmetrical
Minimum is less than 6
inches in one direction
Slabs have uneven edges
and not scored and
slipped
No use of welded seams
or support from the
inside
Slabs have crooked
uneven edges
Roughens one surface
Applies slip to one
surface
with uneven joints
Join pieces of same form
and size with uneven
transitions
Too little water is causes
handle to be lumpy
Too much water causes
handle to break
Thickness is less than ¼
and /or greater than ½
inch thick
Ceramic Production
Methods:
• Kneading
•
•
•
• Glaze
•
•
•
•
• Underglaze
•
•
•
•
•
• Sgraffito
•
•
Uses hands to fold clay
into itself
Makes a spiral using a
quarter twist motion
Repeats action 15 to 20
times
•
Consistent even thick
application
Choice of glaze fits the
intention of the piece
Applied to clean and
dried bisqueware
Dry foot with even edges
•
Consistent even thick
application
Choice of underglaze fits
the intention of the piece
Applied to clean and
dried bisqueware
Consistent even
application of clear glaze
over the dried underglaze
Dry foot with even edges
•
Thin even coat of slip
over vessel
Carving is precise and
detailed with a well
thought out plan
•
•
•
•
•
•
•
•
•
•
•
Uses hands to fold clay
into itself
Makes a rounded shape
times
•
Consistent even
application
Choice of glaze fits the
intention of the piece
Applied to clean
bisqueware
Dry foot
•
Consistent even
application
Choice of underglaze fits
the intention of the piece
Applied to clean
bisqueware
Even application of clear
glaze over the dried
underglaze
Dry foot
•
Even coating of slip over
vessel
Carving is precise and in
a detailed manner
•
276
•
•
•
•
•
•
•
•
•
•
Uses hands to press clay
flat then presses clay into
it self repeatedly
Makes a rounded shape,
flattened on one side
times
•
Mostly consistent
application
Choice of glaze is clearly
thought out
Applied to bisque
without cleaning
Sections of dry foot
•
Mostly consistent
application
Choice of underglaze is
clearly thought out
Applied to bisque
without cleaning
Glaze appears cloudy or
rough over underglaze
due either thick or thin
application
Sections of dry foot
•
Thick areas of slip are
applied over vessel
Craving lacks detail and
precision
•
•
•
•
•
•
•
•
•
•
•
Uses hands to press clay
flat
Makes a flat shape
Repeats action less than
5 times
Application is not
consistent
Glaze choice is
inappropriate
Applied to bisque
straight from the kiln
without cleaning
No dry foot
Application is not
consistent
Underglaze choice is
inappropriate
Applied to bisque
straight from the kiln
without cleaning
Inconsistent application
of clear glaze over
underglaze
No dry foot
Entire vessel is coated
with thick slip
application
Carving an uneven depth
and lacks precision
• Burnish/ Polish
•
•
Presses spoon in a
circular pattern over the
outside of a vessel
Repeated consistent
smoothing creates a
lustrous polish
•
•
Presses spoon in a
circular pattern over
outside of a vessel
Consistent even
smoothing creates a
polish
277
•
•
Presses spoon over the
outside of the vessel in a
linear pattern
Smoothing creates a
polish
•
•
Presses spoon over the
outside of the vessel
without a pattern
Polish is inconsistent
Ceramics I, CCO IC
original artwork.
theme.
Content and Skills:
know:
FA 1, G 3.1
able to do:
Ceremonial objects
Meaning is associated with the creation and/or use
of objects. The meaning can be spiritual, religious,
political, or tied to life cycle events (birth, coming
of age, marriage, death)
Create an original ceramic ceremonial object.
Utilitarian containers
Containers used for everyday purposes such as
holding or storing food/drink, objects, liquids, or
materials.
Create an original ceramic utilitarian container.
Decorative objects
Sculpture or vessel whose purpose is to be
appreciated as artwork.
Create an original ceramic decorative object.
Unit Vocabulary:
Ceremonial objects, vessel.
Pre-Assessment:
Students will list examples of different types of ceremonial objects they can think of from current times.
Students will sketch different types of utilitarian containers that serve a variety of purposes (such as food
storage, holding objects, etc.)
Students will be shown pictures of ceramic pieces and they must identify if the piece is ceremonial,
utilitarian or decorative.
Activity
Students will be shown “flash cards” of various ceramic
pieces and they must identify if the piece is ceremonial,
utilitarian or decorative.
Activity
Students will research ceremonial objects that fit into a
particular theme (religious, political, etc.) and create a
PowerPoint presentation to present their findings to the
class.
278
Strategy
Written test
Assessment
Teacher evaluation
Strategy
Research, technology
Assessment
Scoring guide
Activity
Working in small groups students will develop and
create their own “line” of utilitarian containers.
Strategy
Cooperative learning
Assessment
Scoring guide, student
self evaluation, student
group member
evaluation
Vary the finished size of the piece.
Vary the amount of detail or complexity of the piece.
Student develops and creates matching line of utilitarian containers.
Application Level Assessment Ceramics I, CCO IC: Students will communicate themes/subject matter
Student Tasks:
Create an original ceramic ceremonial object.
Create an original ceramic utilitarian container.
Create an original ceramic decorative object
279
Scoring Guide for Ceramics I, CCO IC
Criteria
Ceremonial Objects
4
Advanced
•
•
•
•
•
•
•
3
Proficient
Creates original object
designed for a specified
ceremonial function
Ceremonial function has
been adapted to student’s
life and culture
Writes detailed artist’s
statement explaining the
design choices and
ceremonial function
Connection is obvious to
viewers and matches
writing
•
Creates original
container designed for a
specified utilitarian
function
Best possible design to
support the function.
•
•
•
•
•
2
Nearly Proficient
Creates original object
ceremonial function
Writes artist’s statement
explaining the
design choices and
ceremonial function
Connection between
design and function is
clear to viewers
•
Creates original
function
Design supports function
•
•
•
•
•
•
280
1
Progressing
Creates a modified
version of a ceremonial
object designed by
another artist
explaining ceremonial
function and reason for
some design choices
After reading statement,
viewers understand
connection
•
design.
Creates container
utilitarian function
Design is related to
function
•
•
•
•
•
•
Copies a ceremonial
object designed by
another artist
Design choices may not
support the function
explaining the
ceremonial function
Connection between
design and use is unclear
to viewers
Copies another’s design.
Creates container
Design interferes with
the use of the piece.
Decorative Objects
•
•
•
•
•
or vessel.
Interesting complex
composition
Use of texture supports
design
Use of value/color
supports design
Communicates an
aesthetic idea
(imitationalism,
emotionalism,
formalism,
functionalism)
•
•
•
•
Creates original
sculpture or vessel.
Interesting complex
composition
Use of texture supports
design
Use of value/color
supports design
281
•
•
•
Modifies sculpture or
vessel created by another
artist.
Interesting simple
composition
Use of texture or
value/color supports
design
•
•
Copies sculpture or
vessel created by another
artist.
Simple composition
Ceramics I, CCO II
The form and function of ceremonial objects are related.
Culturally literate citizens evaluate and respond to works of visual art
using specific art vocabulary.
Content and Skills:
know:
Aesthetics
The relationship between form (design) and
ceremonial function in ceramics in various cultures.
Ceremonial Objects
Native American Acoma – functionalism (complex
symbolism based on the natural environment,)
formalism
Chinese Han Dynasty tomb models (architecture,
human, animal) – functionalism, imitationalism,
related to life cycle - death
Missouri State
Standards
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
able to do:
Aesthetics
Compare and contrast the relationship between form
(design) and ceremonial function in ceramics from
various cultures.
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Decorative Objects
Pablo Picasso – formalism, functionalism
Robert Arneson – imitationalism, emotionalism
Aesthetic Theories
What makes something “Art”?
representation.
Art Criticism
Written Critiques follow the Feldman Model.
282
Art Criticism
Feldman Model:
the artwork.)
artwork.)
Judge (Evaluates the quality of the artwork on the
use of elements, principles, usage of media, themes.)
Unit Vocabulary: Imitationalism, emotionalism, formalism, functionalism, realistic, abstract,
nonobjective, describe, analyze, interpret, judge, critique
Pre-Assessment:
Students infer the ceremonial function of ceramics based upon their form.
Activity
Observe and describe a Chinese Han Dynasty
miniature tomb building.
Activity
Compare and contrast the aesthetic beliefs
embodied by a Chinese Han Dynasty tomb figure
and a decorative container by Picasso.
Activity
Evaluate a series of ceramic pieces from different
time periods and cultures in terms of each aesthetic
theory.
Strategy
Focused observation
Assessment
Scoring Guide
Strategy
Compare/Contrast
Assessment
Scoring Guide
Strategy
Critical thinking,
Essay writing
Assessment
Scoring Guide
Conduct research on ceramics from other times and places, analyzing each in terms of its aesthetic
values.
Evaluate student work from a variety of aesthetic points of view.
Lead a critique-discussion of your work as it evolved over the semester.
Design pieces with a ceremonial function in mind.
Design pieces that convey different aesthetic values.
Application Level Assessment Ceramics I, CCO II: Students will use appropriate art vocabulary
Student Tasks:
Compare and contrast the relationship between form (design) and ceremonial function in ceramics
from various cultures.
Analyze ceramic artworks to determine how they would be valued according to each aesthetic
theory:
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Write a critique of a ceramic artwork that follows the Feldman Model.
283
Name________________________________
Date:______
Class_________________
Using the Art Criticism Scoring Guide, write a five-paragraph essay about this
artwork. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on
another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
284
Aesthetics Scoring Guide for Ceramics I, CCO II
Criteria
4
Advanced
Analyze the
relationship
between the form
and ceremonial
function of ceramic
artworks.
•
Compare and
contrast how
ceramic artworks
were valued and
used when/where
they were created
with the way they
are currently
valued in our
culture.
•
•
•
•
•
3
Proficient
Connects the design of the form
to the use of the piece
Relates symbolic decoration to
the ceremonial meaning of the
work
Evaluates the effectiveness of
the design for a ceremonial
function
•
Compares and contrasts aesthetic
value, function, and cost value of
the piece in both the culture of
origin and today’s culture.
Interprets ceremonial or
symbolic meaning to each
culture.
Supports judgments with
specific details from each
culture.
•
•
•
•
2
Nearly Proficient
1
Progressing
Connects the design of the
form to the use of the
piece
Relates symbolic
decoration to the
ceremonial meaning of the
work
•
Connects either the form
or the decoration to the
meaning of the piece
•
Discusses the use of the
piece
Identifies value in terms of
cost and use in both the
culture of origin and
today’s culture.
Discusses ceremonial or
symbolic meaning
reference to cultures
•
Identifies value in terms
of cost and use in both
the culture of origin and
today’s culture.
Discusses ceremonial or
symbolic meaning
reference to one of the
cultures and time periods
•
Identifies value in terms
of cost and use in both
the culture of origin and
today’s culture.
285
•
•
Art Criticism Scoring Guide for Ceramics I, CCO II
Criteria
4
Advanced
3
Proficient
Art Criticism- Introduction
Tells plan to critique. Gives
information about the work:
artist’s name, title of piece,
when and where it was created,
•
•
•
Clearly states plan to
critique another artist’s
work or to explain the goal
of a personal piece
given
•
Art Criticism-Description
Sentences list everything
seen in the artwork
•
seen in the work
Art Criticism-Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
work
in the work
•
Art Criticism
Interpretation
symbols (color, shape, and
cultural meanings),
emotional mood or attitude
toward the subject, social
/religious ideas, etc.
•
work.
each important
•
•
•
•
•
•
2
Nearly Proficient
personal piece
given
•
description of what is seen
in the work
•
principles to determine which
work
Explains how and where each
important element and
commentary, spiritual purpose,
story telling)
Relates artist’s use of elements
and principles to ideas
286
•
•
•
•
1
Progressing
personal piece
mentioned
title
•
Artist’s name or
title of work listed
but slightly
unorganized
•
Random mention
of one or two
details seen in the
work
Lists elements and
principles used
Tells how or where
some elements and
the work
•
Partially lists
elements and/or
principles
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
Lists mood,
attitude toward
subject, or
purpose
Art Criticism
Judgment
•
Imitationalism – Art
should copy the real
or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements / principles.
•
should express
feelings or mood
•
Functionalism – Art
should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
Evaluates how the
work would be
valued according to
aesthetic theories
(Imitationalism,
Formalism,
Emotionalism or
Functionalism)
Supports
statements with
specific references
to the work and its
context.
•
•
would be valued
according to aesthetic
theories
(Imitationalism,
Formalism,
Emotionalism or
Functionalism)
support theory
Free of errors
in correct order
•
•
•
•
•
•
•
the term
or grammar
own piece
correct order
287
•
•
•
•
•
•
States personal
opinion
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
•
•
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
Ceramics I, CCO III
Core Conceptual Objective III: Students will demonstrate knowledge of art in a historical and
cultural context.
G1.10, FA5
Culture/Period
Chinese
Time/Place
Han Dynasty
206 BC – 220
AD
Artist(s)
unknown
Characteristics
•
•
•
•
•
Xi’an
Louyang
•
•
•
Native
American
1500’s to
present time
Hopi
Acoma
Western New
Mexico
unknown
•
•
•
•
•
•
Spanish
1946 – 1973
Pablo
Picasso
•
•
Spain
•
•
•
•
288
Context
Ceremonial
Elongated Forms
Highly animated; moving
toward realism
Contained energy
Large pieces unglazed
with remnants of pigment
Small pieces glazed
Human figures, vessels,
and animals
Status symbols
Funerary ceramics
Ceremonial
“Spirit line” from animal
mouth to heart
Painted decoration covers
the top of the outside of a
vessel
Black and dark red slip
on grey
Designs include animals
and their food
Geometric
Effigy vessel and
funerary bowls
Decorative
Wheel thrown items not
made by Picasso, but
manipulated by Picasso
Surface patterning and
texture
Creates facial or
anatomical features
Face, still life, and
animals
Humor and visual puns
When making fine art
material is not
important
Status symbols;
visible expressions of
wealth and virtue
Single bowl in the
grave of a deceased
person; more to
signify importance
Production pieces to
be sold to individuals
American
1930 – 1992
Robert
Arneson
California
Native
American
1887 – 1980
Maria
Martinez
San Ildefonso
Pueblo
•
•
•
•
•
•
•
•
Decorative
Sculptural
Humor
California Funk
Many self portraits
Realistic painting
Rough texture
Satire
Political and social
commentaries
•
•
Utilitarian
Black – on – black ware;
some matte and some
glossy areas
Dried clay and volcanic
ash; mixed and re-wet
Rich iron content of slip
caused black
Round forms
Burnished
Decoration painted on
polish surface
Traditional Native
American signs and
symbols handed down
through generations
Began her work to
replicate archaeology
pieces
Utilitarian
Painted decoration
Creamware
Molded pieces
Factory production
Durable, simple,
regular household
ware
•
•
•
•
•
•
England
1730 - 1795
Josiah
Wedgewood
•
•
•
•
•
Explores the boundary
between illusion and
reality
Tradition passed down
through generations in
her family
Exhibited her work at
the 1904 St. Louis
World’s Fair
Entire dinner and plate
services
Unit Vocabulary:
Hopi, Acoma, Effigy, Spirit line, Production pieces, California Funk
Pre-Assessment:
culture, time period, place, characteristics of artistic style and context of the artwork.
Activity
Students match ceramics works with cultures, explaining
the reason for their selections.
289
Strategy
Guided practice
Assessment
Test
Activity
Activity
Strategy
Applying content
form.
Assessment
Characteristics of the
culture’s artwork must
be present in the art
and the explanation
information.
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
the highest price
the audience of its
information?
Independently conduct research on cultures and their artwork that have not been covered in class using
print, media, and computer technology.
Create a booklet of miniature artworks that use characteristics of each culture with contemporary subject
matter.
Create a model of a museum wall using images and text to teach about one or more cultures or periods of
art.
Application Level Assessment Ceramics I, CCO III: The student will compare and contrast art/crafts and
the culture it is derived from with reference to time period, place, characteristics of style and context.
Student Tasks:
Apply information you have learned about art to unfamiliar works presented by your teacher.
Compare and contrast two or more artworks considering several factors: culture, function, time, place,
context, and characteristics.
290
Ceramics I, CCO III, Art History and Culture Reflective Writing Worksheet.
Name:
Class:
Work A
Work B
Work C
Which characteristics helped you identify the culture? How do those characteristics relate to the function of the piece?
Work A
Work B
Work C
Work A
Work B
Work C
291
Work A
Work B
Work C
Work A
Work B
Work C
292
Scoring Guide for Ceramics I, CCO III
Criteria
ceramic works on style,
function, characteristics,
time, place, and context.
Ceremonial Objects
• Native American –
Acoma
• Chinese - Han Dynasty
tomb models
(architecture, human,
animal)
4
Advanced
•
•
•
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
All information is
correct.
• Maria Martinez
• Josiah Wedgewood
Decorative Objects
• Pablo Picasso
• Robert Arneson
293
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Ceramics I, CCO IV
Analysis of ceramic compositions is related to mineral compositions in
science.
Content and Skills:
The composition of clay bodies is based on scientific
properties.
FA 4
be able to do:
Students connect clay bodies in ceramics to
mineral composition in science.
Unit Vocabulary:
Alumina, silica, flux, vitreous
Pre-Assessment:
Students are able to describe components of the scientific periodic table.
Students are able to list the chemical composition of clay.
Students can define the roles of each mineral component of clay.
Activity
Students memorize mineral composition of clay and
their scientific symbols.
Strategy
Memorization
Assessment
Multiple choice test
Activity
Students will analyze clay bodies to determine mineral
composition.
Strategy
Scientific inquiry
Assessment
Analysis report
Strategy
Critical Thinking
Essay Writing
Assessment
Short Essay
Activity
Students will predict the way a clay body would change
each mineral plays in the composition of clay bodies.
Students can create a Power Point-generated report on the composition of a clay body.
Students can compare and contrast clay bodies used by various ceramic artists
Application Level Assessment Ceramics I, CCO IV: The student will make connections between
ceramics and science.
Student Task:
294
Scoring Guide for Ceramics I, CCOIV
Criteria
Students connect
clay bodies in
ceramics to
mineral
composition in
science
4
Advanced
•
•
•
•
Compares, contrasts, and evaluates
the chemical composition of clay
bodies
Relate minerals in clay to the
elements on a Periodic Chart
Predict how a clay body could be
improved by changing its mineral
composition
All information is correct and
specific
3
Proficient
•
•
•
Compare and contrast
the chemical
composition of clay
bodies
Relate minerals in clay
to the elements on a
Periodic Chart
All information is
correct and specific
295
2
Nearly Proficient
•
•
•
Identify the chemical
composition of clay
bodies
List the minerals found
in clay
be incorrect
1
Progressing
•
•
Identify the chemical
composition in one
clay body
Photography I
296
Photography I Scope and Sequence
A
Value: full range, color spectrum translating into tonal range
Contrast: varys size and location in space, shape, texture
Unity: elements relate together to achieve purpose
Balance: rule of thirds creates dynamic asymmetrical balance
Rhythm: repeated elements creates visual tempo or movement
B
Traditional film photography:
manual SLR camera functions
develop film
darkroom printing
dodging and burning
C
Portrait
Motion
Environment
Aesthetics:
Aesthetic theories: Formalism, Imitationalism, Emotionalism, Functionalism
Art Criticism:
Use the art criticism process to describe, analyze, interpret, and judge photographs.
297
Photography I Scope and Sequence
Early Photography: Camera Obscura, Photograms, Daguerre, Niepce, Talbot Brady
Pictorialism: Steichen, Cameron, Stieglitz
Purism: Strand, Weston, Adams, Cartier-Bresson, Hine, Lange, Bourke-White
Contemporary: Galen Rowell, John Sexton, Annie Leibowitz, Sandy Skoglund, Richard
Avedon, Bruce Weber
Students connect color theory, chemical processing, lenses, and camera controls to science.
298
Photography I, CCO IA
visual language.
Content and Skills:
should know:
FA 1, FA 2
Value: Full range, color spectrum
translating into tonal range
Create photographs that demonstrate a full range of value.
Contrast: Varys size and location in
space, shape, texture
Create photographs that demonstrate contrast.
Unity: Elements relate together to
achieve purpose
Use relating elements to achieve unity in a photograph.
Balance: Rule of thirds creates dynamic
asymmetrical balance
Use the Rule of Thirds to create balance.
Rhythm: Repeated elements creates
visual tempo or movement
Create photographs that demonstrate rhythm.
Unit Vocabulary:
Value/Tonal Scale, Color Spectrum, Contrast, Unity, Asymmetrical Balance, Rhythm
Pre-Assessment:
Demonstrates use of value, contrast, rhythm and unity.
Demonstrates use of Rule of Thirds to create balance.
Activity
List different ways to achieve contrast in an artwork.
Activity
Expose and develop a photogram with a full range of
value.
Activity
Compare a series of photographs for use of balance.
Rank the artwork and justify using the ideas of how to
achieve balance in a photograph.
299
Strategy
Memorization
Assessment
Assign points for
correct answers.
Strategy
Modeling
Assessment
Check finished project
for full value range.
Strategy
Inductive Thinking
Assessment
Presentation of
findings and
justification of
conclusions
For the more advanced student, combine more than one concept for an individual project.
Provide concrete examples for students of each way to achieve contrast when asking to list all the different
concepts.
Application Level Assessment Photography I, CCO IA: The student will demonstrate knowledge of
Student Tasks:
Students will create a photograph that contains a full range in value.
Students will utilize variances in size, space, shape and texture to achieve contrast.
Students will create a photograph using the rule of thirds to achieve balance.
Students will use repeated elements to create visual movement.
Students will use relating elements to achieve unity in a photograph.
300
Scoring Guide for Photography I, CCO IA
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Value
•
Tonal values range from
white or very light to
very dark or black
•
Full range of tonal values
from light to dark
•
Value is limited in range
in relation to the color
spectrum
•
Value of hues are either
light, medium or dark
Contrast
•
Composition shows wide
variety in size,
placement, shape and
texture
•
Composition shows
variety in size,
placement, shape and
texture
•
Composition shows
minimal variety in size,
placement, shape or
texture
•
Composition shows
objects of the same size,
shape or texture
Unity
•
Student selected and
used principles of art to
arrange the elements to
express an idea
•
Student selected and
used principles of art to
arrange the elements
•
Elements inconsistently
relate to purpose of
photograph
•
Reorganize elements to
communicate idea or
concept
Balance
•
Rule of thirds used to
create dynamic balance
and composition
•
Rule of thirds creates
•
Composition uses
• Symmetrical balance
creates static
composition
Rhythm
• Careful placement of
repeated elements cause
visual tempo
•
Repeated elements cause
visual tempo
•
Repeated elements
attempted but eye
movement is static
•
301
Various elements are
present but not repeated
Photography I, CCO IB
FA 1, FA 2
Content and Skills:
should know:
Photography:
Traditional – manual SLR camera
functions, develop film, darkroom
printing, dodging and burning
Produce a roll of film using the manual SLR camera.
Develop film.
Produce enlarged photographs using the darkroom.
Employ burning and dodging techniques.
Unit Vocabulary:
Agitation, aperture, back lighting, bellows, bracketing, burning, camera, contact printing, contrast filters,
crop, darkroom, density, depth of field, depth of focus, developer, fixer, grain focuser, silver halide
crystals, hypo-clear, film, film speed, flash, flat, fstop, focal length, focus, frame, front light, dodging,
printing easel, emulsion, enlargement, enlarger, elevator crank, focusing knob, lamp housing, exposure,
stop-bath, infinity, latent image, lens, light meter, telephoto, pinhole, wide angle, normal lens, positive
image, negative image, print, print contrast, photo paper, photogram, overexposed, underexposed, panning,
photoflood, photoflo, photomontage, stop action, show motion, negative carrier, safelight, shutter, shutter
release, shutter speed, single lens reflex camera, snapshot, spotting, tacking iron, dry mount machine, dry
mount tissue, dry-mounting, test strip, timer, tonal scale/value, tripod, underdeveloped, overdeveloped,
viewfinder, washed-out
Pre-Assessment:
Using photographs of similar subject matter but with different applied darkroom/camera techniques, have
students identify the processes used for each effect.
Activity
Students will take notes over chemicals and their
functions.
Activity
Students will work in groups to shoot a role of film,
develop the film, create a contact sheet, and print one
photograph.
Activity
Groups of students will each be given a professional
photographer situation and client with a list of objectives
(fashion photography, photojournalism, portrait
photography, photo documentary and marketing
photography). Each group will work as a team to
research each profession and create artwork solutions to
the specific client and problem.
302
Strategy
Direct Instruction
Assessment
Quiz
Strategy
Flexible Small
Groups
Assessment
Completion of each
step in the process.
Checklist
Strategy
Simulation
Assessment
Students will give a
presentation of their
photographs and
justify why they
solved the needs of the
client.
Scoring Guide
Advanced students can work with upper-level photographic techniques such as sandwiching negatives and
hand coloring. Less advanced students could pair up for activities and use written prompts to facilitate
darkroom steps.
Application Level Assessment Photography I, CCO IB: The student will demonstrate darkroom
techniques, use of the camera, and creative photographic ideas to create artwork.
Student Tasks:
Students will produce photographs to demonstrate darkroom chemical processes.
Students will use burning and dodging as a photo correction technique.
Students will process black and white film.
Students will use SLR camera functions.
303
Scoring Guide for Photography I, CCO IB
Criteria
Skills: 35 mm SLR Camera
functions & Controls:
4
Advanced
•
•
•
Each frame shows finely
detailed sharp focus
Each frame of exposure
is consistent in indoor
and outdoor lighting
Shallow and long depth
of field accentuates
choice of subject matter
3
Proficient
•
•
•
•
Developing Film
•
•
Printing
•
•
•
•
•
Film correctly loaded
onto reel
Negatives are evenly
developed and have good
contrast. No air bubbles,
lines, or fingerprints
•
Final print shows fine
focus
Even borders
Print shows excellent
exposure and contrast
Chemical process correct
Print free of dust, lint,
scratches
•
•
•
•
•
•
2
Nearly Proficient
Focus is good in each
frame
Exposure is mostly
consistent throughout
roll.
Shallow and long depth
of field used throughout
roll of film
•
Film correctly loaded
onto reel
Negs are evenly
developed and have good
contrast. No air bubbles,
lines or fingerprints.
•
Final print shows fine
focus
May have slightly
uneven borders
Print shows good
exposure and contrast
Print free of dust, lint,
scratches
•
•
304
•
•
•
•
•
•
1
Progressing
Some frames show
difficulty with focusing
Exposures are only
consistent within the
same lighting situations
Shallow or long depth of
field used
•
Film may have touched
slightly
One or two fingerprints,
clear dots, or dark or
clear streaks indicate
problem with chemicals,
development or agitation
•
Focus slightly off
May have uneven
borders
Print too dark or too light
and/or needs contrast
filter
Print may have dust, lint,
scratches
•
•
•
•
•
•
•
•
Student struggled with
focusing
Incorrect exposures
create thin and dense
negatives
Controlled use of depth
of field not demonstrated
Film unusable as it
touched on the reel
leaving uneven patches
Fingerprints, clear dots,
or dark or clear streaks
indicate problem with
chemicals, development
or agitation.
Print out of focus
Crooked or blurry
borders due to easel
Print too dark or too light
and/or lacks contrast
Print discolored showing
weak or misuse of
chemicals
Clean negative
Photography I, CCO IC
Artists communicate ideas through their choice of subject matter or theme.
Content and Skills:
should know:
Portrait
Motion
Environment
FA 1, G 3.1
Create an original photograph demonstrating
pattern/reflection/shadow.
Create an original photograph demonstrating portraiture.
Create an original photograph demonstrating motion.
Create an original photograph demonstrating environment.
Unit Vocabulary:
Pattern, reflection, shadow, portrait, stop action, show motion, panning
Pre-Assessment:
Provide examples of themed subject matter and have them identify the four different themes.
Activity
Identify different themes from example photographs
with a partner
Strategy
Share Pair
Assessment
Listen and check off as
each student gives
correct information
Activity
Set up a series of repeated objects and photograph from
different angles and lighting.
Strategy
Modeling
Assessment
Check finished project
for fulfilled
requirements
Strategy
Socratic Seminar
Assessment
Facilitate discussion
and check off students
for correct information
Activity
Decide the value of portraiture photography versus
environmental photography. Defend your decision in a
debate with another group.
The more advanced students can create a concentration using portraiture, environment, motion, or
pattern/reflection/shadow. The less advanced student may create a visual journal of collected examples for
a theme or subject matter.
Application Level Assessment Photography I, CCO IC: The student will express themes in photographs
they create.
Student Tasks:
Create an original photograph demonstrating pattern/reflection/shadow.
Create an original photograph demonstrating portraiture.
Create an original photograph demonstrating motion.
Create an original photograph demonstrating environment.
305
Scoring Guide for Photography I, CCO IC
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Pattern/Reflection
•
Creative, purposeful use
of reflection, pattern or
shadow in regular or
irregular line, texture or
motif as a theme or
subject matter
•
Purposeful use of
reflection or pattern in
regular or irregular line,
texture or motif as a
theme or subject matter
•
Student used reflection
or pattern but not as the
theme or subject matter
•
Other elements are
present but reflection or
pattern not evident
Portrait
•
Effectively captures the
personality and mood of
the subject
•
Successfully captures the
personality and mood of
the subject
•
Captures the personality
or mood of the subject
•
Personality or mood of
the subject is unclear or
not evident
Blurring & Freezing
Motion
•
Subject composition is
enhanced through
creative choice of
freezing and blurring
through selected shutter
speed and panning
•
Various shutter speeds
show freezing, blurring
and panning of
movement
•
Choice of shutter speed
shows freezing or
blurring
•
Shutter speed may be
irrelevant because
subject is not moving
Shutter speed selections
fall into medium range
where freezing or
blurring does not occur
Conveys effective mood
for subject matter
through creative use of
lighting
Unique point of view
through bird’s eye or
worm’s eye view
•
Conveys effective mood
for subject matter
through lighting
Creative point of view
•
•
Environmental
•
•
•
306
•
Standard point of view
Mood appropriate for
subject matter
•
•
Mood not evident in
choice of subject matter
and lighting
Uninspired, typical point
of view
Photography I, CCO II
Culturally literate citizens evaluate and respond to works of visual art
using specific art vocabulary.
Content and Skills:
should know:
Aesthetics:
Art Criticism: Use the art criticism
process to describe, analyze, interpret,
and judge photographs
Aesthetic theories:
Formalism, Imitationalism,
Emotionalism, Functionalism
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Develop a definition for what makes a photograph fine art.
Compose a written critique using the art criticism process:
describe, analyze, interpret, and judge.
Identify aesthetic theories within photographs: Formalism,
Imitationalism, Emotionalism, and Functionalism
Unit Vocabulary:
Aesthetics, describe, analyze, interpret, judge, formalism, imitationalism, emotionalism, functionalism
Pre-Assessment:
Complete a series of critical analysis questions using photographic examples.
Activity
Group critiques of master photographs
Activity
Create a collection of photographs depicting various
forms of school spirit. Students will sort images into the
four different aesthetic theories.
Activity
After doing research on aesthetic theories, students will
create a photograph in the style of a master
photographer. Following a group critique of the final
images, students will pair off to determine what theory
each photograph is based on. Students will present
information to justify their findings.
Strategy
Group investigation
Assessment
Check list
Strategy
Group investigation
Assessment
Scoring Guide
Strategy
Group investigation
Share-pair
Assessment
Facilitate critique and
listen for references to
accurate information.
Students can research current on-line exhibitions of photographs and create their own virtual gallery of
work using original photographs. Students can compile images of their own definition of what makes
photography “fine art.”
307
Application Level Assessment Photography I, CCO II: The student will demonstrate written critique of
personal, professional and historical photographs.
Student Tasks:
Develop a definition of what makes a photograph fine art.
Compose a written critique using the art criticism process: describe, analyze, interpret, and judge.
Identify aesthetic theories within photographs: Formalism, Imitationalism, Emotionalism, and
Functionalism.
308
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
309
Photography I, CCO II
Definition of Photography as Fine Art, Aesthetics Scoring Guide
Criteria
Develop a personal
definition for
“Photography as Fine
Art”.
4
Advanced
•
•
A good definition:
is clear and specific
separates objects into
two easily understood,
different categories or
groups
can be used by others
to sort objects
•
•
art”)
All objects fit into one of the
two categories
student’s definition and end
up with the same objects in
each group
personal definition of art with
definitions from other
political groups
3
Proficient
•
•
•
for sorting objects into
two groups (“art” versus
“not art”)
All objects fit into one of
the two categories
objects in each group
310
2
Nearly Proficient
•
•
•
groups (“art” versus
“not art”)
Others can use the
end up with most
objects in the same
group
1
Progressing
•
•
nothing”
example, “It is art if I
say it is”
Photography I, CCO II Art Criticism Scoring Guide
Criteria
4
Advanced
Introduction
when and where it was created,
Description
artwork
•
•
•
piece
All available information given
seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity, Proportion)
•
Interpretation
cultural meanings),
telling, or other purpose of
the work.
•
•
•
3
Proficient
•
•
2
Nearly Proficient
•
personal piece
given
•
the work
Considers each element and principle
to determine which are most
Explains, in detail, how and where
each important element and principle
is used in the work
•
Clearly infers meaning of work
between the artist’s use of each
important element/principle and the
meaning of the work
•
•
•
•
Explains meaning of
work (mood,
symbolism, attitude
to ideas
311
•
•
personal piece
mentioned
Tells artist’s name
and title
•
the work
1
Progressing
•
•
•
Lists elements and
principles used
Tells how or
where some
elements and
principles are used
in the work
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
Artist’s name or
title of work
listed
Random mention of
one or two details
seen in the work
•
Partially lists
elements and/or
principles
•
Lists mood,
attitude
toward
subject, or
purpose
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
312
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Photography I, CCO III
contexts.
Photographers influence, and are influenced by, the world in which they
live.
FA 5; SS 6, CA4, G 1.9
Style Name, Time and
Artist’s Context:
Place, Events
Early photography
• 1725-1880
• Images were one-of-a-kind
and not reproducible
• Wet plate process provides
ability for mass production
by creating a negative
• Portraiture and documentary
photography
• Niepce, Daguerre, Nadar,
(France), Talbot (England),
Brady (U.S.)
18th century inventions:
• silver nitrate reacts to light
19th century inventions:
• hyposulphite
• cyanotype
• calotype,
• Daguerreotype
• Talbot’s The Pencil of
Nature published
• U.S. Civil War
• Crimean War in Europe
Pictorialism
• 1880s-1900s
• Emphasized painting
techniques
• Manipulation of image
• Romanticism, sentimentality
• Softening of sharp lines
• Stieglitz, Weston, Adams,
Man Ray, Kasebier, James Van
Der Zee (U.S.)
• Photo-Secessionist
Movement
• The Guilded Age
• Dada
• Surrealism
• After World War I, artists
rejected contemporary
conventions and decided to
glorify the mundane, developing
into Surrealism.
Modernism
• Early 20th century
• Goal was to shoot straight
photography , showing
unimbellished truth
• Atget, Cartier-Bresson
(French) Lange, Bourke-White,
Strand, Gordon Parks (U.S.)
• Eastman Kodak made
photography accessible
• The Great Depression
• World War II
• Photographers felt a need to
document social injustices, war
and other life-changing events
313
Postmodernism
Mid 20th century-present
• Re-examining photography,
trying to decide what gives it
meaning as an art form.
• Using conceptual
photography and alternatate
forms of portraiture to explore
current social themes and ideas
• Richard Avedon, Irving
Penn, Diane Arbus, Annie
Leibowitz,
• Post WW2 consumerism and
fashion
• Pop art
• Sexual Revolution
• Vietnam War
• Conceptual movement
• The internet
• Digital photography
Compare and contrast artworks with reference to the time, place, context, characteristics of style and
processes.
Unit Vocabulary:
Pictorialism, Modernism, Post Modernism, hyposulphite, cyanotype, calotype,
Pre-Assessment:
Identify major developments in photographic history.
Activity
WHY WAS IT VALUED?
Activity
Create a photograph that the artist could have created
(but didn’t). Explain how this work would have fit in
with the times/culture in which the artist worked. Refer
to the place, time, context, characteristics of style, and
give information about the artist to defend your work.
Activity
power point presentation. Use print and internet
resources to research.. Show how this is an excellent
example of a particular period, and predict why you
believe its value will rise in the future (its influence on
current and future artists). (Research, Technology)
314
Strategy
Cooperative
Identification
Assessment
Strategy
Applying content
form.
Assessment
information.
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
the highest price
the audience of its
information?
Independently research and critique a photographer’s work.
Create a booklet or a power point presentation that critiques the workin its historical context.
Trace the impact that a Photo or a body of a photographer’s work had on an historical event.
Application Level Assessment Photography I, CCO III: The student will compare and contrast artworks
on the basis of style including reference to the time, place, context, and characteristics of each.
Student Task:
315
Course:
Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
316
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
317
Scoring Guide for Photography I, CCO III
Criteria
among photographic periods
and artists.
Early Photography
characteristics:
4
Advanced
• Compares and contrasts
all time periods, listing
artists, explaining multiple
characteristics and their
impact on photography as an
art form
3
Proficient
•
all time periods, listing
multiple characteristics
and artists
Pictorialism characteristics:
Modernism
characteristics:
Post Modernism
characteristics:
318
2
Nearly Proficient
•
Compares or contrasts all
time periods, lists one or
two characteristics and
artists for each
1
Progressing
•
Lists two time periods
and names one
characteristic and artist
for each
Photography I, CCO IV
other subjects.
FA 4, CA 1
Content and Skills:
Connections between lens and
chemicals in photography to lens and
chemical reactions in Science.
Compare and contrast convex and concave lens.
Compare and contrast the human eye and the lens of a camera.
Reproduce the light and chemical reaction of silver halide crystals.
Unit Vocabulary:
Concave, convex, iris diaphragm, silver halide crystals
Pre-Assessment:
Have students draw a diagram of the human eye and label the parts and functions.
Activity
Study a model of the human eye
Activity
Create a chart diagramming how the human eye works
and how the lens on a camera works.
Activity
Using a liquid photo emulsion, create photographs on
varying surfaces: glass, wood, plastic, and cloth.
Record the different reactions of the light sensitive
material and draw conclusions about what surface
produced the best overall quality.
Strategy
Advance organizers
Assessment
Supervise and
Facilitate exploration
Strategy
Applying content
form
Assessment
Accuracy of
information presented
Strategy
Scientific inquiry
Assessment
Presentation of
findings and
justification of
conclusions
Students can experiment with color-contrast, polarizing, or density filters and taking photographs.
Application Level Assessment Photography I, CCO IV: The student will make connections between
lens and chemicals in Photography and lens and chemical reactions in Science.
Student Tasks:
Compare and contrast convex and concave lens.
Compare and contrast the human eye and the lens of a camera.
Reproduce the light and chemical reaction of silver halide crystals.
319
Scoring Guide for Photo I, CCO IV
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Color Theory
•
Explains how the visible
spectrum of light waves
affects paper, various
types of film, and
contrast filters
•
affects paper, black and
white film, and contrast
filters
•
affects paper or black
and white film
•
Lists the colors in the
visible spectrum of light
Chemicals
•
Demonstrates proper
handling, mixing, and
safe clean-up procedures
according to MSDS
(material safety data
sheet) and verifies that
others follow guidelines
for a safe work
environment
•
Demonstrates proper
handling, mixing, and
safe clean-up procedures
according to MSDS
sheet)
•
Handling, mixing, and
clean-up procedures are
inconsistently followed
according to MSDS
sheet)
•
Improper handling of
chemicals such as
contact with skin,
inhalation of dry stock
solutions by leaning over
mixing buckets, or spills
not cleaned up
immediately or
adequately
Lenses
•
Explains the angles of
view and purposes of
each: normal, wide
angle, and long focal
lengths as well as visual
distortions of each
•
view and purposes of
each: normal, wide
angle, and long focal
lengths
•
view of each: normal,
wide angle, and long
focal lengths
•
Has difficulty
demonstrating the
differences or uses of
normal, wide angle and
telephoto lenses
Camera Controls
•
Labels and explains a
diagram comparing and
contrasting the human
eye and a 35 mm camera
•
Explains and labels most
parts of a diagram
comparing and
•
Labels a diagram
comparing and
•
Labels the parts of the
human eye or a 35 mm
camera, but does not
demonstrate their
relationship to each other
320
Drawing II
321
Drawing II Scope and Sequence
A
Space: Linear and atmospheric perspective of observed objects which have multiple vanishing
points
Contrast: Color value and intensity to create the illusion of form, reflection, and transparency
in a complex arrangement
Emphasis: Color temperature, intensity, and value
Rhythm: Direct viewer’s eye through repetition of elements
Proportion: Foreshortening of figure from observation of extended pose
Unity: Unified composition through color and four other elements
B
Color blending techniques
Color washes
Mixed media
C
Perspective from observation*
Narrative Art / Documentation of History
Thematic series
Aesthetics:
Artists communicate aesthetic attitudes toward their subject matter or theme through their
choice of media technique and style.
Art Criticism:
Use the art criticism process to describe, ananlyze, interpret and judge drawings.
322
Drawing II Scope and Sequence
Reflection and transparency: Janet Fish
Narrative Art/ Documentation of History: Rauschenberg, Beardon
Thematic Series: Degas
Figure as a compositional element: Marcel Duchamp, Henry Tanner
Architecture as a compositional element: Thiebaud, DeChirico
Connect art to social studies by creating a narrative artwork that documents an historical event.
323
Drawing II, CCOIA
visual language.
FA 1, FA 2
Content and Skills:
should know:
do:
Create a drawing using color for an expressive purpose.
Space: Linear and atmospheric perspective
of observed objects which have multiple
vanishing points
Create a drawing in which linear and atmospheric
perspective are used to show observed objects which have
multiple vanishing points.
Contrast: Color value and intensity to create
the illusion of form, reflection, and
transparency in a complex arrangement
Create a drawing in which the illusion of form,
transparency, and reflection are shown through the contrast
of color values and intensities
Create visual balance in a drawing through the arrangement
of shapes/forms, colors, and textures.
Emphasis: Color temperature, intensity, and
value
Create an artwork in which color temperature, intensity and
value are used to demonstrate emphasis.
Rhythm: Direct viewer’s eye through
repetition of elements
Create an artwork that demonstrates rhythm by directing the
viewer’s eye through repetition of elements.
Proportion: Foreshortening of figure from
observation of extended pose
Create an artwork that demonstrates foreshortening of
figure from observation of extended pose.
Unity: Unified composition through color
and four other elements
Create an artwork that demonstrates a unified composition
through color and four other elements.
Unit Vocabulary:
Form, illusion of form, intensity range, reflected light, expressive color, layered color intensity, color value
scale, hatching, crosshatching, stippling, space, multiple vanishing points, linear perspective, atmospheric
perspective (changes between near and far objects in color intensity, color temperature, color value
contrast, clarity), balance, emphasis, contrast, rhythm, proportion, foreshortening, unity
Pre-Assessment:
Sketch a sphere in color with a five-color intensity range, reflected light.
Shade a color value scale by layering pencils.
Create a color value scale showing, hatching, crosshatching, and stippling.
Identify vanishing points for objects at different angles to the viewer.
Sketch objects using multiple vanishing points in linear perspective.
Explain how color changes between near and far objects in a landscape.
Create a magazine collage to show balance and compositional structure through color and texture.
Define emphasis, contrast, rhythm, and unity.
Draw an example of a foreshortened figure.
324
Activity
Produce a color value scale and a color intensity scale.
Strategy
Modeling
Assessment
Scoring Guide
Activity
Use layering, crosshatching, hatching, and stippling to
create the illusion of form when drawing observed
objects.
Strategy
Direct instruction,
Modeling
Assessment
Scoring guide
Activity
Evaluate own and peer’s drawings on the use of
perspective (multiple vanishing points and atmospheric)
to create the illusion of space. Give constructive
feedback and then make revisions to improve final work.
Strategy
Self- and PeerEvaluation
Problem-solving
Assessment
Scoring guide
Students select media and subject matter for expressive purpose.
Application Level Assessment Drawing II, CCO IA: The student will demonstrate knowledge of
Student Tasks:
Create a drawing using color for an expressive purpose.
Create a drawing in which linear and atmospheric perspective are used to show observed objects which
have multiple vanishing points.
Create a drawing in which the illusion of form, transparency, and reflection are shown through the contrast
of color values and intensities
Create visual balance in a drawing through the arrangement of shapes/forms, colors, and textures.
Create an artwork in which color temperature, intensity and value are used to demonstrate emphasis.
Create an artwork that demonstrates rhythm by directing the viewer’s eye through repetition of elements.
Create an artwork that demonstrates foreshortening of figure from observation of extended pose.
Create an artwork that demonstrates a unified composition through color and four other elements.
325
Scoring Guide for Drawing II, CCO IA
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
Shading (layering,
hatching, crosshatching,
or stippling) creates the
illusion of form with 4
color values
Gradation of values
matches objects
Shading is mostly
continuous
•
•
shadow on a flat surface
Wide range of color
intensities accurately
match the objects
•
•
Lines, shapes, colors,
textures match observed
transparent objects
•
Lines, shapes, colors,
textures match observed
reflections of light and of
one object on another
Contrast: Color value and
intensity to create the illusion
of form, reflection, and
transparency
•
Complex arrangement of at
least five objects including
transparent and reflective
objects
•
Shading (layering,
color values
Gradation of values is
similar to objects
indicating light source.
than continuous
•
•
placement
•
Some cast shadows, but
wrong shape, size or
placement
Range of color intensities
match the objects
•
Range of color intensities
are similar to objects
•
Most colors are high
intensity
•
Lines, shapes, and colors
match observed
transparent objects
•
similar to observed
transparent objects
•
Lines or shapes are
similar to observed
transparent objects
•
Lines, shapes and colors
match observed
•
similar to observed
•
Lines or shapes are
similar to observed
Shading (layering,
color values
Gradation of values
matches objects
•
•
Cast shadow on flat
surface, and shadows
cast from one object onto
another are accurate in
placement and shape
•
•
•
1
Progressing
•
•
•
326
•
•
•
•
•
•
Shading (layering,
or stippling) uses 3 color
values to show few forms
Light and dark values are
randomly placed rather
than matching object
Light source is confusing
Expressive Color
•
•
•
Space: Linear and
atmospheric perspective of
observed objects which have
multiple vanishing points
•
•
•
•
•
•
Colors were chosen and
used to meet a stated
intention of the artist
color
Any change in the colors
would diminish the
expressive effect of the
artwork
•
Each set of parallel lines
meets at one, exact,
vanishing point on the
horizon
Three or more objects are
shown at different
angles, each with its own
vanishing point(s)
The objects are arranged
so that the various angles
add to the composition
All near objects are
warmer in color while far
objects are cooler
Color changes in value
and intensity with
greatest contrast in the
foreground and least
contrast in background
Color change is
consistent across all
parts/objects in
composition
•
•
•
•
•
Colors were chosen and
used to meet a stated
intention of the artist
Viewers can see the
colors chosen and the
stated purpose
•
Each set of parallel lines
meets at one vanishing
point on the horizon
Two objects are turned at
different angles each,
with its own vanishing
point(s)
Most near objects are
objects are cooler
Color changes in value
and intensity with
greatest contrast in the
•
•
•
•
•
•
327
Viewers can see a
general relationship
between the colors
chosen and the stated
purpose
•
Some sets of parallel
lines meet at a vanishing
point
Some sets of parallel
lines go toward a point
but do not meet at the
exact point
Some lines may meet
near, but not exactly on,
the horizon line
All objects share the
same vanishing point(s)
Some near objects are
objects are cooler
Color changes in value or
intensity with greatest
contrast in the
•
•
•
•
•
Artist may have selected
colors without relating
them to a particular
purpose
Viewers may be
confused about the
idea and the color
choices
Parallel edges of objects
do not converge on some
or all objects
If parallel edges of
objects come together, it
may be above or below
the horizon line
Objects look randomly
placed neither lined up
nor clearly turned at
different angles.
Warm and cool versions
of colors are used
throughout the work
Balance: Shape/form, color
and texture
•
Shape/form, color and
texture have equal visual
weight on both sides of
the composition
•
Shape/form, and color,
have equal visual weight
on both sides of the
composition
•
Shape/form is used
equally on both sides of
the composition
•
•
May have too much on
one side of the picture
May be too much
background space on the
top or one side
Emphasis: Color
temperature, intensity, and
value
•
used in combination to
create a strong focal
point
•
point
•
Two techniques are used
to create a focal point
•
One technique is used in
to create a focal point
Foreshortened Figure
Proportions
•
Relationship between the
size, shape, and
placement of head,
shoulders, arms, elbows,
wrists, waist, hips, knees,
ankles and bottom of foot
exactly match the
specific details an
observed model in a
foreshortened pose
•
size, shape, and
placement of head,
shoulders, arms, elbows,
wrists, waist, hips, knees,
ankles and bottom of foot
match an observed model
in a foreshortened pose
•
size and placement of
head, shoulders, arms,
elbows, wrists, waist,
hips, knees, ankles and
bottom of foot match
generic/average figure
proportions
The length, size or shape
of some part(s) of the
figure need to be
changed to match the
model in a foreshortened
pose
The drawing shows what
is known rather than
what is seen from a
particular angle
•
figure need to be
changed to look like a
real person in an unusual
position
Parts of the body that are
not visible may be
included
The length, size or shape
of some parts of the
figure need to be
changed to match the
model in a foreshortened
pose
Unified through the use
of color and two other
elements
•
•
•
Unity: through simultaneous
use of color and four other
elements (line, shape, form,
texture, value, space)
•
of color and four other
elements
•
of color and three other
elements
328
•
•
•
of color and one other
element
Drawing II, CCO IB
FA 1, FA 2
Content and Skills:
should know:
Color Blending Techniques
Demonstrate a variety of color blending techniques.
Color washes
Create a drawing art that incorporates color wash techniques.
Mixed media
Create a work of art that demonstrates the integrated use of
mixed media.
Unit Vocabulary:
Color blending, burnishing, color wash, mixed media
Pre-Assessment:
Students will describe color blending and wash techniques.
Students will identify media choices in example art works.
Activity
Students will create swatches of different wash and
blending techniques.
Strategy
Direct Instruction /
Demonstration
Assessment
Check list
Activity
Students will create a figurative work using their choice
of mixed media.
Strategy
Modeling
Assessment
Scoring guide
Activity
Critique original student drawings and analyze the media
skills and techniques used.
Strategy
Critique
Assessment
Scoring guide
Students may choose media and subject matter.
Application Level Assessment Drawing II, CCO IB: The student will demonstrate knowledge of media
Student Tasks:
Create a work of art that demonstrates color blending techniques.
Create a work of art that demonstrates color wash techniques.
Create a work of art that demonstrates mixed media.
329
Scoring Guide for Drawing II, CCO IB
Criteria
Drawing:
Color Blending Techniques
4
Advanced
•
•
•
•
•
•
Drawing:
Color Wash
•
•
Drawing:
Mixed Media
•
•
•
•
3
Proficient
Drawing has clarity
Many hues are developed
through layering of color
Depth is developed
through a wide range of
color value
Use of color is inventive
Textures of objects are
accurately rendered
Demonstrates reflected
color between objects
•
•
Students combine a
variety of opaque and
transparent washes in
combination with other
media
Washes are layered to
create background,
middle ground and
foreground areas
•
Excellent craftsmanship
and integration of media
Media choices are
inventive and unique
Use of mixed media
creates a well unified
composition
Media directly reflects
the artist’s purpose
•
•
•
•
•
•
2
Nearly Proficient
Drawing has clarity
Many hues are developed
through layering of color
Depth is developed
through color value in
most areas
accurately rendered in
most areas
•
Students combine opaque
and transparent washes
with other media
Washes are used in the
background, middle
ground and foreground
areas
•
Good craftsmanship and
integration of media
Use of mixed media
creates a unified
composition in most
areas
Choice of media is
appropriate to subject
matter
•
330
•
•
•
•
•
1
Progressing
Drawing has clarity in
some areas
Color mixing is
“muddy” in some areas
Depth is developed
through color value in
some areas
not consistently rendered
•
Students combine mostly
transparent washes with
other media
Washes are used in
mostly two areas
•
Washes are mostly
applied on top of or
beneath other media
Fair craftsmanship and
integration of media
Use of mixed media
creates a unified
composition in some
areas
•
•
Poor craftsmanship
Media not integrated
well
Use of mixed media
distracts from the
composition as a whole
Lacks unity and clear
purpose
•
•
•
•
•
Parts of drawing are
difficult to distinguish
A limited range of
values, lacks depth
Color is flat, all one tone
Textures are unclear
Drawing II, CCO IC
theme.
Content and Skills:
should know:
Perspective from observation
FA 1, G 3.1
Create an original artwork from observation using perspective.
Narrative Art / Documentation of
History
Create an original artwork that is a narrative or documents
history.
Thematic series
Create an original series of drawings relating to one theme.
Create an original artwork using the figure as a compositional
element.
Create an original artwork using architecture as a compositional
element.
Unit Vocabulary:
Perspective, narrative art, series, reflection, transparency, architecture
Pre-Assessment:
Students will draw a box from observation using perspective.
Students will identify the unifying elements between a series of artwork of the same theme.
Students will identify the themes of architecture, figure, narrative art/documentation of history and
reflection and transparency from examples.
Activity
Students will identify examples of reflection and
transparency in artist’s works.
Activity
Students will research an historical event which they
will use in creating a Graphic Novel about it. (Research)
Activity
Students will create a landscape in which architecture is
used to organize the composition, and then self-evaluate
their work using a scoring guide.
331
Strategy
Modeling
Assessment
Checklist
Strategy
Critical Thinking
Creative Thinking
Assessment
Scoring guide
Strategy
Creative Thinking
Self-evaluation
Assessment
Scoring guide
Students will observe and drawing a cityscape.
Students express research and illustrate an historical event of personal interest to them.
Students will draw simple or complex views of the figure depending upon their skill level.
Students will base a series of pieces on a theme of personal interest to them.
Application Level Assessment Drawing II, CCO IC: The student will communicate themes/subject
Student Tasks:
Create an original artwork from observation using perspective.
Create an original artwork that is a narrative or documents history.
Create an original series of drawings relating to one theme.
Create an original artwork using the figure as a compositional element.
Create an original artwork using architecture as a compositional element.
332
Scoring Guide for Drawing II, CCO IC
Criteria
Theme or Subject:
Perspective from
observation
4
Advanced
•
•
•
•
•
•
•
Selects a view with a
balanced composition
Location of horizon or
eye level is clearly
for distant objects
high in contrast,
gradually changing to
distant object that are
hazy and pale
interesting way
Includes many specific
details and textures
3
Proficient
•
•
•
•
•
•
•
•
•
Selects a view with a
balanced composition
eye level is indicated
from other elements on
the page
distant objects
high in contrast, while
distant objects are hazy
and pale
Creates a balanced
composition
Breaks up space
Includes specific details
and textures
333
2
Nearly Proficient
•
•
•
•
•
•
•
by another artist
Selects a view with an
uneven number/size of
objects on each side
eye level is indicated
from other elements on
the page
with less detail
high in contrast, or draws
distant objects as hazy
and pale
texture
Includes generic details
and textures
1
Progressing
•
•
•
•
•
•
work
Starts drawing one view
without considering the
arrangement of objects
on the page
Perspective may show
more than one eye level
or horizon based on
vanishing points
areas
Includes stereotyped
details
Theme or Subject:
•
•
Narrative Art /
Documentation of History
•
•
•
•
Theme or Subject:
•
Architecture as a
compositional element
•
•
•
Work represents
extensive and accurate
research into an
historical event
Visually communicates a
complex event
Incorporates and
integrates multiple
images that represent
people/activities leading
up to and following the
major event
Selects the best images,
elements, principles, and
media to express the
facts as well as an
attitude about the event
of the work matches the
•
•
Creates an original
painting
more buildings
building(s) with the
background
Complex composition
•
•
•
•
•
•
•
•
Work represents
extensive and accurate
research into an
historical event
Visually communicates
an event
Incorporates and
integrates multiple
images of the event
Selects images, elements,
principles, and media to
express the facts and
ideas
artwork
•
Creates an original
painting
more buildings
building(s) with the
background
Simple composition
•
334
•
•
•
•
•
•
•
•
by another artist
Work represents research
into an historical event
Visually communicates
an simple event
Incorporates multiple
images
Selects some images,
elements, principles, and
media to express the
facts
the simple, written
painting
with building(s)
the building(s) with the
background
Simple composition
•
•
•
•
•
•
•
•
•
work
Work represents minimal
research into an
historical event
Single image
or missing
painting
proportion to the
buildings
balance the building(s)
with the background
Simple composition
Theme or Subject:
•
element
•
•
•
•
Theme or Subject:
•
Series of drawings relating
to a theme
•
•
•
•
Creates an original
painting
more figures
space with the
space
eyes through the
composition
Complex composition
•
Creates original series of
drawings
Single theme is evident
Theme is conceptually
developed across works
statement about the
development of the
thematic concept across
works
Complex and abstract
ideas are communicated
•
•
•
•
•
•
•
•
•
Creates an original
painting
more figures
space with the
space
eyes through the
composition
Simple composition
•
Creates original series of
drawings
about the development of
the thematic concept
across works
Complex or abstract
ideas are communicated
•
335
•
•
•
•
•
•
•
•
painting
with one or more figures
the figure(s) as positive
space with the
space
Leads viewer’s eye
through part of the
composition
Simple composition
•
by another artist
the simple, written
Simple and abstract ideas
are communicated
•
•
•
•
•
•
•
•
painting
proportion to the
figure)s)
balance the figure(s) as
positive space with the
space
Simple composition
work
Theme may be unclearly
or missing
Simple or concrete ideas
are communicated
Drawing II, CCO II
Artists communicate aesthetic attitudes toward their subject matter or
theme through their choice of color, media technique, and style.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Content and Skills:
know:
able to do:
Aesthetics
Artists communicate aesthetic attitudes toward their
subject matter or theme through their choice of
media technique and style.
Aesthetics
Compare and contrast artist’s aesthetic attitudes
toward their subject matter or theme from evidence
in their work.
• Figure as a compositional element:
Marcel Duchamp – formalism, art no longer is
about beauty, emotionalism – reaction to WWI,
functionalism – the idea behind the art was most
important
Henry Tanner – imitationalism, emotionalism
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
• Narrative Art/ Documentation of History:
Rauchenberg – imitationalism, formalism,
functionalism
Beardon – formalism, emotionalism, functionalism
• Reflection and transparency:
Janet Fish – imitationalism
Richard Estes - imitationalism
• Architecture as a compositional element:
Wayne Thiebaud - formalism
DeChirico – formalism, emotionalism
• Thematic series
Degas – imitationalism, emotionalism
Art Criticism
Written Critiques follow the Feldman Model
Art Criticism
Feldman Model:
the artwork.)
artwork.)
media, themes.)
Unit Vocabulary:
Pre-Assessment:
Students identify aesthetic beliefs in artwork.
336
Activity
Match aesthetic theories to artists, explaining choices.
Strategy
Memorization
Activity
Students will select and conduct research on an artist’s drawings,
then role play the artist in a panel discussion about the merits of
various aesthetic theories..
Assessment
Constructed Response Items
Strategy
Simulation
Activity
Groups of students will each prepare a defense of one point of view with
reference to drawings by famous artists. Teams will debate each other.
1. “The best art copies life as it is observed, photographically
(imitationalism)”
2. “The best art represents life (imitationalism) but also
communicates feelings (emotionalism”
3. “The best art represents life (imitationalism) but also serves a
purpose in society (functionalism)”
4. “The best art represents life (imitationalism) but also can be
appreciated by it’s use of elements and principles (formalism)”
5. “the best art represents life (imitationalism) but also
communicates feelings (emotionalism) and also serves a
purpose in society (functionalism)”
6. “the best art is a creative altering or abstraction of life
(formalism)”
Strategy
Debate
Assessment
Scoring guide
Assessment
Scoring Guide
Application Level Assessment Drawing II, CCO II: Students will use appropriate art vocabulary to
Student Tasks:
Compare and contrast artist’s aesthetic attitudes toward their subject matter or theme from evidence in their
work.
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
337
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
338
Scoring Guide for Drawing II, CCO II
Criteria
Compare and contrast artist’s
aesthetic attitudes toward their
subject matter or theme from
evidence in their work.
•
element:
Marcel Duchamp
Henry Tanner
•
Narrative Art /
Documentation of History:
Robert Rauschenberg
Romare Beardon
4
Advanced
•
•
•
•
3
Proficient
intention
Addresses the most
of view in the work
work and the artist’s life
and specific
•
•
•
•
on the basis of the
Addresses important
in the work
Defends statements
life
All information is
correct
•
Reflection and
transparency:
Janet Fish
•
Architecture as a
compositional element:
Wayne Thiebaud
DeChirico
• Thematic Series
Degas
339
2
Nearly Proficient
•
•
•
•
•
the aesthetic intention
Addresses less
important aesthetic
work
Supports some
statements with
and the artist’s life
are missing
be incorrect
1
Progressing
• Describes
characteristics of
the artwork on the
basis of the
aesthetic intention
incomplete.
• Many pieces of
information may be
incorrect
Criteria
4
Advanced
3
Proficient
Introduction
•
Description
artwork
•
in the work
Analysis
space, value)
emphasis, contrast,
rhythm, unity,
proportion)
•
work
•
Interpretation
Explain the artist’s use
of symbols (color,
shape, and cultural
meanings), emotional
mood or attitude toward
the subject, social
commentary,
•
each important
meaning
•
•
•
•
personal piece
media, dimensions)
•
•
•
•
•
personal piece
Most available
information given
Logical, coherent
visible in the work
2
Nearly Proficient
•
•
•
which are most
•
Explains meaning of
work (mood,
symbolism, attitude
to ideas
•
340
•
•
1
Progressing
piece mentioned
•
of work listed
unorganized
•
Random mention of
one or two details
used
used
•
Partially lists
elements and/or
principles
telling
•
toward subject, or
purpose
Judgment
Aesthetic theories
are beliefs about
what makes
• ImitationalismArt should copy the
real or ideal world
• Formalism –
Art should be an
interesting
arrangement of
elements /
principles
• Emotionalism
– Art should
express feelings or
mood
• Functionalism
– Art should serve
a purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
Functionalism)
context
•
Free of errors
if own piece
correct order
•
•
•
•
•
•
(Imitationalism,
or Functionalism)
support theory
•
Few minor errors in
spelling or grammar
if own piece
after introductory
paragraph
in correct order
•
341
•
•
•
•
•
the term
•
clarity
second person
essay
order
•
third person
essay
order
•
•
•
Drawing II, CCO III
contexts.
FA 5; SS 6, CA4, G 1.9
Artist’s Context:
Time, Place, Events
Reflection and Transparency
Richard Estes 1932-living (United States)
• Born in Illinois, graduated from the Art Institute of
• Early work showed anonymous figures in
Chicago
New York city, later showed cityscapes
• Worked as illustrator, graphic designer in NY
without people showing reflections
• Part of Photo-Realism movement, late 1960’s • Everything in sharp details, high finish,
1970’s
photographic appearance
• Believe that photographic images were more real
• Works freehand from composites of
to many people that the objects themselves
photographs he takes, intended to look
• Use traditional art materials but show detachment
more real than the actual scene
of a camera
Janet Fish 1938-living (United States)
• Tightly cropped collections of transparent
and reflective objects
• Creates rhythm through patterns of
reflection without a single, strong focal
point
• Looks like view through a telephoto lens
•
•
•
•
From a family of artists in Boston
While others in college created abstract art, she
wanted to show the beauty in everyday objects and
chose a realistic style
Supported herself working in shops and offices
while she painted in a loft in New York City
Does not use photography to create images
Narrative Art, Documentation of History
Romare Beardon 1912-1988 (African• Grew up in NY amidst Harlem Renaissance
American)
• Immersed in Jazz and Blues as an adolescent
• Flat areas of color influenced by Stuart
• Graduated from New York University with B.S.
Davis, visualizing a realtionship between
degree in mathematics, job as a social worker
Jazz music and painting
• First studied art in 1935 studied art under German
• Abstraction of shapes and sizes
Expressionist, George Grosz, traveled to Paris
• Collages used various papers, vibrant and
where he met George Braque
intense colors influenced by time in
• Involved in 1960’s civil rights movement
Caribbean where his wife’s family lived
• Art and writing document African-American
• Developed works in color lithography
experience
Robert Rauschenberg 1925-living (USA)
• In the 1960’s, works were “Combines”,
integrations of painting and sculpture using
“junk”
• Transferred photographic images from
newspapers, magazines, added paint
• Later works used silkscreen and fibers
• Works in collaboration with other artists
•
•
•
•
•
Born in Texas to a Fundamentalist Christian
family, considered becoming a preacher as a teen
He was a male psychiatric nurse in the Navy
which turned him into a lifelong pacifist.
Influenced by Marcel Duchamp
Works reference Kennedy, NASA space program
Fragments of events are compressed, documentary
of electronic image glut in society
342
Henry Ossawa Tanner 1859-1937 (AfricanAmerican worked in Paris)
• Representational work
• Brushwork creates texture
• Religious theme based upon his early life
and intense spiritual feelings
• Showed everyday people, including
African-Americans
•
Marcel Duchamp 1887-1968 (born in France,
later became US citizen)
• Used cubist style on Nude Descending
Stairs
• The idea behind an artwork was more
important than the way it looked,
• Invented “Readymades” which were parts
of everyday objects combined and put on
display as art
• Appropriated famous images and changed
them as in Mona Lisa
• Made “suitcases”, portable museums of his
major works in miniature
•
•
•
•
•
•
•
•
•
•
•
Born in Pittsburgh to college-educated father, a
teacher and minister, and former slave mother who
came north through the Underground Railroad
Studied under Thomas Eakins in PA, later
influenced by Academy, Romanticism in Paris
Worked in Europe to avoid racism in America
First African-American artist to achieve
international success
He trained future African-American artists who
studied with him in Paris
Father was mayor of a small town in Northern
France, moved to Paris at age 17 to study art
Part of “Dada” movement which reflecting the
meaninglessness of WW I
Questioned the nature of art, intending it to shock
and scandalize rather than show beauty
Inspired by movies and motion photography
Creates constructions that look like machines but
have no meaning, parody of science –Original
approach influenced Modern artists, art didn’t
have to be realistic or beautiful
First to raise aesthetic questions about the
relationship between manufactured objects and
“Art”
Produced outrageous art for 17 years, then spent
the rest of his life playing chess and being
supportive of other artists with new ideas
Giorgio De Chirico 1888-1978 (Italian,
worked in Paris) Works communicated
dreaming, alienation, and loss
• Architecture was based on buildings he had
seen in Greece and Italy
• Used perspective to distort the view,
cloned viewpoints, flat color
• Created fakes, copies of his early works
out of malice for not being appreciated for
later works
Wayne Thiebaud 1920-living (USA)
• Abstract street scenes of San Francisco
capture the vertical streets
• Uses repetition to create unity in
compositions
• Strong colors, complementary colors in
shapes and lines
•
•
•
•
•
•
•
•
•
•
Lived in Greece as a child where his father was a
railroad engineer
Studied in Paris, influenced by Cubists
1911-1918 gained popularity as an originator of
Surrealist movement
Repeated theme is loss at death of his father shown
through white statues, smokestacks, cannons,
towers, and trains
Spent the rest of his life as an uninspiring classical
style painter, rejecting modernism
Lived in St. Francisco Bay area
Worked as cartoonist, graphic designer
Pop Art movement in 1960’s, famous for still life
paintings of cakes and pies
In 1970’s created San Francisco cityscapes with
shifts in perspective and multiple viewpoints
Works from memories of streets
343
Series of works on a common theme
Edgar Degas 1897-20th century (France)
• Industrial Revolution- new technological
• Pastel drawings
inventions: assembly line, camera
• Subject of dancers in motion,
• Part of controversial new movement,
Impressionism
• Formal and informal studies
• Series of dancers, drawn from observation during
• Loose, gestural strokes, movement of
practice
figure is quickly captured
• Other Impressionists include: Cassatt, Renoir,
• Compositions cropped, influenced by
Monet
photography
• Linear technique (hatching) shows form
Unit Vocabulary:
Renaissance, Gothic, Classical, Modern, Cubism, Impressionism, Romanticism, Expressionism,
appropriation, readymade
Pre-Assessment:
Activity
Questions about artists are asked to rotating team
members.
Activity
Create an artwork as homage to one of the artist’s
studied in class using either the artist’s style or ideas.
Activity
Select and conduct research on an artist and then take on
the identity of the artist for a panel discussion. Show
examples of your works explaining why “you” created
them, read an artist’s statement you wrote and defend
you work when asked questions about it.
Strategy
Cooperative
Identification
Assessment
Strategy
Critical and Creative
Thinking
Assessment
Scoring Guide
Strategy
Role Playing
Assessment
Scoring Guide
matter.
history.
.
344
Application Level Assessment Drawing II, CCO III: The student will compare and contrast artworks on
Student Task:
contrast two or more artworks considering several factors: artist, time, place, context, style, characteristics,
and reason for being valued as art.
345
Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
On the basis of style and subject matter, who created the work? When? WHY?
Artist:
Date:
Artist:
346
Date:
Artist:
Date:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
347
Scoring Guide for Drawing II, CCO III
Criteria
artworks on style,
and context.
4
Advanced
•
•
•
Figure as a
Marcel Duchamp
Henry Tanner
•
Narrative Art/
Documentation of
History:
Robert Rauchenberg
Romare Beardon
•
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
All information is
correct.
•
Reflection and
transparency:
Janet Fish
Richard Estes
•
Architecture as a
Wayne Thiebaud
DeChirico
• Thematic series
Edgar Degas
348
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Drawing II, CCO IV
between visual arts and American history.
Artworks can document historical events and effect the way viewers
respond to the event.
Content and Skills:
By the end of this course students
should know:
Connect art to social studies by
creating a narrative artwork that
documents an historical event
FA 4, CA 1
Create and document a narrative artwork depicting an historical
event in American history.
Unit Vocabulary:
Mural, graphic novel, artist’s book, documentation of historical events, American history
Pre-Assessment:
Identify historical artworks that document events in American history and any effect the artwork had on the
event.
Activity
Research an event in American history, and list ideas for
illustrating it.
Activity
Create a timeline from 1600 to the present including
historical events that were documented using artwork.
Illustrate with historical images.
Activity
Create a design for a mural, graphic novel, or single
drawing that visually documents an event in American
History. Self-evaluate.
Strategy
Assessment
Checklist
Strategy
Applying content
form
Assessment
Accuracy of
Strategy
Problem-solving,
Self-evaluation
Assessment
Scoring Guide
Students can re-create a well-known historical artwork in modern context that are in some way relevant to
events important to the student.
By looking at an artwork, students will employ deductive reasoning to determine an approximate historical
period and list important events that occurred.
Write a historically accurate story about what they see in an historical artwork.
Application Level Assessment Drawing II, CCO IV: The student will make connections between
historical events in American and artwork from the period.
Student Task:
Create and document a narrative artwork depicting an historical event in American history.
349
Scoring Guide for Drawing II, CCO IV
Criteria
Connect art to social studies
by creating a narrative
artwork that documents an
historical event
4
Advanced
•
•
•
•
•
•
•
•
Conducts extensive
research into an
American historical event
using a wide variety of
sources
Create an original
artwork about significant
event in history
Selects the best artistic
format for
communicating about the
event (graphic novel,
mural design, drawing)
to communicate idea
expressive purpose
craftsmanship to
communicate ideas
Infers, in writing, the
intended impact on
viewers
Viewers easily see
connection between
documented history and
the ideas communicated
through the artwork
3
Proficient
•
•
•
•
•
•
•
•
Conducts research into
an American historical
event using a variety of
sources
Create an original
artwork about significant
event in history
Selects an appropriate
artistic format for
communicating about the
event (graphic novel,
Selects and uses an
effective range of
to communicate idea
expressive purpose
craftsmanship to
communicate ideas
Explains, in writing, the
intended impact on
viewers
connection between
documented history and
the ideas communicated
through the artwork
350
2
Nearly Proficient
•
•
•
•
•
•
•
event using both print
and media sources
Modifies an artwork
about an event in history
Selects a format that is
suggested by the teacher
for communicating about
the event (graphic novel,
to communicate idea
Demonstrates good
craftsmanship to
fit idea
Explains idea in writing
historical meaning
1
Progressing
•
•
•
•
•
•
•
•
event using one source
an event in history
Copies the format
Event selected lacks
importance in historical
context
few elements of art
Low quality of
craftsmanship may
understanding of
message.
idea in writing
Viewers only understand
connection after reading
writing
Painting II
351
Painting II Scope and Sequence
A
Line: Expressive
B
Acrylic Paints
• palette knife
• additives for surface texture ( sand, natural and found materials )
• building and stretching a canvas
Watercolor Paints
• painting with materials other than a brush ( scraps of cardboard, sticks, found objects)
Mixed Media
• Layering,of materials to build painting surface and composition
C
Landscape, Cityscape, or Seascape as communication of an idea
Realistic Portrait
Communication of a personal attitude toward a social issue
Aesthetics
Analyze, compare, and contrast the aesthetic value placed upon originality for works created in
different time periods and cultural contexts.
Art Criticism
and judge artworks.
352
Painting II Scope and Sequence
American Realism: Hopper, Homer, Hudson River Valley School
Fauvism: Derain, Matisse
Expressionism: Fanz Marc, Max Beckmann
Surrealism: Dali, Magritte
Post Modernism: Ringold, Hockney, Kiefer, Juane Quick-to-see Smith
Use a student-composed expository essay promoting a personal attitude toward a social issue as
the stimulus for an imaginative painting.
353
Painting II, CCO IA
Core Conceptual Objective I A, Elements and Principles: Students will demonstrate knowledge of
Essential Understandings
create artwork
FA 1, FA 2
Content and Skills:
know:
Line: Expressive
do:
Use line to communicate the expression of an idea.
Mix paints to match a range of observed colors.
Build actual textures in paint.
Use texture to communicate the expression of an idea.
Use color contrast to create a focal point in artwork.
Create unity through the use of four elements.
Unit Vocabulary:
Expressive line, expressive texture, emphasis, focal point, unity
Pre-Assessments:
Students communicate a given idea such as freedom, despair, or elation using only line.
Students mix paint to match their own skin tones.
Students show actual textures in acrylic paint.
Create a sketch in which color is used to create emphasis.
Create sketches in which unity is created through each element.
Activity
Mix paint to match observed colors in nature.
Activity
Students create an original composition demonstrating
unity through the repetition of line, shape, color, and
texture.
Activity
Students will critique paintings of peers and themselves
on the expressive meaning communicated by a choice of
color, line, and texture.
354
Strategy
Lecture, Modeling
Assessment
Check list
Strategy
Modeling
Assessment
Scoring guide
Strategy
Problem-Solving,
Critique
Assessment
Scoring Guide
Choose painting media based on expressive purpose.
Choose subject matter based on student interest.
Mix paint to create subtle differences in skin tone of several students in the classroom.
Application Level Assessment Painting II, CCO IA: Students will demonstrate knowledge of elements
Student Tasks: Use line to communicate the expression of an idea.
Mix paints to match a range of observed colors.
Build actual textures in paint.
Use texture to communicate the expression of an idea.
Use color contrast to create a focal point in artwork.
Create unity through the use of four elements.
355
Scoring Guide for Painting II, CCO IA
Criteria
Expressive line
4
Advanced
•
•
Color – Realistic color
mixing
•
•
Texture – Expressive
•
•
3
Proficient
Chooses a wide range of
unique line qualities that
express the artist’s intent
line
•
colors including various
hues, tints, shades, and
colors of lowered
intensity
All mixed colors match
observed subject matter
accurately
•
unique textures that
express the artist’s intent
texture
•
•
•
•
2
Nearly Proficient
line qualities that express
the artist’s intent
line
•
colors including various
hues, tints, shades, and
colors of lowered
intensity
Most mixed colors match
accurately
•
textures that express the
artist’s intent
line
•
356
•
•
•
1
Progressing
one or more lines conflict
with the artist’s intent
Viewers may be
confused about the
idea and the lines chosen
•
Mixes colors including
various hues, tints,
shades, and colors of
lowered intensity
Many mixed colors
match observed subject
matter accurately
•
one or more textures
conflict with the artist’s
intent
Viewers may be
confused about the
idea and the textures
chosen
•
•
•
•
Chooses lines that are
inconsistent in
intent
relationship of lines
purposed
Mixes colors including
various hues, tints, and
shades
Few mixed colors match
Chooses textures that are
inconsistent in
intent
relationship of textures
purposed
Texture - actual
•
•
•
Emphasis – Focal Point
created by color contrast in
color value, color intensity,
color temperature
•
Unity – Unified composition
through four elements
•
Creates unique actual
textures by building up
acrylic paint and mixing
acrylic with additives
such as polymer
modeling material or
sand
Actual textures match
observed subject
Wide variety of actual
textures are contrasted
•
Uses color value, color
intensity, and color
temperature to create a
single, strong focal point
•
Designs unique
composition that
demonstrates strong
among elements and
principles
•
•
Creates unique actual
textures by building up
acrylic paint and mixing
acrylic with additives
such as polymer
modeling material or
sand
Actual textures match
observed subject
•
Creates actual textures
by building up acrylic
paint or mixing acrylic
with additives such as
polymer modeling
material or sand
•
Creates actual textures
by using thick acrylic
paint
Uses two of three kinds
of color contrast to create
a single focal point
•
Uses one of three kinds
of color contrast to create
a focal point
May be more than one
focal point
•
Uses elements other than
color to create a focal
point
Several areas compete
for attention rather than
creating a single focus
Modifies composition
from another source to
demonstrate the
•
•
Designs composition that
demonstrates strong
among elements and
principles
357
•
•
copies composition from
another source
Painting II, CCO IB
Content and Skills:
should know:
Acrylic Paints
•
palette knife
•
additives for surface texture (sand,
natural and found materials )
•
building and stretching a canvas
FA 1, FA 2
Use a palette knife to create actual textures in acrylic paint.
Mix additives such as polymer modeling paste, found materials,
and sand or other natural materials to create actual texture.
Build, stretch, and prime a canvas to prepare it for painting.
Watercolor Paints
• painting with materials other than a
brush ( scraps of cardboard, sticks, found
objects)
Use a variety of materials other than a brush to create various
textured effects in watercolors.
Mixed Media
•
Layering,of materials to build
painting surface and composition
Layer different media to build a painting surface and
composition.
Unit Vocabulary:
Polymer modeling paste and gel, mixed media
Pre-Assessment:
Students will match media vocabulary to examples.
Students will demonstrate techniques.
Activity
Students will demonstrate and label examples of each
watercolor texture technique.
Strategy
Modeling
Assessment
Checklist
Activity
Students will select and use texture techniques to match
observed textures in a realistic painting.
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Critical Thinking
Assessment
Scoring Guide
Activity
Students will critique their own and peer’s nature
paintings on their selection and use of acrylic techniques
to create observed textures.
358
Students select the theme and subject matter based upon student interest.
Students choose between watercolor and acrylic paints by matching the media with the expressive purpose
of an artwork.
Application Level Assessment Painting II, CCO IB: Students will demonstrate knowledge of media
Student Tasks:
Use a palette knife to create actual textures in acrylic paint.
Mix additives such as polymer modeling paste, found materials, and sand or other natural materials to
create actual texture.
Build, stretch, and prime a canvas to prepare it for painting.
Use a variety of materials other than a brush to create various textured effects in watercolors.
Layer different media to build a painting surface and composition.
359
Scoring Guide for Painting II, CCO IB
Criteria
Watercolor
Painting with materials
other than a brush (scraps
of cardboard, sticks, found
objects
4
Advanced
•
•
•
Acrylic Painting Process
Building , Stretching and
Preparing a Canvas
•
•
•
Palette Knife
•
•
•
3
Proficient
visual effects
Selects and uses
subject.
Uses technique to
the work.
•
tight
Folds and staples canvas
neatly at corners
Smoothly sizes the
canvas with gesso
•
visual effects
Selects and uses
subject.
Uses technique to
the work.
•
•
•
•
•
2
Nearly Proficient
Produces a range of
visual effects
Selects and uses
subject
•
tight
Folds and staples canvas
at corners
Smoothly sizes the
canvas with gesso
•
Produces a range of
visual effects.
Selects and uses
subject.
•
360
•
•
•
•
1
Progressing
effects
Selects and uses
subject.
•
Produces a visual
technique
Stretches canvas, may
have ripples or uneven
tension
Corners may be raised
gesso, leaving an even
brush texture
•
Stretches canvas, may
have ripples and uneven
tension
Corners may be bulky
and uneven
gesso leaving uneven
brush texture
effects
Selects and uses
subject
•
•
•
Produces a visual
technique
Use of Additives for Surface
texture (sand, natural and
found materials)
•
•
•
Mixed Media
Layering of materials to
build painting surface and
composition
•
•
•
visual effects
Selects and uses
subject
Uses technique to
the work
•
visual effects
Selects and uses
techniques
Uses techniques to
the work
•
•
•
Produces a range of
visual effects
Selects and uses
subject.
•
Produces a range of
visual effects
Selects and uses
subject
•
361
•
•
effects
Selects and uses
subject
•
Produces a visual
technique
effects
Selects and uses
subject
•
Produces a visual
technique
Painting II, CCO IC
Artists communicate ideas through the use of themes and/or subject
matter.
FA 1, G 3.1
Content and Skills:
should know:
Use the figure or figures in a composition to express an idea.
Landscape, /
Cityscape, or Seascape as
communication of an idea
Use a landscape, seascape, or cityscape composition to
communicate an idea.
Realistic Portrait
Create a realistic portrait painting.
Communication of a personal attitude
toward a social issue
Communicate a personal attitude toward a social issue through
an original painting.
Unit Vocabulary:
Still life, conceptual theme, figure, landscape, portrait and working from observation
Pre-Assessment:
Students will make an example of a still life.
Students will match paintings with themes.
Students will create examples of a still life, landscape, and portrait artworks.
Students will create a word map or web in with a conceptual theme in the center, then do a series of
sketches showing how the words in the web could be expressed graphically.
Activity
Make a sketch of figures that could be included in a
composition to communicate an idea.
Activity
Conduct research on an issue of personal or social
interest, and then develop the information into a painting
that communicates an attitude or point of view.
(Research)
Activity
Critique own and peer’s personal social issue paintings
on their ability to express a selected idea or conceptual
theme.
362
Strategy
Modeling
Assessment
Checklist
Strategy
Synectics
Assessment
Scoring Guide
Strategy
Self- and PeerEvaluation,
Assessment
Scoring Guide
Students select subject matter for figure and landscape paintings based upon student interest.
Students with advanced readiness work with more complex and abstract ideas while those with less
readiness work with simple and concrete ideas.
Application Level Assessment Painting II, CCO IC: The student will demonstrate
Student Tasks:
Use the figure or figures in a composition to express an idea.
Use a landscape, seascape, or cityscape composition to communicate an idea.
Create a realistic portrait painting.
Communicate a personal attitude toward a social issue through an original painting.
363
Scoring Guide for Painting II, CCO IC
Criteria
Theme or Subject:
4
Advanced
•
•
•
•
•
Theme or Subject
Realistic Portrait
•
•
•
•
•
3
Proficient
Develops realistic,
subjects
that are expressive
Composition has a
supported by the
elements
point of view
•
•
individual
Proportion among
features matches
individual
Gives indication of
personality by
expression, personal
items, background
individual
•
•
•
•
•
•
•
2
Nearly Proficient
form and texture of
observed subjects
that are balanced
•
individual
Proportion among
features matches
individual
use of detail and
background
•
364
•
by another artist
Shows simplified
contour, form, and
texture of observed
subjects
1
Progressing
•
•
•
•
•
•
Modifies artwork
match the individual
Proportions are
May be a simplified
person’s features
•
•
•
•
•
work
one
without making
etc.
work
features
features
Empty background
Theme or Subject:
Figure as communication of
an idea
•
•
•
•
•
Communicates a clear
idea or emotion
Composes figure(s) and
viewpoint (zoom or
distant) to best express
the idea
Selects and consistently
applies either realistic or
abstracted pose and
proportions to express
the idea
statement about the
•
•
•
•
•
Communicates an idea or
emotion
Composes figure(s) and
viewpoint (zoom or
distant) to express the
idea
abstracted pose and
the idea
artwork
365
•
•
•
•
by another artist
Communicates an idea
Composes figure(s) to
fill space
match
•
•
•
•
work
Idea may be unclear in
the work
Figure(s) placement
seems haphazard
match
Theme or Subject:
Landscape, Cityscape, or
Seascape as communication
of an idea
•
•
•
•
•
Communicates a clear
idea or emotion
Composes natural and
human-made features to
best express the idea
(landforms, water, plants,
animals, people,
buildings, roads,
vehicles, etc.)
abstracted pose and
the idea
statement about the
•
•
•
•
•
Communicates an idea or
emotion
Composes natural and
human-made features to
express the idea
(landforms, water, plants,
animals, people,
buildings, roads,
vehicles, etc.)
abstracted pose and
the idea
artwork
366
•
•
•
•
•
by another artist
Communicates an idea
Fills space with natural
and human-made
features to express the
idea (landforms, water,
plants, animals, people,
buildings, roads,
vehicles, etc.)
Consistently uses either
realism or abstraction
match
•
•
•
•
work
Idea may be unclear in
the work
Natural and human-made
features placement seems
haphazard
match or are missing
Theme or Subject:
Communication of a
personal attitude toward
a social issue
•
•
•
•
•
ideas related to personal or
social issues, develops
several into sketches,
evaluates and modifies idea
before starting final work
Creates an original painting
that clearly communicates
the artist’s attitude toward
an issue
uses elements, principles,
style, media, and techniques
to best communicate the
issue
artwork
communicated in an
original way
•
•
•
•
•
ideas related to personal
or social issues,
develops several into
starting final work
Creates an original
painting that
communicates the
artist’s attitude toward
an issue
Selects and uses
elements, principles,
style, media, and
techniques to best
communicate the issue
artwork
original way
367
•
•
•
•
•
Student generates a few
ideas related to personal
or social issues,
develops two of them in
starting final work
painting that
communicates the
an issue
Selects and uses some
style, media, and
techniques to
communicate about the
issue
Simple idea
communicated in a
standard way
•
•
•
•
•
•
Student comes up with
one idea, develops it in
two sketches, and makes
small changes before
starting final work
painting that
communicates the
an issue
Selects and uses a few
of the following:
style, media, and/or
techniques to
communicate about the
issue
or missing
getting the meaning
from the artwork
Simple idea may be
communicated through
a stereotype
Painting II, CCO II
The aesthetic value placed upon originality varies among works created in
different time periods and contexts.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Content and Skills:
know:
able to do:
Aesthetics
Aesthetics
The aesthetic value placed upon originality varies
among works created in different time periods and
contexts.
Analyze, compare, and contrast the aesthetic value
placed upon originality for works created in
different time periods and cultural contexts.
•
American Realism – artists manipulate
observed natural compositions, using
symbolism to communicate ideas; originality
was less important, valued through the artist’s
arrangement and use of symbolism
•
Fauvism – originality was very important in
simplifying the composition of observed
subjects and using invented rather than
observed colors
•
Expressionism – originality was important in
modifying the lines, shapes, colors, and space
of paintings to communicate emotion
•
Surrealism – originality was valued highly in
both the creative idea and in the distortion
and/or juxtaposition of subject matter to
express ideas
•
Post Modernism – originality is valued in
concept or reinterpretation of something that
was done before, appropriation (incorporating
another artist’s work) is acceptable; as multicultural forms of art are used, Asian and
African value craftsmanship using traditional
(non-original) images
Art Criticism
Feldman Model:
the artwork.)
artwork.)
media, themes and on the use of aesthetic
theories: imitationalism, emotionalism,
functionalism, and formalism).
Art Criticism
368
Unit Vocabulary:
interpret, judge, critique, appropriation, American Realism, Fauvism, Expressionism, Surrealism, Post
Modernism
Pre-Assessment:
Students explain the value of originality in artwork from different periods/movements.
Activity
Identify the most important aesthetic reasons for valuing
artwork from various periods/styles of art.
Strategy
Memorization
Assessment
Activity
Create an exhibit for a Children’s Museum explaining
the way each movement valued originality.
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Debate
Assessment
Scoring Guide
Activity
strongest examples of each period or style of art..
Application Level Assessment Painting II, CCO II: Students will use appropriate art vocabulary to
Student Tasks:
Analyze, compare, and contrast the aesthetic value placed upon originality for works created in different
time periods and cultural contexts.
369
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
5. Analysis
6. Interpretation
5. Judgment
370
Scoring Guide for Painting II, CCO II
Criteria
Analyze, compare, and
contrast the aesthetic value
placed upon originality for
works created in different
time periods and cultural
contexts.
.
• American Realism
• Fauvism
• Expressionism
• Surrealism
• Post Modernism
3
Proficient
4
Advanced
•
•
•
•
Analyzes, compares,
contrasts, and evaluates
sets of artworks
Addresses the most
of the work
work and cultural context
and specific
•
•
•
•
Analyzes, compares,
sets of artworks
Addresses important
work
reference to the work and
cultural context
2
Nearly Proficient
•
•
•
•
•
371
sets of artworks
work
Supports some
to the work and cultural
context
Some important
be incorrect
1
Progressing
•
•
•
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
Painting II, CCO II Art Criticism Scoring Guide
Criteria
4
Advanced
Introduction
•
Description
artwork
3
Proficient
piece
given
•
•
seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
Interpretation
cultural meanings),
emotional mood or
attitude toward the
subject, social
of the work.
•
•
•
•
2
Nearly Proficient
piece
given
•
•
the work
work
work
•
work
each important
meaning of the work
•
•
•
•
1
Progressing
personal piece
mentioned
title
•
of work listed
•
•
Random mention of
one or two details
seen in the work
the work
•
Lists elements and
principles used
Tells how or where
some elements and
the work
•
and/or principles
ideas
•
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
toward subject, or
purpose
372
•
•
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
373
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Painting II, CCO III
Core Conceptual Objective I: Students will demonstrate knowledge of art in historical and cultural
contexts.
Artists are influenced by the artists who came before them, and have an
impact on those who follow.
FA 5, G 1.10
Style/Period
Time/Place
Style
Characteristics
Artists
Context
American
Realism
19th-20th Centuries
USA
·
Distant view,
immense vista,,
grand scale
Humans are
insignificant
Real looking but
composition
were created in
the studio
·
·
·
Human figures
important in
landscape
·
·
Shows empty
city, small town
architecture
Humans, if
shown, do not
interact
·
Representational
drawing with
bold, unreal
colors
Simplified
design
Flattened
perspective
Use of patterns
·
Distorted color,
outline, brush
strokes for
expressive
purpose
Discarded the
illusion of form
and space
·
·
·
·
Fauvism
1905-1910
France
·
·
·
·
Expressionism
1905-1940
Germany
·
·
Hudson River
School 1820’s
(Thomas Cole,
Thomas Doughty,
Asher B. Durand
·
Works function advertising
of Wild American
Loosely organized
Romantic artists (sublime,
wild, lyric promote ideal of
beauty altering observed
nature as needed
Symbolism
Winslow Homer
1836-1910, New
England
·
·
·
Illustrator
Tradition of genre painting
Rural nostalgia
Edward Hopper
1882-1967
·
American Scene Painting,
Romantic realists
Shows isolation, mechanical
lives, disenchantment with
the American success story
·
·
·
Henri Matisse
(1869-1954)
Andre Derain
(1880-1954)
·
·
·
·
·
Franz Marc (18801916)
Max Beckmann
(1884-1950)
·
·
374
Influenced by Van Gogh
and Gauguin
Called “Wild Beasts”
because work was shocking
Scientific discoveries on the
way the human eye
perceives color
Used color to convey
meaning and for
composition
Before World War I, show
the detrimental results of
industrialization –
impersonal society
During and after WW I
show destruction and horror
of war
Surrealism
1924-1945
France
·
·
·
Post Modernism
1977-present
·
·
·
Recognizable
scenes that seem
to be from a
dream or
nightmare
Illusion of form
and space
Titles are often
ambiguous and
seem unrelated
to image
·
Wide range of
styles, mixing
media, 2D and
3D, video,
installations,
and
performance
Shows
relationship
between high art
and mass culture
Responds to
society by
addressing race,
gender, ethnic,
and class issues
·
·
Salvador Dali
(1904-1989)
Rene Magritte
(1898-1967)
·
·
·
·
·
·
·
·
·
Faith Ringold
(1930-living)
David Hockney
(1937-living)
Anselm Kiefer
(1945-living)
Juane Quick-to-see
Smith (1940living)
·
·
·
·
·
·
Writings of psychoanalysts
Sigmund Freud, Carl Jung
Movement across arts,
Andre Breton, writer
Russian Revolution
Stock market crash and
word-wide depression
World War II
Automatism - free
association brings inner
thoughts to surface
Rejection of modernist
principles (emphasis on
form instead of content)
Meaning of art is important
Multi-ethnic global society
Represents personal and
group identities
Respects and incorporates
traditions of past with
present
Not a style, instead it is a
widespread cultural
phenomenon
Compare and contrast artworks with reference to the artist, time, place, context,
meaning, and characteristics of style.
Show-Me Standards
G1.10, FA5
Unit Vocabulary:
American Realism, Fauvism, Expressionism, Surrealism, Post-Modernism, Modernism
Pre-Assessment:
place, and style name, characteristics of style, artists, and cultural context.
Activity
Students identify artworks by period or art movement.
Activity
Create a miniature painting with an original composition
showing characteristics of each style/period. Explain
how each work would have fit in with the times/culture.
375
Strategy
Memorization
Assessment
Strategy
Modeling
Assessment
Scoring Guide
Activity
Conduct research, prepare and present a power-point
slide show in which you take on the role of an art critic
in each age. (Research, Technology)
Strategy
Role Playing
Critique
Assessment
Scoring Guide
Conduct research on an artists or style based on personal interest.
history.
Application Level Assessment Painting II, CCO III: The student will compare and contrast artworks
with reference to the period/movement, stylistic characteristics, media, time, place, artists, artistic
influences, and cultural context.
Student Task:
Apply information you have learned about paintings from the American Realism, Fauvism, Expressionism,
Surrealism, and Post-Modern eras to unfamiliar works presented by your teacher. Compare and contrast
two or more artworks considering several factors: the period/movement, stylistic characteristics, media,
time, place, artists, artistic influences, meaning and cultural context.
376
Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
377
Work A
Work B
Work C
Work A
Work B
Work C
What is the meaning the artist intended to communicate through the work?
Work A
Work B
Work C
378
Scoring Guide for Painting II, CCO III
Criteria
artworks on style, artists,
and context.
• American Realism
• Fauvism
• Expressionism
• Surrealism
• Post-Modernism
4
Advanced
•
•
•
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
All information is
correct.
379
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Painting II, CCO IV
Expository writing in language arts can be a source for imaginative
painting.
Content and Skills:
Expository writing in language arts can be a source for
imaginative painting.
FA 4, CA 1
be able to do:
Use a student-composed expository essay
promoting a personal attitude toward a social
issue as the stimulus for an imaginative painting.
Unit Vocabulary:
Creative writing, imaginative painting
Pre-Assessment:
Students match creative writing examples to imaginative paintings.
Activity
Select an historical artwork that comments on a social or
political issue and write an expository essay on the
Activity
Take a piece of expository writing from Language arts
and do a series of sketches that communicate similar
ideas visually.
Activity
Write an essay that communicates a personal attitude
toward a social issue and then design an original
painting to communicate the same ideas visually.
Strategy
Structured inquiry
Assessment
Scoring Guide
Strategy
Problem-Solving
Assessment
Scoring Guide
Strategy
Expository Writing
Creative Thinking
Assessment
Scoring Guide
Use a Venn diagram to show similarities and differences between creative writing and imaginative
painting.
Start with a painting, and then write an essay about its meaning..
Application Level Assessment Painting II, CCO IV: The student will make connections between visual
arts and language arts.
Student Task:
Use a student-composed expository essay promoting a personal attitude toward a social issue as the
stimulus for an imaginative painting.
380
Scoring Guide for Painting II, CCO IV
Criteria
Use a student-composed
expository essay promoting a
personal attitude toward a
social issue as the stimulus
for an imaginative painting.
4
Advanced
•
•
•
•
•
•
Creates an original
personal viewpoint on an
issue through the use of
richly descriptive sensory
and visual imagery
Creates an original
to communicate idea
expressive purpose
craftsmanship to
communicate ideas
Viewers easily see
painting
3
Proficient
•
•
•
•
•
•
Creates an original
personal viewpoint on an
issue through the use of
sensory and visual
imagery
Creates an original
Selects and uses an
effective range of
to communicate idea
expressive purpose
craftsmanship to
communicate ideas
painting
381
2
Nearly Proficient
•
•
•
•
•
Modifies a writing by
another author that
expresses a theme or
emotion
Modifies an artwork that
expresses the issue and
attitude
to communicate idea
Demonstrates good
craftsmanship to
fit writing
connection to the writing
1
Progressing
•
•
•
•
•
•
Copies from another
author’s writing
a social issue
few elements of art
Low quality of
craftsmanship may
understanding of
message.
idea in writing
Viewers are confused
about the connection
between the artwork and
the writing
Sculpture II
382
Sculpture II Scope and Sequence
A
Form: in-the-round, complex portrait bust
Contrast: values created by light hitting positive spaces, negative spaces, and surface textures
Proportion: realistic facial and head porportions
Rhythm: lead viewer’s eye around and through the artwork
Unity: through repetition of positive spaces, negative spaces, similar forms, and patterns of
light and shadow
B
Additive:
Subtractive:
Carving stone-like material with traditional tools
Casting:
Modeling a positive.
Creating a mold of
the positive.
Casting positives from the mold.
Finishing the surface
C
Portrait: bust of the human head
Installation: proposal and maquette
Post-Modern:
Piece developed based upon personal/or cultural issues such as peer pressure, populartiy,
academic success, school spirit, cheating, drugs, war conflict
Monumental Sculpture: proposal and maquette commemorating a person or event
383
Sculpture II Scope and Sequence
Aesthetics
Sculptures express meaning and serve functions in their cultures.
Aesthetic reasons for valuing portrait busts vary among in Greek, Roman, Renasissance and
contemporary American cultures.
Art Criticism
Portrait bust in the round:
Ancient Greek
Ancient Roman
Installation Sculpture:
Judy Chicago
Nam June Paik
Post-Modern Sculpture:
Luis Jimenez
Monumental Sculpture:
Gutzon Borglum
Maya Lin
Connect portrait busts of historical figures to American history.
George Washington
Abraham Lincoln
Martin Luther King
384
Sculpture II, CCO IA
create artwork.
Content and Skills:
FA I, FA 2
Form: in-the-round, complex portrait
bust
Create an in-the-round, complex form, portrait bust.
Contrast: values created by light
hitting positive spaces, negative
spaces, and surface textures
Produce a sculpture that creates value contrast when light hits
positive spaces, negative spaces, and surface textures.
Proportion: realistic facial and head
porportions
Demonstrate realistic proportions of an individual face and head.
Rhythm: lead viewer’s eye around
and through the artwork
Create rhythm in sculpture by leading the viewer’s eye around and
through the artwork.
Unity: through repetition of positive
spaces, negative spaces, similar forms,
and patterns of light and shadow
Create unity in a sculpture through repetition of positive spaces,
negative spaces, similar forms, and patterns of light and shadow.
Unit Vocabulary:
Form, portrait bust, facial and head proportion, rhythm, unity
Pre-Assessment:
Create a model of a head using accurate proportions.
Make a model sculpture that shows a range of values when the sculpture is placed under a light source.
Design a sculpture that creates rhythm by leading a viewer’s eye around and through the form.
Design a sculpture that shows unity through space, form, and value contrast.
Activity
Students will work individually or in small groups to
identify how the elements and principles have been
combined in the creation of a given sculpture.
Activity
Students will use an additive modeling material to create
an in-the-round head with accurate proportions.
385
Strategy
Structured Inquiry
Assessment
Scoring guide
Strategy
Modeling
Assessment
Scoring guide
Activity
Students will write a critique of a sculpture on the basis
of its use of rhythm and unity.
Strategy
Critique
Assessment
Scoring Guide
Create a realistic portrait bust of self or an individual of student’s choice.
Vary in dimensions of artwork.
Vary the media or techniques used to create a sculpture.
Application Level Assessment Sculpture II, CCO IA: The student will demonstrate knowledge of the
Elements and Principles by completing the following student tasks:
Student Tasks:
Create an in-the-round, complex form, portrait bust.
Produce a sculpture that creates value contrast when light hits positive spaces, negative spaces, and surface
textures.
Demonstrate realistic proportions of an individual face and head.
Create rhythm in sculpture by leading the viewer’s eye around and through the artwork.
Create unity in a sculpture through repetition of positive spaces, negative spaces, similar forms, and
patterns of light and shadow.
386
Scoring Guide for Sculpture II, CCO IA
Criteria
Form:
Complex portrait bust
4
Advanced
•
•
Unity through repetition of:
• Positive spaces
• Negative spaces
• Similar forms
• Patterns of light and
shadow
•
•
•
Contrast of value created by
light hitting:
• Positive spaces
• Negative spaces
• Textures
•
•
Sculpture matches the
facial features and
proportions of an
observed individual
Composition realistic
from all sides
3
Proficient
•
•
Unity created through
repetition of positive
spaces, negative spaces,
similar forms, and
patterns of light and
shadow
Repeated elements vary
to create greater interest
Balance created in
repetition of all elements
•
Creates range of five or
more values by arranging
spaces and a variety of
surface textures
Range of values apparent
from all angles
•
•
•
•
2
Nearly Proficient
Sculpture matches the
facial features and
proportions of an
imaginary but reallooking individual
Composition realistic
from all sides
•
spaces, negative spaces,
similar forms, and
patterns of light and
shadow
Repeated elements are
generally the same
Balance created in
repetition of most
elements
•
Creates a range of threefour values by arranging
spaces and a variety of
surface textures
from all angles
•
387
•
•
Combined human facial
features
Composition is realistic
from 3 sides.
Generalized human facial
proportions and shapes
1
Progressing
•
•
•
•
•
•
Shapes are combined in a
flat manner
Composition from 2 sides.
Shapes of facial features
may be too large or too
small.
Spacing between facial
features may be too large
or too small.
spaces, similar forms,
and areas of light
Repeated identical
elements
•
repetition of similar forms
Creates two values by
arranging positive spaces
and texture
from three angles
•
•
Undeveloped or flat form
Little variation in value
when light hits form
Range of value is seen
from only one angle
•
Proportion of head and face
•
•
Rhythm leads viewer’s eye
around and throughout the
sculpture
•
•
•
Facial features and
proportions match an
observed model
Proportions are accurate
from all points of view
(front, profile, threequarter view, back of
head)
The design is highly
developed with sense of
complexity
Strong lines and shapes
lead the eye around the
sculpture
Highly developed sense
of movement
•
•
•
•
•
Facial features and
proportions are realistic
for an imaginary, average
human head
from all points of view
(front, profile, threequarter view, back of
head)
The design is developed
with thought
Lines direct the eye
movement through the
work
Developed sense of
movement
388
•
•
•
•
•
•
Shape and form of facial
features (eyes, nose, lips,
ears) are slightly
distorted or exaggerated
Distance between
features may be too large
or too small
from two points of view
(front, profile)
•
Design elements appear
more random
Some confusion about
intended eye movement
Sense of movement is
interfered with by
random lines and shapes
•
•
•
•
•
Shape and form of facial
features (eyes, nose, lips,
ears) are distorted or
exaggerated to look more
like a caricature than a
realistic head
Distance between features
may be too large or too
small
from only one point of
view
Random design elements,
lacking thought
No clear direction for eye
movement
Limited sense of
movement
Sculpture II, CCO IB
Technical skills in using media and processes allow an artist to
communicate ideas through high quality art products.
FA I, FA 2
Content and Skills:
Additive
Modeling form upon a student-created
armature
Create a sculpture upon a student-produced armature.
Subtractive
Carving stone-like material with
traditional tools
Use traditional carving tools to create a sculpture in a stone-like
material.
Create a scale model as a plan for a large-scale installation.
Casting
Modeling a positive.
Creating a mold of
the positive.
Casting positives from the mold.
Finishing the surface
Create a sculpture using the casting process which includes
making a positive, making a mold from it, casting the sculpture,
and finishing the surfaces.
Unit Vocabulary:
Additive: Modeling materials, armature
Subtractive: Carve, positive space, negative space, concave, convex, rasp, plaster, clay, stone
Mixed Media: Assemblage, found objects
Casting: Mold, cast, draft, undercut, positive, negative, plaster, low-relief (bas-relief), high relief, freestanding, in the round
Pre-Assessment:
Identify sculpting techniques used to create different sculpture examples.
Describe steps of methods, and procedures for working with a given media.
Identify appropriate tools for different approaches, techniques, surface effects.
Activity
Students will identify methods/techniques used to create
various sculptures.
Activity
Students will use traditional tools and techniques to
carve a sculpture from a solid block of hard material.
389
Strategy
Memorization
Assessment
Matching Test
Strategy
Direct Instruction
Modeling
Assessment
Scoring guide
Activity
Students will critique their use of media techniques in a
sculpture they created.
Strategy
Self-Evaluation
Critique
Assessment
Scoring Guide
Vary the dimensions of artwork.
Vary the number of elements/principles to be applied.
Students select media technique or subject matter based upon student interest.
Application Level Assessment Sculpture I, CCO IB: Students will demonstrate knowledge of media
Student Tasks:
Create a sculpture upon a student-produced armature.
Use traditional carving tools to create a sculpture in a stone-like material.
Create a scale model as a plan for a large-scale installation.
Create a sculpture using the casting process which includes making a positive, making a mold from it,
casting the sculpture, and finishing the surfaces.
390
Scoring Guide for Sculpture II, CCO IB
Criteria
Additive Method
Modeling form upon a
student-created armature
4
Advanced
•
•
•
•
•
•
Subtractive
Carving stone-like material
with traditional tools
•
•
•
3
Proficient
form
Armature was removed
without changing the
form
securely joined
controlled surface
Consistent, correct
material
Overall effect of
•
material
carving tools to create
elaborate effects
Intentional, consistent
textures whether rough
or smooth and polished
•
•
•
•
•
•
•
2
Nearly Proficient
form
When armature was
removed, changes in the
form were corrected
securely joined
controlled surface
Consistent, correct
material
•
material
carving tools
Consistent textures
and polished
•
391
•
•
•
•
•
•
1
Progressing
Unstable but usable
armature created to
support a modeled form
When armature was
removed, some changes
in the form were
corrected
Some modeling material
pieces securely joined
Generally controlled
surface
Thickness of modeling
material varies
•
Sculpture touches parts
of all/ or some of the 6
material
are used
Inconsistent textures
•
•
•
•
•
•
•
•
Unstable armature
created
Armature created by
someone else was used
When armature was
removed, few changes in
the form were corrected
Parts of the modeling
material crack or come
off
Surface shows
inconsistent control
Modeling material too
thick or thin
All 6 sides of the
sculpture are not
modified
are used inconsistently
Texture is lacking in a
controlled manner
•
Assemblage
Mixed Media
•
•
•
Casting
Modeling a positive
Creating a mold of
the positive
Casting positives from the
mold
Finishing surface of pieces
•
•
•
•
•
Media are selected and
integrated to best
communicate the idea
Three or more media
combined
Shows excellent
craftsmanship in
joining and finishing
all parts
Complex concept
A complex relief
composition showing
contrast and concave vs.
convex surfaces
Mold has a strong draft,
lacking undercuts
No evidence on finished
piece showing where
mold was joined
3 or more successful
casts are produced
Highly finished surface
•
Media are selected and
integrated to help
• Three or more media
combined
• Shows good
craftsmanship in
joining and finishing
all parts
• Complex concept
•
•
•
•
•
•
•
showing contrast and
concave vs. convex
surfaces
Mold has a draft, lacking
severe undercuts
No evidence on finished
piece showing where
mold was joined
3 or more casts are
produced
Finished surface
392
•
•
•
•
•
•
Media are selected with
the intent of
communicating the idea
but are not well
integrated
Two media are combined
Shows good
craftsmanship in joining
and finishing most parts
Simple concept
•
showing some contrast
and shallow concave
and/or convex surfaces
Mold has slight draft and
undercuts
Some roughness or
unevenness on finished
piece where mold was
joined or on other parts
of the finished surface
2 or more casts are
produced
•
•
•
•
•
•
•
Media selected may
interfere with
understanding the
concept
Two media are combined
Components are poorly
attached, some pieces
falling off
Finishes are uneven,
incomplete, or poorly
shown
Mold lacks draft and has
undercuts
Rough or unevenness on
finished piece where
mold was joined or on
other parts of finished
surface
1 cast piece was
produced
Sculpture II, CCO IC
Core Conceptual Objective IC, Theme or Subject Matter: Students will communicate themes/subject
theme.
FA I, G 3.1
Content and Skills:
Working from observation*
Create sculpture based upon observation.
Portrait Bust
Create an in-the-round portrait bust.
Installation
Create a model for a large scale installation.
Post-Modern
Piece developed based upon
personal/or cultural issues (peer
pressure, populartiy, academic
success, school spirit, cheating, drugs,
war conflict)
Create a sculpture that communicates personal or cultural issues.
Monumental Sculpture: proposal and
maquette commemorating a person or
event
Create a three-dimensional work that memorializes a person or
event.
Unit Vocabulary:
Portrait bust, installation, Post-Modern, memorial, monument, personal or cultural issues
Pre-Assessment:
Identify theme or artist’s intent through analysis of sculpture.
Draw designs for an interactive installation concept.
Create a self-portrait bust.
Activity
Identify themes and processes used to create
monumental sculptures.
Activity
Make 3-dimensional sketches of possible ideas for a
multi-part installation in which viewers walk around and
through the works.
Activity
Students compare and contrast Post Modern sculpture
designs of self and peers on ideas communicated..
393
Strategy
Modeling
Assessment
Written response
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Self- and PeerEvaluation
Assessment
Scoring Guide
Difficulty level and complexity of composition can vary with student ability.
Vary the size of dimensions of artwork.
Vary in required number of elements to be applied.
Students choose a theme for sculpture based upon personal beliefs or interests.
Application Level Assessment Sculpture II, CCO IC: Students will communicate themes/subject matter
Student Tasks:
Create sculpture based upon observation.
Create an in-the-round portrait bust.
Create a model for a large scale installation.
Create a sculpture that communicates personal or cultural issues.
Create a three-dimensional work that memorializes a person or event.
394
Scoring Guide for Sculpture, II CCO IC
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
•
observed including fine
details
•
observed
•
Subject is similar to what
is observed
•
Some connection to the
observed subject
Portrait Bust
•
Proportion of head and
facial features are
accurately rendered
including fine details
Eyes, ears, nose, mouth
and hair are all rendered
in fine detail
Natural facial expression
is clear
•
Proportion of head and
facial features are
accurately rendered
including details
and hair are all rendered
in detail
Facial expression is clear
•
Proportions of head and
facial features are
attempted
and hair are attempted in
with some detail
Unclear or unnatural
facial expression
•
Proportions of head and
facial features are
inconsistent
and hair are attempted
Lacking a natural facial
expression
Theme or issue is
explored at an advanced
level
Media, elements and
principles are clearly
applied in an expressive
way to evoke a reaction
from the viewer
•
Theme or issue is
explored
Media, elements and
principles are applied in
an attempt to express the
issue clearly and evoke a
reaction from the viewer
•
Theme ore issue are
attempted to be
represented
and principles are
applied with little
Intended reaction is
unclear
•
•
•
•
Installation
•
•
•
•
•
•
•
•
•
395
•
•
•
Theme or issue is unclear
and principles are
applied with no
Intended reaction is
unclear
Post-Modern Piece
Personal or cultural issue
(peer pressure, popularity,
academic success,school
spirit, cheating, drugs, war
conflict)
•
•
•
•
proposal and maquette
•
•
•
•
is explored in-depth
Media, elements and
principles are selected
and used to communicate
intended idea
Idea is complex, abstract
Viewers clearly
understand the artist’s
intentions
•
Person or historical event
is selected as the subject
Chosen location works
well to enhance the
design of the piece
Proposal includes
detailed drawings that
include information
about size, media, and
method of installation
Presentation of maquette
is to scale with the
chosen location and the
final size of the piece
•
•
•
•
•
•
•
is explored in-depth
Media, elements and
principles are selected
and used to communicate
intended idea
Idea is complex
artist’s intentions
•
Chosen location is
appropriate to the design
of the piece
Proposal includes
drawings that include
information about size,
media and method of
installation
Presentation of the
maquette is to scale with
the location and the final
size of the piece
•
396
•
•
•
•
•
•
is explored
Some media, elements
and principles are
selected and used to
communicate intended
idea
Idea is simple or concrete
Viewers may be
confused about the
artist’s intentions
•
Chosen location works
with the design and or
size of the piece
Proposal includes
drawings and some
indication of size, media
and/or method of
installation
Presentation of the
maquette is close to scale
with the location and/or
final size of the piece
•
•
•
•
•
•
is not developed
and principles are
applied with little
Viewers interpretation
does not match artist’s
intentions
Chosen location and
design of the piece do
not work well together
Proposal is lacking a
drawing or information
about size, media and/or
method of installation
Scale is not considered in
relation to location or
final size of the piece for
the presentation of the
maquette
Sculpture II, CCO II
Core Conceptual Objective II, Aesthetics and Art Criticism: Students will use appropriate vocabulary
Sculpture expresses meaning and is valued for different aesthetic reasons
in various historical periods and cultures.
Content and Skills:
FA 2, FA 3, CA 1, CA 4,
G I.5, G 2.4
Aesthetics
Aesthetics
Sculptures express meaning and serve functions in their
cultures.
Analyze sculpture to interpet its meaning and
function.
Aesthetic reasons for valuing portrait busts vary among in
Greek, Roman, Renasissance and contemporary American
cultures.
Compare and contrast the aesthetic reasons for
valuing portrait busts in Greek, Roman,
Renasissance, and contemporary American
cultures.
Greek Portraits – Imitationalism with focus on the ideal,
spiritual function in teaching about religion (Greek
mythology), cultural function is glorifying Olympic
athletes from
Roman Portraits – Imitationalism with focus on realism
and emotion, spiritual function in teaching about religion
(Roman mythology), military and political function in
advertising the power of the rulers
Renaissance – Imitationalism with focus on the ideal in
religious works and realism in portraits, spiritual function
in teaching about religion (Christianity), expressionism in
communicating religious fervor
Contemporary American – Robert Arneson –
Imitationalism in self-portraits, expressionism in humor
and satire, functionalism in critiquing notions of “good
taste” in culture
Art Criticism
Write a critique of a sculpture that follows the Feldman
Model:
Describe (use art terms and descriptive language to
explain, in detail, what is seen in the artwork)
Analyze (explain how and where important elements and
principles are used in the artwork)
Interpret (make a clear connection between how the artist
used the elements and principles and the artist’s intended
meaning/message/effect)
Judge (evaluates the quality of the artwork on the use of
elements, principles, usage of media, themes)
397
Art Criticism
Write critiques of sculpture using the Feldman
Unit Vocabulary:
Sculptor, sculpture, 3-dimensional art form, imitationalism, emotionalism, formalism, functionalism,
describe, analyze, interpret, judge, critique
Pre-Assessment:
Students connect the terms to supporting statements.
Students match aesthetic theories to artist’s works.
Students critique sculpture using the Feldman model.
Activity
Students, in small groups, will look at samples of
sculpture and identify the style represented with
supporting statements of how they see the elements and
principles have been applied.
Strategy
Assessment
Oral and written
presentation of group
findings applying
vocabulary
Activity
Students will research and analyze historical portrait
sculptures to interpret the artist’s intention.
Strategy
Structured Inquiry
Assessment
Scoring Guide
Activity
Students will critique a sculpture using the Feldman
model.
Strategy
Critique
Assessment
Scoring Guide
Students will use appropriate vocabulary to critique and respond to works of art.
Students will conduct independent research on sculptures that communicate issues in which they are
personally interested.
Application Level Assessment Sculpture II, CCO II: Students will use appropriate vocabulary to critique
and respond to works of art.
Student Tasks:
Analyze sculpture to interpet its meaning and function.
Compare and contrast the aesthetic reasons for valuing portrait busts in Greek, Roman, Renasissance, and
contemporary American cultures.
Write critiques of sculpture using the Feldman Model (describe, analyze, interpret, and judge).
398
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
399
Scoring Guide for Sculpture II, CCO II
Criteria
aesthetic reasons for
valuing portrait busts in
Greek, Roman,
Renasissance, and
contemporary American
cultures
4
Advanced
•
•
•
•
evaluates pairs of
sculptures
Addresses the most
of the work
sculpture
and specific
3
Proficient
•
•
•
•
evaluates pairs of similar
sculptures
Addresses significant
work
references to the
sculpture
2
Nearly Proficient
•
•
•
•
•
Analyze sculpture to
interpet its meaning and
function
•
•
•
Shows insight into the
expressive meaning of
the sculpture
Analyzes the appropriate
function of the sculpture
Evaluates the degree of
success performed by the
3-D art form
•
•
•
Shows recognition of the
expressive meaning of
the piece
Analyzes the function of
the sculpture
Makes good assumptions
about the degree of
success performed by the
3-D art form
•
•
•
•
•
400
1
Progressing
pairs of similar
sculptures
work
Supports some
to the sculpture
Some important
Some information is
incorrect
•
Expressive meaning is
addressed
functions of the sculpture
Assumptions are made
about the success of the
3-D art form
Some important
references are missing
Some information is
incorrect
•
•
•
•
•
•
•
•
•
similar sculptures
Less important
Statements are not
supported with
references to the
sculpture
missing
Expressive meaning is
not clearly addressed
Information may be
incomplete
Incomplete statements
are made about the
success of the 3-D art
form
Important references are
missing
Criteria
4
Advanced
3
Proficient
Introduction
•
Description
everything in the artwork
•
in the work
Analysis
space, value)
emphasis, contrast,
rhythm, unity,
proportion)
•
work
•
Interpretation
and cultural meanings),
emotional mood or
attitude toward the
subject, social
commentary,
•
each important
meaning
•
•
•
•
personal piece
media, dimensions)
•
•
•
•
•
personal piece
Most available
information given
Logical, coherent
visible in the work
2
Nearly Proficient
•
•
•
which are most
•
Explains meaning of
work (mood,
symbolism, attitude
to ideas
•
401
•
1
Progressing
piece mentioned
•
of work listed
unorganized
•
Random mention of
one or two details
used
used
•
Partially lists
elements and/or
principles
telling
•
toward subject, or
purpose
Judgment
Aesthetic theories
are beliefs about
what makes
Imitationalism- Art
should copy the
real or ideal world
Formalism – Art
should be an
interesting
arrangement of
elements /
principles
should express
feelings or mood
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
Functionalism)
context
•
Free of errors
if own piece
correct order
•
•
•
•
•
•
(Imitationalism,
or Functionalism)
support theory
•
Few minor errors in
spelling or grammar
if own piece
after introductory
paragraph
in correct order
•
402
•
•
•
•
•
the term
•
clarity
second person
essay
order
•
third person
essay
order
•
•
•
Sculpture II, CCCO III
contexts.
FA 5; SS 6, CA4, G 1.9
Content and Skills: *Acceleration/enrichment content:
Artists/ Style /Characteristics of
Style
Historical Period
or Style
Portrait bust in
the round
•
•
Greek
•
•
Most artists unknown
Real looking, but idealized
portraits rather than looking like
individuals
Subjects are athletes, Gods
Carved in stone
Artist’s Context:
Time, Place, Events
•
•
•
•
•
•
Portrait bust in
the round
•
•
Roman
•
•
•
Praxiteles, many artists unknown
Realistic as opposed to idealized,
for example, older men are
balding, have wrinkled faces
Subjects are military leaders,
government leaders, Gods
Faces show emotion
Carved in stone, cast in metal
•
•
•
•
•
•
•
Portrait bust in
the round
*Renaissance
•
•
•
•
Portrait bust in
the round
•
•
*Robert Arneson
•
•
•
Michaelangelo, Donatello, Da
Vinci
Realistic, show emotion
Subjects are figures from
Christian Bible (whose likeness
may be that of person who paid
artist to create work), portraits of
rich and famous
Carved in stone/wood, cast in
metal
Realistic self-portraits
Whimsical or surreal
combinations of self-portraits
Expresses emotions
Uses humor to poke fun at
himself
Ceramic sculpture, fired and
glazed
403
•
•
•
•
•
•
•
•
First republican form of government,
City states compete in war and in
first Olympics, athletes are heroes
Religion is Mythology
Gods are depicted as humans, temples
to particular Gods include larger than
life sculptural figure in center
500 B.C. – 100 A.D. Greece
Roman empire
Conquer and copy Greek art and
religion
Commerce is important, Roman Forum
was first shopping mall
Military leaders as heroes, shown in
sculpture
Senators shown in sculpture
Coins with relief sculpture of Emperor
as one way to control outer reaches of
empire
100 B.C.-400 A.D., Italy, Europe,
Middle East, Northern Africa
Catholic Church is main patron paying
artists to teach religion to illiterate
population
Guilds, artists become famous
Rebirth of interest in classical (Greek,
Roman) sculpture and mythology (now
seen as stories rather than religion)Rebirth of Humanism – value the
individual
1400-1600 Italy, Europe
Raised ceramics from craft to
combination of painting and sculpture
Part of St. Francisco Bay area artists in
1980’s who pioneered a style of art
known as “funk” that made fun of
standards of “good taste”
1930-1992 United States
Historical Period
or Style
Artists/ /Characteristics of
Style
Installation
Sculpture
• Large space
arrangement
of objects,
often with
sound, mixed
media, video
components
• Artist created
objects
combined
with artistassembled
objects
• Social
commentary
• Audience
involvement
*Joseph Beuys
Used everyday objects (coats on
hanger, chalkboard, auto) in
combination to make statements
Artist’s Context:
Time, Place, Events
•
•
•
•
•
Judy Chicago
Multi-media conceptual artist
•
•
Nam June Paik
Video installation artist
•
Artist and writer
Sees art as a powerful vehicle for
intellectual transformation and social
change
• Feminist perspective, collaborates on
projects
• Key works:
Dinner Party – ceramic and fiber commentary
on great women in history
Holocaust Project – multi-room installation
takes viewers through tragedy of Holocaust to
peace
• 1930-living American
•
•
•
Post-Modern
Sculpture
• Pluralistic –
represent
many styles
and many
cultural
perspectives
• Personal or
social
commentary
Luis Jimenez
•
•
•
*Michael Lucero
•
•
•
•
•
•
•
•
Conceptual artist
Saw creativity as broader than the culture of
art, should involve everyone
By 1960’s he had moved from creating art
to assembling found objects
Titles of works communicate meaning
1921-1986 German
Uses video, audio, motion technology to
express the complexities of contemporary
culture
Inspired by both the spirit of Zen and the
ever-changing dynamics of American
society
Uses cultural symbolism such as the
television set.
Korean-born American 1932-living
Son of illegal Mexican immigrant
Culturally relevant, political themes of working class
Chicano community
Worked in father’s Large scale figures reflecting
Mexican heritage
Cast fiberglass with colorful, shiny surface
1940-living, Mexican-American
Human, animal figures, or combinations
Real-looking parts of figures/objects put together in
unreal, Surrealist way
Colorful, painted images often in contrast to the forms
Ceramic
Interest in Native American culture from childhood
travel in the Southwest
1953-living, American
404
Historical Period or Style
Artists/ /Characteristics of
Style
• Public sculpture that
memorializes historical
figures or events
• Often larger than life in scale
*Daniel Chester French
• Realistic, Idealistic
• Used Mythological type
figures symbolically
Artist’s Context:
Time, Place, Events
•
•
•
•
•
Gutzon Borglum
• Gigantic Scale
• Realistic
•
•
Maya Lin
• Minimalist, nonobjective design
• Involves viewer’s sense
of touch
• Communicates ideas
abstractly
•
•
•
•
Real looking, classical style
Carved stone figures allegorical
figures representing ideals
Statue of Lincoln in the Lincoln
Memorial in Washington, D.C,
1850-1931 American
Carved Confederate Memorial of
General Lee on Stone Mountain
Designed and began Mt.
Rushmore
1867-1941 American
Yale educated as architect and
sculptor
Viet Nam War memorial – “scar
in the earth, polished like a
geode”
Martin Luther King memorial
1959-living, Chinese-American
Unit Vocabulary:
Minimalist, Post-Modern, Renaissance, Greek and Roman, Monumental sculpture
Pre-Assessment:
place, style name, characteristics of style, and ideas the artist communicated about their life/times.
Activity
Match sculptures with the period/culture in which they
were created.
Activity
Use text and Internet sources to research sculpture from
a particular period or culture, and then analyze the
sculpture to interpret its expressive meaning and
function. (Research, Technology)
Activity
Each team researches portrait busts from a different era.
Teams debate which should be most highly valued.
405
Strategy
Memorization
Assessment
Matching Test
Strategy
Research
Inductive Thinking
Assessment
Scoring Guide
Strategy
Debate
Assessment
Scoring Guide
Create miniature models of famous sculptures for a museum exhibit with accompanying critiques.
Application Level Assessment Sculpture II, CCO III: The student will compare and contrast artworks on
Student Task:
Apply information you have learned about sculpture to unfamiliar works presented by your teacher.
Compare and contrast two or more sculptures considering several factors: time place, context, style,
characteristics, and reason for being valued as art.
406
Name:
Hour:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
407
Work C
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
On the next page, write an essay comparing the importance of these works in the history of art. Support your opinions with information from the charts you just
completed.
408
Scoring Guide for Sculpture II, CCO III
Criteria
Portrait bust in the round
• Greek
• Roman
• Renaissance
• Robert Arneson
4
Advanced
•
•
•
•
Installation
Joseph Beuys
Judy Chicago
Nam June Paik
•
•
•
•
3
Proficient
evaluates the human
portrait bust as a theme
from all artists, cultures
and periods specified
period are compared
work from specified
artists, cultures, and
periods
and specific
•
evaluates key issues that
pertain to sculpture
installations
3 specific characteristics
of each artist’ style are
compared
work from specified
artists
and specific
•
•
•
•
evaluates the human
portrait bust as a theme
periods specified
cultures and periods are
compared
periods
2
Nearly Proficient
•
•
•
•
•
•
•
•
evaluates issues that
installations
2 characteristics of each
•
•
•
•
•
409
1
Progressing
the human portrait bust
as a theme from artists,
cultures or periods
specified
Supports some
periods
Some important
Some information is
incorrect
•
issues that pertain to
sculpture installations
1 characteristic of the
artists’ styles are
compared
Supports some
statements with
references
Some comparisons are
missing
Some statements are
incorrect
•
•
•
•
•
•
•
•
•
the human portrait bust
as a theme
Less important
Statements are not
supported with
references
missing
Lists characteristics that
installations
Less important
Statements are not
supported with
references to the artists’
styles
missing
Post-Modern
• Luis Jimenez
• Michael Lucero
•
•
•
•
• Gutzon Borglum
• Korczak Ziokowski
• Daniel Chester French
• Maya Lin
•
•
•
•
evaluates key issues of
Post-modern sculpture in
relation to each artist
specified
artist’ style
work from specified
artists
and specific
•
evaluates key issues as
they apply to
monumental sculpture
artist’ style
work from specified
artists
and specific
•
•
•
•
evaluates issues of Postmodern sculpture in
artists
2 characteristics of each
•
•
•
•
•
•
•
•
evaluates issues as they
apply to monumental
sculpture
artist’ style
410
•
•
•
•
•
issues of Post-modern
sculpture in relation to
specified artists
1 characteristic of each
Supports some
to characteristics of the
artist’ style
Some important
Some information is
incorrect
•
issues as they apply to
1 characteristic of the
artists’ styles
Supports some
statements with
Some information is
incorrect
•
•
•
•
•
•
•
•
Post-modern sculpture
with relation to specified
artists
Statements are not
supported with
references
are missing
Lists issues that apply to
public sculpture
Statements are not
supported with
references to the
sculpture
missing
Sculpture II, CCO IV
There are relationships between concepts in visual arts and American
history.
Content and Skills:
Social Studies:
Connect portrait busts of historical figures to
American history.
George Washington
Abraham Lincoln
Martin Luther King
FA 4
able to do:
Relate the sculptor’s depiction of George
Washington, Abraham Lincoln, and Martin Luther
King to the role each played in American history.
Unit Vocabulary:
Patron, propaganda, protest, cultural or social issues, commentary, revolutionary war, civil war, civil rights
movement
Pre-Assessment:
Students will match sculptures to articles about issues or current events.
Activity
Students will match portrait busts with events in
American history..
Activity
Students will research a figure in American history and
create a model for a sculpture of the person.
Activity
Students will compare, contrast, and self-evaluate their
portrait bust with those created to commemorate famous
Americans in our history..
Strategy
Memorization
Assessment
Matching Test
Strategy
Research
Problem-Solving
Assessment
Scoring Guide
Strategy
Critique
Assessment
Scoring Guide
Students can research and create portraits of personal heroes of American culture.
Students can deal with either simple and concrete issues or complex and abstract ones.
Students compare portraits and political cartoons about the same historical figures.
Application Level Assessment Sculpture II, CCO IV: The student will make connections between
portrait busts in sculpture and important figures in American History.
Student Task:
Relate each sculptor’s depiction of George Washington, Abraham Lincoln, and Martin Luther King to the
role each played in American history.
411
Scoring Guide for Sculpture II, CCO IV
Criteria
Connect portrait busts of
historical figures to history
4
Advanced
•
•
•
•
Key characteristics of
social issues from 3 or
more cultures are
analyzed and reflected in
student work
Important characteristics
of different cultures as
they are reflected in the
3-D art forms are
compared in detail and
reflected in student work
intricate details
All information is
accurate and complete
3
Proficient
•
•
•
•
Characteristics of social
issues from 3 cultures are
analyzed and reflected in
student work
Characteristics of
different cultures as they
are reflected in 3-D art
forms are compared and
reflected in student work
details
All information is
accurate
412
2
Nearly Proficient
•
•
•
•
Some characteristics of
social issues from 2
cultures are analyzed
different cultures as they
are reflected in 3-D art
forms are reflected in
student work
minor details
Some key information is
either missing or is not
accurate
1
Progressing
•
•
•
•
social issues from a
culture are analyzed
different cultures
reflected in 3-D art forms
are attempted in the
student work
Supporting details are
missing
either missing or is
incorrect
Graphic Design II
413
Graphic Design II Scope and Sequence
A
Form: form follows function
Space: environmental design and audience
Rhythm: sequential timing in motion graphics
Movement: dynamic movement in motion graphics
B
Layout which includes a seriesof illustrations ( main image, supporting detail images and
related text )
•
Typography
•
Mixed Media
PHOTOSHOP
• Layer Effects
• Masking
• Type Effects
• Pen Tool
ILLUSTRATOR
• Pathfinder
• Pen tool
• Layers
• Type on a path
FLASH
• Sound
Action buttons
Graphics software cross platform design (Photoshop, Illustrator, and Flash)
C
Metaphors in Design
Identity Systems – a series of 2-D and 3-D visual media (logos, brochures, package design,
point-of-purchase, trade-show booth graphics) that work together to identify a company or
theme
Information Graphics – graphs, maps, diagrams, charts
414
Graphic Design II Scope and Sequence
Aesthetics
Compare and contrast quality standards, and the relationship between technology and culture
among historical design styles: Art Deco, Destijl, Swiss School, New York School, and Motion
Graphics.
Art Criticism
Art Deco:
A.M. Cassandre
Destijl:
El Lissitzky
Swiss School:
Ernest Keller
New York School
Paul Rand
Saul Bass
Motion Graphics:
Robert Brownjohn
Three-Dimensional Design:
Peter Murdoch
Lester Beall
Conduct research on a topic in science, social studies, or another subject, and then create a
complex illustration that communicates processes or sequences of events.
415
Graphic Design II, CCO IA
visual language.
Content and Skills:
should know:
FA 1, FA 2
Create a graphic artwork in which the design communicates the
purpose.
Space: environmental design and
audience
Demonstrate space through the creation of an environmental
design for a specific audience.
Rhythm: sequential timing in motion
graphics
Demonstrate sequential timing in the creation of a motion
graphics artwork.
Movement: dynamic movement in
motion graphics
Demonstrate dynamic movement in the creation of a motion
graphics artwork.
Unit Vocabulary:
Motion graphics, form, space, environmental design, rhythm, movement
Pre-Assessment:
Describe how form follows function in graphic artworks.
Sketch a plan for an environmental design, explaining how space was created.
Create sketches for the frames of a motion graphic.
Activity
Identify and explain how examples of graphic artworks
demonstrate the concept of “form follows function”.
Strategy
Lecture, Modeling
Assessment
Constructed Response
Activity
Create an advertisement using sequential timing in
motion graphics.
Strategy
Creative Thinking
Assessment
Scoring guide
Activity
Students will create an advertisement that synthesizes
multiple platforms and media.
Strategy
Synectics
Assessment
Scoring guide.
Choice of media may vary based on student abilities.
Students can create alternate version of their designs.
Students can create a product based upon personal interests.
416
Application Level Assessment Graphic Design II, CCO IA: The student will demonstrate the elements
and principles through the creation of original works of art.
Student Tasks:
Create a graphic artwork in which the design communicates the purpose.
Demonstrate space through the creation of an environmental design for a specific audience.
Demonstrate sequential timing in the creation of a motion graphics artwork.
Demonstrate dynamic movement in the creation of a motion graphics artwork.
417
Scoring Guide for Graphic Design II, CCO IA
Criteria
4
Advanced
3
Proficient
After considering 4 or more
alternatives:
• Selects or designs best
typeface for intended
purpose
image for intended
purpose
• Develops best
composition for intended
purpose
alternatives:
purpose
image for intended
purpose
• Develops best
composition for
intended purpose
Space: environmental design
and audience.
•
•
•
•
Concept is completely
original.
Design interior or
exterior display with a
clear purpose that directs
a viewer’s attention and
behavior.
Content is appropriate
and directly related to
subject matter.
target audience/ viewer.
•
•
•
Design interior or
exterior display with a
clear purpose that
directs a viewer’s
attention and behavior.
subject matter.
target audience/
viewer.
418
2
Nearly Proficient
alternatives:
• Selects or designs good
purpose
• Selects or designs good
image for intended
purpose
• Composition of type or
images confuses or
distracts from purpose
•
Design interior or
exterior display that gets
a viewer’s attention.
• Content is appropriate to
subject matter.
• Content is appropriate for
target audience/ viewer.
1
Progressing
After considering 1
alternatives:
• Selects typeface
• Selects image
• Composition of type and
images confuses or
distracts from purpose
•
Design interior or
exterior display that gets
a viewer’s attention.
Rhythm: sequential timing in
motion graphics.
•
•
•
Movement: Dynamic
movement in motion
graphics.
•
•
•
•
Uses rhythm through
timing in a creative way
Timing is appropriate to
the subject matter and
heightens the mood being
communicated.
Timing does not distract
from the flow of
information.
Creates dynamic
movement with
direction, space, shape
line or form
Movement is continuous,
flowing and
uninterrupted
Movement transitions
well from one place on
the composition to
another
Creatively integrates the
movement with the
purpose and meaning of
the graphic design
•
•
•
•
•
•
Demonstrates the
ability to use rhythm
through timing
the subject matter or
mood being
communicated.
Timing does not
distract from the flow
of information.
Creates dynamic
movement with
direction, space, shape
line or form
Movement is
continuous, flowing
and uninterrupted in
most areas
Movement transitions
well from one place on
the composition to
another
419
•
•
•
to use rhythm through
timing
the subject matter
Timing distracts slightly
from the flow of
information
• Creates movement with
direction, space, shape line
or form
• Movement is interrupted in
a few areas causing it not
to be as continuous or
flowing
• Movement transitions from
one place on the
composition to another
• Understands the concept
and importance of rhythm
through timing.
• Creates movement with
shape and line
• Movement is interrupted in
areas causing it not to be
continuous or flowing
• Movement does not
transition a large distance
on the composition
Graphic Design II, CCO IB
Content and Skills:
know:
FA 1, FA 2
do:
Layout which includes a seriesof illustrations (
main image, supporting detail images and
related text )
Compose a layout that includes a series of related
illustrations.
•
Typography
•
Mixed Media
Demonstrate the use of typography using Photoshop,
Illustrator, and Flash software programs.
PHOTOSHOP
• Layer Effects
• Masking
• Type Effects
• Pen Tool
ILLUSTRATOR
• Pathfinder
• Pen tool
• Layers
• Type on a path
FLASH
• Sound
Create a graphic design using a combination of
technology and other media.
Create graphic artwork using Photoshop layers, masking,
type effects and pen tool.
Create graphic artwork using Illustrator pathfinder, pen
tool, layers, and typing on a path.
Create graphic artwork using Flash animation techniques.
Action buttons
Use action buttons
Graphics software cross platform design
(Photoshop, Illustrator, and Flash)
Create graphic artwork in which you use more than one
platform (Photoshop, Illustrator, and Flash).
Unit Vocabulary:
Typography, layer effect, masking, type effects, pathfinder, animation
Pre-Assessment:
Students will be checked out on the use of skills in Photoshop, Illustrator, and Flash platforms.
Students will sketch a layout design for a complex series of related illustrations.
Activity
Students will complete a Flash tutorial on animation
techniques. (Technology)
420
Strategy
Computer-based
instruction
Assessment
Completion and
accuracy
Activity
Students will analyze the tools used in creating an
example done in Illustrator. (Technology)
Activity
Students will scan their own photographs into the
computer, and manipulate them with Photoshop,
Illustrator and Flash to create a motion graphic.
(Technology)
Strategy
Modeling
Assessment
Checklist
Strategy
problem solving
Assessment
Scoring guide
Application Level Assessment Graphic Design I, CCO IB: The student will demonstrate knowledge of
media skills and processes through the creation of original works of art.
Student Tasks:
Compose a layout that includes a series of related illustrations.
Demonstrate the use of typography using Photoshop, Illustrator, and Flash software programs.
Create a graphic design using a combination of technology and other media.
Create graphic artwork using Photoshop layers, masking, type effects and pen tool.
Create graphic artwork using Illustrator pathfinder, pen tool, layers, and typing on a path.
Create graphic artwork using Flash animation techniques.
Demonstrate the use of action buttons.
Create graphic artwork in which you use more than one platform (Photoshop, Illustrator, and Flash).
421
Scoring Guide for Graphic Design II, CCO IB
Criteria
Layout:
The arrangement of type and
visuals on a printed page or
web page.
4
Advanced
•
•
•
Typography:
•
•
•
•
3
Proficient
Arranges type and
visuals on a page using
the principles of
emphasis, unity, and
balance
Use various grid systems
in design work
Construct and design
complex grid systems
•
Typeface and style (bold,
italic, etc.) complements
the function and meaning
of the work
Arranges type to best
adjusted to clearly match
the idea
Manipulates typeface to
communicate a specific
idea to the audience
•
•
•
•
•
2
Nearly Proficient
Arranges type and
the principles of
emphasis, unity, and
balance
Use two grid systems in
design work
Construct and design
simple grid systems
•
Typeface and style (bold,
italic, etc.) are
appropriate to the
function and meaning of
the work
Arranges type to
adjusted correctly and
are legible
•
422
•
•
•
•
1
Progressing
Arranges type and
the principles of
emphasis and balance
Use one grid system in
design work
Construct a simple grid
systems with help
•
Typeface, style (bold,
italic, etc.) and
arrangement reflects the
idea in some areas
Arranges type to express
the idea but uses too
many typefaces and
styles (bold, italic, etc.)
inconsistent
•
•
•
•
•
Arranges type and
the principle of emphasis
or balance
Attempts to use a grid
system but makes errors
The typeface is
appropriate for the idea
Type arrangement does
not match the idea
Arranges type to express
the idea but uses too
many typefaces or styles
(bold, italic, etc)
not adjusted
Mixed Media:
•
•
Application of computer
techniques:
Variety of tools in a variety
of computer programs.
•
•
•
techniques:
Layer Effects
•
•
•
•
to create different
colors, textures and
values to reinforce their
idea
Uses the media
deliberately and
correctly.
•
Selects a variety of tools
using cross platform
programs such as
Photoshop, Illustrator,
and Flash
Integrates artwork using
multiple programs
Uses these techniques to
reinforce the idea of the
artwork
•
Uses layer effects to
create color blending
Uses a variety of layer
effects on many layers
Creates abstract designs
using layer effects
Uses the technique to
artwork
•
•
•
•
•
Uses the media
deliberately and correctly
•
Selects a variety of tools
in cross platform
programs such as
Photoshop, Illustrator,
and Flash
Integrates artwork using
multiple programs
create color blending.
Uses a variety of layer
effects on many layers
Uses the technique to
artwork
423
Uses a few different
media within the same
design
Uses the media
inconsistently
•
•
Selects a variety tools in
computer programs but
doesn’t integrate artwork
through multiple
programs
•
Selects some tools in
computer programs and
doesn’t integrate artwork
through multiple
programs
•
create color blending on a
few layers
•
Uses only one layer
effect and the effect
doesn’t reinforce the idea
of the artwork
•
•
Uses one medium within
the same design
The media was not used
correctly
techniques:
Masking a selection of an
object
•
•
•
•
techniques:
Masking a blend
•
•
•
Makes selections using
either a selection tool or
the pen tool and masks
out unwanted
background
The mask around the
selection is made in such
a way that there is no
extraneous background
outlining the object
The mask around the
a way that the outline is
feathered and blends into
the background at the
edges
Uses tools correctly in
challenging, complex
compositions
•
If a photo is masked
using the blend tool so
the edges of the picture
blends in with the
background, no hard
edge of the original
photo is seen
The blending has a
gradual transition
The blend tool is fully
with the original intent of
the idea
•
•
•
•
out background
The mask around the
a way that there is not a
lot of extraneous
background outlining the
object
The mask around the
edges in most areas
complex compositions
•
•
•
•
•
•
blends in with the
background, no hard
photo is seen
The blending has a
gradual transition.
The blend tool is
integrated into the
overall design
424
•
•
•
an object but doesn’t
have a clear delineation
between what should be
masked and what should
not be
The mask around the
a way that there is
The mask around the
edges in some areas
simple compositions
•
blends in with the
background, a slight edge
of the original photo is
seen
The blending has a
somewhat gradual
transition
The blend tool is
somewhat integrated into
the design
•
•
•
•
•
•
Selects the background
and deletes it completely
instead of using the mask
tool
There is a lot of
The outline is not
feathered and does not
blend into the
background at the edges
parts of a simple
composition
blends in with the
background, a distinct
photo is seen
The blending is banded
rather than gradual
The blend tool is not
techniques:
Type Effects
techniques:
Pen tool
•
In the Layer Style menu,
students are able to
create a variety of Type
Effects, such as a drop
shadow, outer glow,
bevel and emboss, color,
gradient and pattern
overlay, and stroke
• Demonstrates the ability
to alter these effects to
create the desired result
and fully integrates it into
the design
•
•
•
a smooth curved path
(not on the tip of the
curve)
to form smooth curves
to create 90-degree
angles using the shift key
•
•
•
•
•
create a variety of Type
shadow, outer glow,
overlay, and stroke
to alter these effects to
create the desired result
•
a curved path
to form curves
to create 90-degree
angles using the shift key
•
425
•
•
•
create some Type
shadow, outer glow,
overlay, and stroke
ability to alter these
effects
•
ability to create Type
shadow, outer glow,
overlay, and stroke
few anchor points
become jagged
too much on one side and
therefore does not create
a smooth curve
90-degree angles are not
exact because the shift
key was not held down
•
few anchor points
become jagged
Does not pull on the
anchor handles
The path does not form
90-degree angles where
needed
•
•
techniques:
Pathfinder
•
•
•
techniques:
Type on a path
•
•
•
•
Uses the Pathfinder tool
to crop out shapes
formed by the negative
and positive space of two
overlapping shapes
to unify overlapping
shapes, and thereby
deletes any extraneous
path lines in the center
of the shapes
Integrates the pathfinder
tools into the overall
design and uses them to
reinforce the meaning of
the artwork
•
Uses the “Type on a Path
tool” to get type to wrap
on a curved path
The type wraps smoothly
along the path
Moves the type along the
path so it properly aligns
within the composition
Integrates the “Type on a
Path tool” into the
overall design and uses it
to reinforce the meaning
of the artwork
•
•
•
•
•
•
to crop out shapes
overlapping shapes
shapes, and thereby
deletes any extraneous
path lines in the center of
the shapes
Integrates the pathfinder
tools into the overall
design
•
on a curved path
along the path
Moves the type along the
path so it properly aligns
within the composition
Integrates the “Type on a
Path tool” into the
overall design
•
426
•
•
•
•
•
to crop out shapes
overlapping shapes
Did not overlap the
shapes so they were
aligned properly and
therefore has extraneous
shapes cropped out
Uses the Pathfinder tools
shapes, but has a few
extraneous path lines in
the center of the shapes
•
on a curved path
along the path in most
places
Type is not aligned very
well along the path
The “Type on a Path
tool” is not well
integrated into the
overall design
•
•
•
•
•
Did not demonstrate the
ability to use the
Pathfinder tool to crop
out shapes formed by the
negative and positive
space of two overlapping
shapes
Did not demonstrate the
ability to use the
Pathfinder tool to unify
overlapping shapes
tool” to get type to rap on
a curved path
The type does not rap
smoothly along the path.
Type is not aligned along
the path
The “Type on a Path
tool” is not integrated
into the overall design
techniques:
Layers
•
•
•
•
•
•
•
Application of Flash
techniques:
Animation techniques
•
•
•
of creating new layers
Arranges layers so that
background
to delete layers when
needed
to duplicate layers
to rename layers to help
with organization. Also,
demonstrates the ability
to put layers in layer sets
and color code them
Changes the opacity in
the layer to create
bending of different
shapes. Uses this method
in a creative way
Demonstrates the ability to
flatten layers.
•
Able to create a motion
and shape tweened
animation
Able to create a frameby-frame animation
Demonstrates ability to
create a multifaceted
animation sequence
•
•
•
•
•
•
•
background
to delete layers when
needed
to duplicate layers
with organization
the layer to create
shapes
to flatten layers
•
•
•
•
•
•
•
•
and shape tweened
animation
Able to create a frameby-frame animation.
427
•
background most of the
time
to delete layers but does
it unintentionally on
occasion
to duplicate layers
with organization
the layer to create
shapes, but blending is
not easily integrated
within the design
to flatten layers
•
and shape tweened
animation.
•
•
•
•
•
•
Layers are not arranged
in the correct order from
foreground to
background, causing
objects to overlap
unintentionally
Deletes layers
unintentionally.
Duplicates layers
unintentionally
ability to rename layers
to help with organization.
the layer to create
shapes, but blending is
not integrated within the
design
Able to create motion
OR shape tweened
animation
Application of Flash
techniques:
Creating Symbols/Buttons
•
•
•
•
Understand the three
types of objects:
Graphics, Buttons, &
Movie clips
Create an Advanced
Button (movie clip
inserted in the over state)
with three states: Up
Over, & Down; and a
defined clickable area.
Place the button in a
movie by using the
Library and assign an
action to the button
•
•
•
types of objects:
Movie clips
Using the Button Object
editor, create a simple
Button object with three
states: Up, Over, &
Down; and a defined
clickable area
Place the button in a
movie by using the
Library and assign an
action to the button
428
•
•
types of objects:
Movie clips
Using the Button Object
editor, create a simple
Button object with three
states: Up, Over, &
Down; and a defined
clickable area
•
•
types of objects:
Movie clips
Understands the concept
of button states (Up,
Over, & Down) as well
as the idea of clickable
areas
Graphic Design II, CCO IC
theme.
Content and Skills:
should know:
Metaphors in Design
FA 1, G 3.1
Create examples of metaphors in design.
Identity Systems – a series of 2-D and
3-D visual media (logos, brochures,
package design, point-of-purchase, tradeshow booth graphics) that work together
to identify a company or theme
Create an identity system for a product, company, or theme
which includes: logos, brochures, package design, point-ofpurchase, and/or trade-show booth graphics.
Information Graphics – graphs, maps,
diagrams, charts
Translate information in text into visual form using graphs,
maps, diagrams, and/or charts.
Unit Vocabulary:
Visual metaphor, identity system, point-of-purchase, information graphics
Pre-Assessment:
Identify metaphors in design in selected art works.
Match graphic images to historical influences.
Compare and contrast identity systems.
Activity
In small groups students will sort various examples by
theme and subject matter.
Strategy
Cooperative groups
Assessment
Checklist
Activity
Students will create an identity system for a product.
Strategy
Modeling
Assessment
Scoring Guide
Activity
Students will create and self-evaluate visual metaphors.
Strategy
Modeling
Assessment
Scoring guide
In pairs, students will analyze the design strategy used in an identity system.
Students follow personal interests to research a historical or scientific information, translating the
information into graph, map, diagram, and/or chart forms.
429
Application Level Assessment Graphic Design II, CCO IC: The student will create original artworks
that communicate ideas through subject matter and theme.
Student Tasks:
Create examples of metaphors in design.
Create an identity system for a product, company, or theme which includes: logos, brochures, package
design, point-of-purchase, and/or trade-show booth graphics.
Translate information in text into visual form using graphs, maps, diagrams, and/or charts.
430
Scoring Guide for Graphic Design II, CCO IC
Criteria
Metaphors in Design
4
Advanced
•
•
•
Identity System
•
•
•
•
3
Proficient
Connects image and text
to express something that
it does not literally
portray in order to
suggest a similarity
The connection is
creative and original
A secondary meaning is
created by associating
the similarities
•
A correlation of imagery
and text is unified
between different graphic
design vehicles (logos,
brochures, package
design, point-ofpurchase, trade-show
booth graphics)
Four different graphic
design vehicles are used.
Imagery and text
function well within the
context of the format
Using similar imagery,
text and mood, identifies
the company or theme
and reinforces its
objective.
•
•
•
•
•
2
Nearly Proficient
1
Progressing
to express something that
it does not literally
portray in order to
suggest a similarity
A secondary meaning is
created by associating
the similarities
•
to suggest a similarity
•
Image and text to not
relate.
A correlation of imagery
and text is unified
between different graphic
design vehicles (logos,
brochures, package
design, point-ofpurchase, trade-show
booth graphics)
Three different graphic
Imagery and text
function within the
context of the format
Using similar imagery,
text and mood, identifies
the company or theme
and reinforces its
objective.
•
There is a correlation
between imagery and
text within different
graphic design vehicles
(logos, brochures,
package design, point-ofpurchase, trade-show
booth graphics)
Two different graphic
The format of the design
does not align well with
the graphic design
vehicle
The company or theme is
not considered as a
whole on each piece.
•
There is no correlation
between imagery and
text within different
graphic design vehicles
(logos, brochures,
package design, point-ofpurchase, trade-show
booth graphics)
Two different graphic
The format of the design
does not align with the
graphic design vehicle
The company or theme is
not considered as a
whole on each piece.
431
•
•
•
•
•
•
Information Graphics
•
•
•
•
•
Clearly informs the
reader with both written
and visual
communication
Information is organized
according to the
hierarchy of importance
Uses multiple grid
structures to organize
information
Uses the grid structure in
a creative way
Clearly integrates text
and imagery
•
•
•
•
Clearly informs the
and visual
communication
according to the
Uses multiple grid
information
Integrates text and
imagery
432
•
•
•
•
Informs the reader with
both written and visual
communication
Information is
inconsistently organized
according to the
Uses grid structures to
organize information
Text and imagery
correlate but are not
unified within the
composition
•
•
•
•
communication
Information is not
organized according to
the hierarchy of
importance
Grid structure is not used
to organize information.
Text and imagery does
not correlate
Graphic Design II, CCO II
Core Conceptual Objective II, Aesthetics and Art Criticism: Students will use appropriate art vocabulary to critique and
respond to works of art.
Definitions of “good” design are influenced by technology and culture.
Content and Skills:
know:
Aesthetics
How to analyze design standards for high quality
work in light of culture and available technology.
Art Deco – Hand drawn illustration, geometric
designs reflect machine age, photographs used with
drawing in montage, Type presses
Destijl – Hand drawn grids, harmony through
mathematical structure, political movement, Type
presses
Swiss School - Simplified, streamlined images, not
political, Type Presses
New York School- Cut and paste original drawings,
Off-set printing process, camera-ready designs
Motion Graphics - Computer technology, fonts
rather than type press, camera-ready images,
Projected words onto objects to create sense of deep
space, Issues of appropriation of another’s art
(whether clip art or famous image like Mona Lisa)
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
able to do:
Aesthetics
Compare and contrast quality standards, and the
relationship between technology and culture among
historical design styles: Art Deco, Destijl, Swiss
School, and New York School.
Art Criticism
Feldman Model:
the artwork.)
artwork.)
• Judge (Evaluates the quality of the artwork
according to aesthetic theories considering use
of elements, principles, usage of media,
themes.)
Art Criticism
Unit Vocabulary:
Art Deco, Destijl, Swiss School, montage, Motion Graphics, appropriation
Pre-Assessment:
Students identify quality standards based upon looking at work from each period/style.
Students write criteria they would use to distinguish between good and bad design.
Activity
Students will identify standards of quality for particular
time periods/design styles.
Strategy
Memorization
433
Assessment
responses.
Activity
Each group member will conduct research on the
attitudes toward design and the available technology for
one of the periods or styles in the course. They will each
create an advertisement based upon the research for the
same product and then teach about the period to other
group members. (Research)
Activity
Students will select and defend a point of view on
answers to these questions:
How do cultural standards make a difference in what is
viewed as “good design”?
How does available tools/technology make a difference
is what is viewed as “good design”?
How could a viewer’s background or group identity
make a difference in his/her evaluation of “good”
design?
How does “appropriating” artwork, images, or symbols
change the quality of “good” design?
Strategy
Assessment
Scoring Guide
Strategy
Debate
Assessment
Scoring Guide
Change the technology available to a designer and then predict how it would alter design standards.
Change the style or culture and discuss how it would alter design standards for a particular graphic image.
Application Level Assessment Graphic Design II, CCO II: Students will use appropriate art vocabulary to critique and
respond to works of art.
Student Tasks:
Compare and contrast quality standards, and the relationship between technology and culture among historical design styles:
Art Deco, Destijl, Swiss School, and New York School.
Write a critique of a graphic design product using the Feldman model of art criticism.
434
Name________________________________
Class_________________ Date:______
Using the Art Criticism Scoring Guide, write a five-paragraph essay about this design product. Take as
much space as you need for each paragraph. If you are completing this with pen/pencil, you may
continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
435
Scoring Guide for Graphic Design II, CCO II
Criteria
Compare and
contrast quality
standards, and the
technology and
culture among
historical design
styles:
Art Deco,
Destijl,
Swiss School,
New York School, and
Motion Graphics.
4
Advanced
•
•
•
Graphic Design II Aesthetics Scoring Guide
3
2
Proficient
Nearly Proficient
Evaluates, compares, and
contrasts the quality of a
design based upon five design
styles/periods
each design based upon the
quality standards of that
culture
standards of historical periods
and styles with standards for
contemporary graphics
•
•
the quality of a design
based upon four design
styles/periods
each design based upon
the quality standards of
that culture
436
•
•
based upon three design
styles/periods
Suggests ways to
improve one design
based upon the quality
standards of that culture
1
Progressing
•
based upon two design
styles/periods
Criteria
4
Advanced
3
Proficient
Introduction
•
Description
artwork
•
is seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
work
in the work
•
Interpretation
cultural meanings),
emotional mood or
attitude toward the
subject, social
of the work.
•
work
each important
meaning of the work
•
•
•
•
personal piece
given
•
•
•
•
•
2
Nearly Proficient
personal piece
given
•
the work
•
•
the work
•
ideas
•
437
•
1
Progressing
personal piece
mentioned
title
•
of work listed
•
Random mention of
one or two details
seen in the work
Lists elements and
principles used
Tells how or where
some elements and
the work
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
•
and/or principles
toward subject, or
purpose
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
438
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Graphic Design II, CCO III
contexts.
Artists are influenced by the artists who came before them and have an impact on
those who follow.
Missouri State
Standards
FA 5, G 1.10
Content and Skills: *Acceleration/enrichment content.
Artists
Context
Art Deco: 1920-1940, started in France, spread to US
*E. McKnight Kauffer
• Simplification
• Decorative geometry
• American
• Expression of machine age
• Informal design education.
while filling need for
decoration.
• Brought cubism and modernism
together for use in visual
• Early 20th Century
communications.
• Time of prosperity for allies after
WWI
• Machine age and Cubism were
predominant influences
A.M. Cassandre
•
•
•
Destijl: 1917, Holland
• Sought universal laws
of equilibrium and
harmony in art using
mathematical structure
• Use of primary colors,
rectangular forms and
asymmetrical
composition
Born in Ukraine, immigrated from
Paris
Used simple 2 dimensional
designs, flat color.
Concentrated on integrating words
and images into a total
composition.
El Lissitzky
• Architect, graphic designer and
photographer
• Explored space and abstraction
• Used primary colors and pure
geometry
• Poster “Beat the Whites with the Red
Wedge” of 1919 used dynamism of
geometric forms and spatial illusion
to suggest its narrative political
content. It shows a large red triangle
piercing a white circle, while
splinters of geometric shapes are sent
off into space.
439
• Started in the Netherlands in
1917
• Inspired by Mondrian’s cubist
paintings
• WWI
• Believed science, technology
and political developments
would bring in a new era of
objectivity and collectivism
• De Stijl magazine spread the
movement’s theory and
philosophy to a larger audience
Artists
Context
Swiss School: 1940-present, Started in Switzerland, spread to US
Ernest Keller
• Based on a formula that
creates a style of purity,
•
Believed the design solutions
legibility and timeless
should come from its content
perfection of form
•
Poster for Rietburg Museum –
symbolic imagery, simplified
• Asymmetrical organization of
geometric forms, expressive
design elements on a
edges and lettering, and
mathematically constructed
vibrant contrasting color
grid
• Presents information
(photography and copy) in a
clear and factual manner
• Believed sans serif
typography showed the
progressiveness of its time
• Universal and scientific
approach to design problem
solving
• Included study of semiotics
the general philosophy of
theory of signs and symbols
Motion Graphics: 1960’s, United States
o Moving images
Robert Brownjohn (James Bond)
• Desire to eliminate the boundaries
between experience and design
• Experimented with light and
abstraction in film
• New approach to art direction
using wit and humor
• James Bond film “From Russia
with Love” projected still
typography on a dancing model to
create the films title sequence.
440
• WWII and continues to the
present
• Switzerland maintained its
neutrality during WWII.
• 1960’s
• Social and political unrest
Artists
Context
New York School: 1940-present, New York City, US
Paul Rand
• When organizing space,
• Manipulated visual elements
European design was often
and reduced it to its symbolic
theoretical and highly structured
essence without being sterile or
while American design was
dull
practical, intuitive and more
informal
• Characterized by sensual visual
contrasts - organic shapes
• Sought to solve communications
against geometric type,
problems and satisfy a need for
photographic tone against flat
personal expression
color, cut or torn edges against
• Began in 1940’s, gained clout in
sharp forms, and the textural
the 1950’s and continues today
patterns of type against white
margins
• Also, characterized by playful,
visually dynamisms and the
unexpected
• Used montage and collage
Saul Bass
• Devised a new approach to
packaging and marketing of films
• Found elegant, robust and
immediate symbols, often
pictographs, which showed
complex meaning
• Developed a graphic language
which brought together modern
design, music and film
• Reduced graphic elements to a
minimum
• Used simple paper cutouts in
“The Man with the Golden Arm”
(1955). The title sequence opened
with slab-like white bars
appearing with a shrill jazz score.
Gradually, the typography enters
giving the names of the cast and
the film’s title. The white bars
take the shape of a jagged arm
with a contorted hand and the
director’s credit appears.
441
• During the 20th century,
New York City became
the most democratic city in
the world. It was open to
new ideas and images of it
time.
• New York City nurtured
creativity because the
cultural climate enabled
individuals to realize their
potential and it was a
magnet attracting
individuals of great talent
and potential
• United States was an
egalitarian society (belief
in equal political,
economic, social, and civil
rights for all people.) with
capitalistic attitudes and
values, limited artistic
traditions before WWII
and a diverse ethnic
heritage
• Highly competitive
society, novelty of
technique and originality
of concept was valued
3D Design: 1960’s, United States
• Signage on three-dimensional as
well as flat surfaces
Artists
Context
Peter Murdoch
• Olympic Games of 1968 in
Mexico City - collaborated
with Lance Wyman to develop
a complete system of modular
functional components with
interchangeable parts. These
combined directional and
identification signage with
mailboxes, telephones, water
fountains, etc. Information
kiosks had vibrant and colorful
pictographs.
•
•
•
•
•
1960’s
Czechoslavakia is
invaded by the USSR
Rev. Martin Luther
King Jr. is
assassinated in
Memphis
Richard Nixon is
elected thirty-seventh
president
Robert F. Kennedy is
assassinated in Los
Angeles
Lester Beall
• Corporate Identity – created
strong marks in logos that
could be adapted to a variety
of applications from repeat
patterns, carton designs, labels
and trucks. Believed it would
stimulate and integrate
“divisional and corporate
identity with positive
psychological effects on
human relations.”
Compare and contrast artworks with reference to the artist, time, place, context, and characteristics of style.
Unit Vocabulary:
Art Deco, Destijl, New York School, Swiss School, motion graphics
Pre-Assessment:
Students complete a Venn diagram on which they compare and contrast artworks on each attribute: time, place,
style name, characteristics of style, artists, and cultural context.
Activity
Students work on teams playing an art “game show”. The
goal is to be the first team to correctly identify information
about each artwork that is shown when the teacher holds up
and reads a large card. Cards are printed with: TIME,
DATE, PLACE, CONTEXT, STYLE NAME, STYLE
CHARACTERISTICS, and WHY WAS IT VALUED?
442
Strategy
Cooperative
Identification
Assessment
Activity
Create a piece of artwork that has similar characteristics
to the style of graphics from each period. Explain how
this work related to the historical context.
Activity
Write a critique on a modern piece of graphic
design that has been influence by art history.
Evaluate similarities and differences in elements
used.
Strategy
Modeling
Strategy
Critique
Assessment
Checklist
Assessment
Scoring Guide
Independently conduct research styles of design using print, media, and computer technology. (Research)
Create a booklet of miniature artworks that use characteristics of each style with contemporary subject matter.
Application Level Assessment Graphic Design II, CCO III: The student will compare and contrast artworks
with reference to the period/movement, stylistic characteristics, function, technology, media, time, place, artists,
artistic influences, and cultural context.
Student Task:
contrast two or more artworks considering several factors: the period/movement, stylistic characteristics,
function, technology, media, time, place, artists, artistic influences, and cultural context.
443
CCO III, Art History Reflective Writing Worksheet Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
444
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
445
Scoring Guide for Graphic Design II, CCO III
Criteria
graphic artworks on time, place,
style, characteristics, context,
media and use of
technology/tools.
- Art Deco
o E. McKnight Kauffer
o A.M. Cassandre
- Destijl
o El Lissitzky
- Swiss School
o Ernest Keller
- New York School
o Paul Rand
o Saul Bass (also
motion graphics)
- Motion Graphics
o Robert Brownjohn
(James Bond Motion
Graphics)
- 3D Design
o Environmental
Design and
Information graphics
Peter Murdoch –
signage – Olympic
games
- Package Design
o Lester Beall
4
Advanced
•
•
•
•
media
Addresses the most
of the work
work
and specific
3
Proficient
•
•
•
•
media
Addresses important
work
2
Nearly Proficient
•
•
•
•
•
446
sets of graphic media.
work
Supports some
to the work
Some important
be incorrect
1
Progressing
•
•
•
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
Graphic Design II, CCO IV
other subjects.
FA 4, CA 1
Content and Skills:
Visual interpretation of technical
writing in Science, Social Studies or
other content area.
Conduct research on a topic in science, social studies, or another
subject, and then create a complex illustration that communicates
processes or sequences of events. (Research)
Unit Vocabulary:
Illustration, information systems
Pre-Assessment:
Sketch a plan for translating research into visual form.
Activity
Explain a scientific process by “reading” a graphic image.
Strategy
Memorization
Activity
Communicate a scientific process visually.
Strategy
Problem-Solving
Activity
Create and evaluate a complex illustration..
Strategy
Modeling
Assessment
Assessment
Scoring Guide
Assessment
Scoring Guide
Students may develop thumbnail sketches into final compositions.
Application Level Assessment Graphic Design II, CCO IV: Students will make connections between
visual arts and another content area.
Student Task:
Conduct research on a topic in Science, Social Studies, or another subject, and then create a complex
illustration that communicates processes or sequences of events. (Research)
447
Scoring Guide for Graphic Design II, CCO IV
Criteria
Visual interpretation of
technical writing in Science,
Social Studies and other
content area
4
Advanced
•
•
•
•
•
Clearly informs the
and visual
communication
according to the
Uses multiple grid
information
Uses the grid structure in
a creative way
Clearly integrates text
and imagery
3
Proficient
•
•
•
•
Clearly informs the
and visual
communication
according to the
Uses multiple grid
information
Integrates text and
imagery
448
2
Nearly Proficient
•
•
•
•
communication
Information is
inconsistently organized
according to the
Uses grid structures to
organize information
Text and imagery
correlate but are not
unified within the
composition
1
Progressing
•
•
•
•
communication
Information is not
organized according to
the hierarchy of
importance
Grid structure is not used
to organize information.
Text and imagery does
not correlate
Ceramics II
449
Ceramics II Scope and Sequence
A
Form: complex
Texture: pierced
Balance: asymmetrical
Proportion: traditional (i.e., Asian, Greek) versus non-traditional vessel forms
Unity: juxtaposition of positive and negative spaces
B
Ceramic Production Techniques:
Wheel thrown objects; cylinder, bowl, cup, plate,
Duplicate forms
Trimming, openwork
Decorative Techniques: majollica, terra sigilatta, piercing, inlay/Mishima
C
Tile Design
Figurative Ceramics
Vessel Forms
Teapots
Aesthetics:
Compare and contrast the cultural expectations and aesthetic values of ceramic objects in
Ancient Greek, traditional Asian, Islamic, and Contemporary American cultures.
Art Criticism
and judge artworks.
450
Ceramics II Scope and Sequence
Tile Design: Islamic, Contemporary American
Figurative Ceramics: Viola Frey, European porcelain figurines
Vessel Forms: Ancient Greek Amphora, Kylix, Krater, Cantharus; Contemporary American
Teapots: Traditional Asian, Contemporary
Students connect glaze and underglaze in ceramics with mineral composition in science.
451
Ceramics II, CCO IA
elements and principles through the production of clay forms.
create artwork.
FA 1, FA 2
Content and Skills:
know:
do:
Form: Complex
Create a complex clay form.
Texture: Pierced
Create a pierced ceramic texture.
Balance: Asymmetrcal
Create an asymmetrical clay form.
Proportion:
Traditional (i.e., Asian, Greek) versus
nontraditional vessel forms
Create examples of traditional and non-traditional forms.
Unity through the juxtaposition of positive and
negative spaces
Create a clay form with a sense of harmony or
completeness through the repetition and balance of
positive and negative spaces.
Unit Vocabulary:
Complex form, pierced texture, asymmetrical balance, traditional form, nontraditional form, unity, positive
space, negative space
Pre-Assessment:
Sketch a complex form or create a small model of a complex form.
Demonstrate a pierced texture in clay.
Draw sketches of traditional Asian and Greek forms.
Activity
Students will identify elements and principles used in a
ceramic form
Strategy
Identification of
vocabulary terms
Assessment
responses.
Activity
Students will create a complex asymmetrical clay form
with a pierced texture.
Strategy
Modeling
Assessment
Scoring Guide
Activity
Students will evaluate their use of elements and
principles in ceramic artwork.
Strategy
Critical thinking
Assessment
Guide
452
Use the wheel to throw a symmetrical form and then modify it by adding/subtracting to create an
asymmetrical, complex form.
Contrast pierced with other textures in the same piece.
Application Level Assessment Ceramics II, CCO IA: Students will demonstrate knowledge of elements
and principles through the production of clay forms.
Student Tasks:
Create a complex clay form.
Create a pierced ceramic texture.
Create an asymmetrical clay form.
Create examples of traditional and non-traditional forms.
Create a clay form with a sense of harmony or completeness through the repetition and balance of positive
and negative spaces.
453
Scoring Guide for Ceramics II, CCO IA
Criteria
4
Advanced
3
Proficient
Form:
• Complex
•
Texture:
• Pierced
• Detailed, precise design is
cleanly cut through clay
form
Balance:
• Asymmetrical
•
Elements are well
planned to create interest
in work with informal
balance
Proportion:
• Traditional Asian
• Traditional Greek
•
Creates an original work
inspired by the
proportions of traditional
Asian form
Creates an original work
inspired by the
proportions of traditional
Greek form
•
Creates an original , nontraditional ceramic form
•
•
Proportion:
• Non-traditional vessel
forms
•
Four or more parts were
used to create one
composition.
•
•
1
Progressing
Three parts were used to
create one composition.
•
Two or more parts were
used to create one
composition.
•
Only one piece was used
to create one
composition.
Design is cleanly cut
through clay form
•
Design is cut through the
clay leaving some rough
edges
•
Design is textured but
not cut through the clay
form
•
Too much or too little on
one part.
•
Parts of the form are
unique but, as a whole,
completed work is
symmetrical.
Creates a form in which
the proportions match
those of traditional Asian
form
the proportions match
those of traditional Greek
form
•
the proportions are near
those of traditional Asian
form
the proportions are near
those of traditional Greek
form
•
Creates a form that
distorts the proportions
of traditional Asian form
Creates a form that
distorts the proportions
of traditional Greek form
Creates a non-traditional
ceramic form
•
Modifies a nontraditional form designed
by another artist
•
• Elements are used to
create interest in work
with informal balance.
•
2
Nearly Proficient
454
•
•
Copies a non-traditional
form designed by another
artist
Unity:
• Juxtaposition of negative
and positive spaces
• Repeats and balances
forms to create harmony
• Equal emphasis on both
spaces
• Uses complex negative
and positive spaces
•
•
•
Repeats and balances
forms to create harmony
Equal emphasis on both
spaces
Uses simple negative and
positive spaces
455
•
•
•
Repeats negative and
positive forms
Near balance between
spaces
Uses simple negative and
positive spaces
•
•
Repeats positive forms
Negative spaces may
look unplanned, not
balanced with positive
form
Ceramics II, CCO IB
Core Conceptual Objective IB, Media Skills and Processes: Students will demonstrate knowledge of
media and skills through the production of artwork.
Content and Skills:
• Wheel-thrown objects
· cylinder
·
· bowl
·
· cup
·
· plate
·
• Duplicate forms
• Trimming
FA 1, FA 2
Create a symmetrical cylinder with straight walls and is ¼” thick,
3” tall and 3” wide.
Create a symmetrical bowl with ¼” thick walls and is 3” tall and
5” wide.
Create a symmetrical cup with ¼” thick, and is 3” tall and 3”
wide.
Create a symmetrical plate with ¼” thick surface and walls and is
5” wide and 1” tall.
Create a series of three repeated wheel-thrown forms of matching
size and decorative finish.
Trim a wheel-thrown form that hollows the center of the bottom
¼” to ½” thick and creates a foot for the finished piece.
• Majolica
Use majolica as a decorative finish.
• terra sigillata
Use terra sigillata as a decorative finish.
• piercing/openwork
Use piercing or create openwork as a decorative finish.
• inlay/Mishima
Use inlay/Mishima as a decorative finish.
Unit Vocabulary:
Production Methods: potter’s wheel, centering, opening, pulling, trimming.
Decorative Techniques: majolica, terra sigillata, piercing, openwork, inlay, Mishima.
Pre-Assessment:
Students compare and contrast ceramic works completed using different media skills.
Students describe methods and procedures of creating wheel-thrown ceramics.
Students describe methods and procedures using the identified decorative techniques.
456
Activity
Students will describe wheel-thrown processes and
define related vocabulary.
Strategy
Essay
Assessment
Checklist of steps
Activity
Students will throw a Greek-inspired vessel that has a
terra sigillata finish and is at least 8” tall.
Strategy
Modeling, Production
Assessment
Scoring Guide
Strategy
Critical Thinking,
Essay Writing
Assessment
Scoring Guide
Activity
Students will evaluate their finished Grecian vessel.
Students can pull complex forms instead of simple ones.
Students peer-teach wheel throwing methodology.
Choice of subject matter, where possible, can vary (e.g., vase, ovoid).
Application Level Assessment Ceramics II, CCO IB: The student will demonstrate their media skills
through the completion of the following student tasks:
Student Tasks:
Create a symmetrical cylinder with straight walls and is ¼” thick, 3” tall and 3” wide.
Create a symmetrical bowl with ¼” thick walls and is 3” tall and 5” wide.
Create a symmetrical cup with ¼” thick, and is 3” tall and 3” wide.
Create a symmetrical plate with ¼” thick surface and walls and is 5” wide and 1” tall.
Create a series of three repeated wheel-thrown forms of matching size and decorative finish.
Trim a wheel-thrown form that hollows the center of the bottom ¼” to ½” thick and creates a foot for the
finished piece.
Use majolica as a decorative finish.
Use terra sigillata as a decorative finish.
Use piercing or create openwork as a decorative finish.
Use inlay/Mishima as a decorative finish.
457
Scoring Guide for Ceramics II, CCO IB
Criteria
Ceramic Production
Techniques
Wheel thrown cylinder
Ceramic Production
Techniques
Wheel thrown bowl
Ceramic Production
Techniques
Thrown plate
4
Advanced
3
Proficient
2
Nearly Proficient
•
•
•
•
•
¼” thick walls
Symmetrical
Straight walls
More than 3” tall
More than 3”wide
•
•
•
•
•
¼” thick walls
Symmetrical
Straight walls
3” tall
3” wide
•
•
•
•
•
•
¼” thick walls
Symmetrical
Curved walls
More than 3” tall
More than 5” wide
•
•
•
•
•
•
¼” thick surface and
walls
Symmetrical
Radial form
More than 1” tall
More than 5” wide
•
•
•
•
•
•
•
•
•
1
Progressing
•
•
•
•
More than 1/4” thick
walls
Somewhat symmetrical
Somewhat straight walls
Less than 3” tall
Less than 3” wide
•
•
•
•
Walls are thick
Not symmetrical
Curved or slanted walls
Inadequate size
¼” thick walls
Symmetrical
Curved walls
3” tall
5” wide
•
•
•
•
•
More than ¼” thick walls
Somewhat curved walls
Less than 3” tall
Less than 5” wide
•
•
•
•
Walls are thick
Not symmetrical
Straight walls
Inadequate size
walls
Symmetrical
Radial form
1” tall
5” wide
•
walls
Somewhat radial form
Less than 1” tall
Less than 5” wide
•
Walls and surface are
thick
Not symmetrical
Not radial
Inadequate size
458
•
•
•
•
•
•
•
Ceramic Production
Techniques
Trimming
•
•
•
•
•
•
Ceramic Production
Techniques
•
•
Duplicate forms
•
Ceramics Production
Techniques
•
•
Openwork
•
Decorative Techniques
•
Majolica
•
•
•
Re-centers clay on the
wheel
Holds tool at a 45* angle
Gradually cuts precisely
into the surface
¼” to ½” consistent
bottom surface
Consistently hollows the
center of the bottom to
create a foot
Complements design
•
Three identical forms are
wheel thrown
Size, shape/forms, width,
texture and trimming are
the same.
Complex form grows in
and/or out
•
Skillful, careful, accurate
clean edges
Repeated throughout the
piece with an all over
design
Carved leather hard clay
•
Applied over even
surface of unfired white
glaze
Consistent even
application of majolica
glaze
Uses light brushstrokes
Complex design with
fine details
•
•
•
•
•
•
•
•
•
•
•
•
wheel
Holds tool at a 45* angle
Gradually cuts into the
surface
¼” to ½”consistent
bottom surface
Hollows the center of the
bottom to create a foot
•
Three almost identical
forms are wheel thrown
texture and trimming
vary no more than ¼ ”
Simple cylinder form
•
Skillful, accurate clean
edges
Design repeated
throughout some areas of
the piece
•
Applied over even
glaze
Consistent even
application of majolica
glaze
Uses light brushstrokes
Simple design
•
459
•
•
•
•
•
•
•
•
•
•
•
wheel
Angle of the tool varies
from 30* to 60*
Gradually cuts into the
surface
¼” to ½” inconsistent
bottom surface
Inconsistently hollows
the center of the bottom
to create a foot
•
Three similar forms are
wheel thrown
texture and trimming
vary no more than ¾”.
Simple cylinder form
•
Accurate edges with
crumbles attached
Design repeated
throughout some areas of
the piece
•
Applied over uneven
glaze
of majolica glaze
Uses heavy and light
brushstrokes
Simple design
•
•
•
•
•
•
•
•
•
•
•
Clay is slightly off center
on the wheel
Angle of tool varies
widely
Cuts into the surface
Inconsistent bottom
Center is not hollowed to
create a foot
Forms are the same
shape
The size, width, texture,
and trimming vary more
than ¾ “.
Edges are uneven and
have crumbles
Design not repeated
Carved either wet clay or
greenware
Applied over uneven
glaze
of majolica glaze
Uses heavy uncontrolled
brushstrokes
Unplanned design
Decorative Methods
•
Terra Sigilatta
•
Decorative Methods
•
Inlay/Mishima
•
•
•
Thin even coating of
terra sigilatta over vessel
thought out plan
•
thought out plan
Slip is applied evenly in
the incised areas
Slip is removed from the
raised areas
Vessel is dried slowly
over a period of days so
slip will not crack
•
•
•
•
•
Even coating of terra
sigilatta over vessel
Carving is precise and in
a detailed manner
•
detailed with a plan
Slip is applied evenly in
the incised areas
raised areas
slip will not crack
•
460
•
•
•
•
Thick areas of terra
sigilatta are applied over
vessel
Carving lacks detail and
precision
•
Carving is detailed with
a plan
Slip is applied in the
incised areas
raised areas
slip will not crack
•
•
•
•
•
Entire vessel if coated
with thick terra sigilatta
application
Carving is an uneven
depth and lacks precision
Carving is not planned
Slip is unevenly applied
in the incised areas
Slip is smeared as it is
removed from the raised
areas
Vessel is dried quickly
cracking the slip
Ceramics II, CCO IC
original artwork.
theme.
Content and Skills:
know:
able to do:
Tile Design
Two dimensional or relief slabs are used to create
waterproof/heat resistant surfaces for tabletops,
walls or floors. Individual tiles may be designed to
create continuous patterns when placed next to each
other.
Figurative Ceramics
Sculpture or vessels based on the human form
whose purpose is to be appreciated as artwork.
Vessel Forms
Symmetrical, curvilinear containers
Teapots
Ceramic works inspired by traditional teapot design
which include body, lip, lid, handle, spout and feet.
FA 1, G 3.1
Create an original tile design.
Create an original example of figurative ceramics.
Create an original vessel form.
Create an original teapot.
Unit Vocabulary: relief, figurative, curvilinear, body, lip, lid, handle, spout, feet.
Pre-Assessment:
Students will do sketches of various patterns to be incorporated into an original tile design.
Students will do figure sketches of classmates focusing on accurate proportion, textures, etc.
Students will list and sketch various types of vessels.
Students will label the various traditional features of teapot design (body, lip, lid, handle, spout, feet)
Activity
Students will identify and label the various features that
make up a traditional teapot (body, lip, lid, handle,
spout, feet).
Activity
Students will create a ceramic, figurative sculpture.
461
Strategy
Memorization
Assessment
Quiz
Strategy
Modeling
Assessment
Scoring Guide
Activity
Students will research, design and create a teapot where
the form and decoration are inspired by a famous artist .
Strategy
Modeling, Research,
Design and Construct
Assessment
Scoring Guide
Vary the finished size of the piece.
Vary the amount of detail or complexity of the piece.
Figurative ceramics may be realistic or abstract.
Application Level Assessment Ceramics II, CCO IC: Students will communicate themes/subject matter
Student Task:
Create an original example of figurative ceramics.
Create an original vessel form.
Create an original teapot
Create an original tile design.
462
Scoring Guide for Ceramics II, CCO IC
Criteria
Tile Design
4
Advanced
•
•
•
•
•
Figurative Ceramics
•
•
•
Vessel Forms
•
•
3
Proficient
Four identical completed
tiles
Precisely 3/8” thick
4” square
Horizontal grooves are
carved into the back of
the tile to aid drying and
installation
Design is creative and
well planned with the
four tiles each being one
part of the whole
•
Accurate and detailed
objects match life in
form, texture, and
surface decoration
Interesting use of space
from all sides
•
•
Creates an original
symmetrical, curvilinear
function
•
•
•
•
•
•
2
Nearly Proficient
Four identical completed
tiles
3/8” thick
4” square
Horizontal grooves are
carved into the back of
the tile to aid drying and
installation
Design is well planned
with the four tiles each
being one part of the
whole
•
•
•
•
Objects match life in
form, texture, and
surface decoration
Interesting use if space
from all sides
•
•
•
•
•
Creates original
function
•
•
•
463
1
Progressing
Four completed tiles
3/8” thick
Irregular square
Grooves are carved into
the back of the tile to aid
drying and installation
Design is somewhat
planned with the four
tiles each being one part
of the whole
•
•
•
•
Creates a modified
version of sculpture
Simplified objects are
similar to life in form,
texture, and/or surface
decoration
from 3 sides
•
design.
Creates symmetrical,
curvilinear container
function.
•
•
•
•
•
•
Four completed tiles
Uneven thickness
Irregular square
No grooves are carved
into the back of the tile to
aid drying and
installation
Design is not planned.
The four tiles are not part
of the one whole
Copies a sculpture
Stereotyped version of
object in form, texture,
and/or surface decoration
from 2 sides (relief
instead of in-the-round)
Copies another’s design.
Design interferes with
the use of the piece.
Vessel Forms
Tea Pot
•
•
•
•
•
•
•
•
Creates original teapot
Selects most appropriate
building methods for the
design
Will hold more than 2
cups of water in the
warming chamber
Spout must cleanly pour
water and end above the
level of the warming
chamber
Lid must be fitted; either
a drop lid or a dome lid
Handle must support the
weight of the filled
teapot
Creates an original
function
•
•
•
•
•
•
•
•
Creates original teapot
Selects appropriate
building methods for the
design
Will hold 2 cups of water
in the warming chamber
Spout must pour water
and end above the level
of the warming chamber
Lid must be fitted; either
a drop lid or a dome lid
teapot
Creates original
function
464
•
•
•
•
•
•
•
•
Creates a modified
version of a teapot
created by another artist.
Selects usable building
methods for the design
Will hold less than 2
warming chamber
Spout will pour water
with dribbles and end
above the level of the
warming chamber
Lid generally fits, but
may not fit tightly
function.
teapot
•
•
•
•
•
•
•
•
Copies a teapot created
by another artist
Inappropriate building
method used for the
design
Will hold less than 2
warming chamber
Spout will pour water
with dribbles and end
above the level of the
warming chamber
Water may run out of
teapot when standing or
not pour in a single
stream
Lid may wobble or come
out when tea is poured
Handle does not support
the weight of the filled
teapot
Two hands may be
needed to use handle
Ceramics II, CCO II
The cultural expectations and aesthetic values associated with ceramic
artworks vary across time and culture.
Culturally literate citizens evaluate and respond to ceramics using specific
art vocabulary.
Content and Skills:
Aesthetics
Cultural expectations and aesthetic values of ceramic objects in
Ancient Greek, traditional Asian, Islamic, European and
Contemporary American cultures.
Tile Design
Islamic – intricate geometric and calligraphic designs inspired by
religion, against religious belief to depict figures, part of
interior/exterior design of architecture (formalism and
functionalism)
Contemporary American – wide range of designs from
representational to nonobjective, part of interior/exterior design
of architecture (functionalism, formalism, imitationalism)
Figurative Ceramics
Viola Frey –monumental size, symbolism (emotionalism,
formalism)
European porcelain figurines – miniature size, period costumes,
decorative pieces for individual homes (imitationalism,
emotionalism)
Vessel Forms
Ancient Greek Amphora, Cylix, Crater, Cantharus – utilitatiran
objects (functionalism, formalism)
Contemporary American – diverse forms and functions
(functionalism, formalism)
Teapots
Traditional Asian – used in tea ceremony that serves a social
function in society as well as being a functional piece, spiritual
connection to nature, matching an ideal form is valued
Contemporary - used for decoration as often as for function,
diverse forms (functionalism, formalism, imitationalism,
emotionalism), originality is valued
Art Criticism
Write Critiques follow the Feldman Model (describe, analyze,
interpret, judge)
465
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Aesthetics
Compare and contrast the cultural
expectations and aesthetic values of
ceramic objects in Ancient Greek,
traditional Asian, Islamic, and
Contemporary American cultures.
Analyze artworks to determine how
they would be valued according to each
aesthetic theory:
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
Art Criticism
Write a critique of an artwork that
follows the Feldman Model:
• Describe (use art terms and
descriptive language to explain, in
detail, what is seen in the
artwork.)
• Analyze (explain how and where
important elements and principles
are used in the artwork.)
• Interpret (make a clear
connection between how the artist
used the elements and principles
• Judge (Evaluates the quality of
the artwork on the use of
elements, principles, usage of
media, themes, and aesthetic
theories.)
Pre-Assessment:
Students infer the ceremonial function of ceramics based upon their form.
Students write a critique of a ceramic artwork.
Activity
Observe and describe the traditional Greek vessel forms:
Amphora, Cylix, Crater, Cantharus
Activity
Compare and contrast the aesthetic beliefs embodied by
a variety of teapots from ancient and contemporary
cultures.
Activity
Evaluate a series of ceramic pieces from different time
periods and cultures in terms of each aesthetic theory.
Strategy
Focused observation
Assessment
Scoring Guide
Strategy
Compare/Contrast
Assessment
Scoring Guide
Strategy
Critical thinking,
Essay writing
Assessment
Scoring Guide
Students can conduct research on ceramics from other times and places, analyzing each in terms of its
aesthetic values.
Self-evaluate student’s own work from a variety of aesthetic points of view.
Lead a critique-discussion of your work as it evolved over the semester.
Design pieces with a ceremonial function in mind.
Design pieces that convey different aesthetic values.
Application Level Assessment Ceramics II, CCO II: Students will use appropriate art vocabulary to
Student Tasks:
Compare and contrast the cultural expectations and aesthetic values of ceramic objects in Ancient Greek,
traditional Asian, Islamic, and Contemporary American cultures.
Analyze ceramic artworks to determine how they would be valued according to each aesthetic theory:
• Imitationalism
• Emotionalism
• Formalism
• Functionalism
466
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
467
Scoring Guide for Ceramics II, CCO II Aesthetics
Criteria
Aesthetics
cultural expectations and
aesthetic values of ceramic
objects in Ancient Greek,
traditional Asian, Islamic, and
Contemporary American
cultures.
Tile Design
Islamic Tile
4
Advanced
•
•
•
•
evaluates sets of artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
and evaluates sets of
artworks.
Addresses important
work
All information is
correct.
Figurative
Robert Arneson
Vessel Forms
Ancient Greek Amphora, Cylix,
Crater, Cantharus
20th Century Vessels:
University City Ceramics
Traditional Asian Teapots
Contemporary Teapots
468
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
characteristics of the work
Supports some statements
with reference to the work.
Some important
Some information may be
incorrect.
1
Progressing
•
•
•
Lists characteristics
of the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Art Criticism Scoring Guide for Ceramics II, CCO II
Criteria
4
Advanced
Art Criticism
Introduction
information about the work: artist’s
name, title of piece, when and where
it was created, what media was
used, its period, style, or culture.
•
Art Criticism
Description
“Shopping List” sentences of
everything seen in the artwork
•
Art Criticism
Analysis
Elements (Line, Shape, Form,
Color, Texture, Space, Value)
Emphasis, Contrast, Rhythm,
Unity, Proportion)
•
Art Criticism
Interpretation
cultural meanings), emotional
mood or attitude toward the
spiritual /religious ideas,
story telling, or other purpose
of the work.
•
•
•
•
3
Proficient
Clearly states plan to
critique another artist’s
work or to explain the goal
of a personal piece
given
•
•
•
Logical, coherent,
complete, detailed
description of what is seen
in the work
work
in the work
•
work.
each important
•
•
•
2
Nearly Proficient
•
personal piece
Most available
information given
Logical, coherent,
complete description
of what is seen in the
work
•
•
which are most important
in the work
and principle is used in
the work
•
Explains meaning of
work (mood, symbolism,
social commentary,
telling)
to ideas
•
469
•
1
Progressing
•
personal piece
mentioned
and title
Complete description
of what is seen in the
work but slightly
unorganized
•
Lists elements and
principles used
are used in the work
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
Artist’s name or
title of work listed
Random mention of
one or two details
seen in the work
•
•
Partially lists
elements and/or
principles
Lists mood,
attitude toward
subject, or
purpose
Art Criticism
Judgment
•
Imitationalism –
Art should copy the
real or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements /
principles.
•
Emotionalism –
Art should express
feelings or mood
•
Functionalism –
Art should serve a
purpose in society
•
Grammar, Style
Form
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
470
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Ceramics II, CCO III
Core Conceptual Objective III: Students will demonstrate knowledge of art in a historical and
cultural context.
G1.10, FA5
Culture/Period
Islamic Tile
Time/Place
18th and 19th
Century
Artist(s)
unknown
Characteristics
•
•
•
•
•
•
•
Contemporary
Tiles
American
current
1933 – 2004
California
large
corporations:
Banan
Appeal
and
American
Olean
•
•
•
Viola Frey
•
•
•
•
•
•
•
471
Context
No human figures in the
design
Linear Designs
Geometric Patterns
Glassy layer over clay
Began 1200 AD
Ghlami – several colors
painted with brushes onto
the tile
Floral designs
Applied on walls to
beautify space
Smooth or textured
Specific sizes and shapes
Mass-produced and
patterned
Spacers provided for
grout to be included
Waterproofing
surfaces
Monumental sculpture
(10”tall)
Saws her figures into
individual pieces then
glazed and fired in kiln
Reassembled
Figures and faces
Distorted simplified
Heightened quality of
realism
Broke the association
with ceramics and
small objects and
made colossal figures
Mosques and homes
Traditions and
techniques pass down
through generations
Began in the area
formerly known as
Persia
Bathrooms and
Kitchens
Unflattering insight
into American society
Culture/Period
Time/Place
European
Figurative
Ceramics
German
Meissen
England
Chelsea
Artist(s)
Variety
Characteristics
•
•
1709 – late
1700’s
Johann
Joachim
Kaendler
•
•
1745 – 1775
•
•
•
Asia
Sung Dynasty
YiXing China
960 – 1279
Unknown
•
•
•
•
•
•
•
Contemporary
American
Teapots
1950’s current
Variety
•
•
•
•
472
Context
Molding and casting
results in basic shape
Modeling smaller more
detailed items are added;
flowers and musical
instruments
Hand painted with
washes and luster glazes
1st German style –
Baroque (flamboyant and
theatrical)
2nd German style –
Rococo (idyllic and
pastoral)
3rd German style –
Neoclassical (made to
look antique)
English style –
Naturalism with
sophisticated and
colorful decorative
treatments
Decorative pieces for
individual homes
Teapot; body, handle,
spout, and lid
Purple or red clay
Individual use teapots; 1
– 2 servings
Drink directly from spout
Fine texture
Thin walls
Natural coloring
Earliest known teapot
Teapot; body, handle,
spout, and lid
Humor
Disguised as something
else
Narrative
To serve and pour tea
Mass produced
Replaced small wax
figures formerly used
by families to
decorate their homes
Culture/Period
Greek Vessel
Forms
Time/Place
1000BC –
100BC
Artist(s)
Characteristics
Exekias – a
black figure
painter,
Ottos – an
early red
figure
painter,
Berlin
Painter
•
•
•
•
•
Context
Vessel
Everyday scenes, stories,
and myths
red figure style
Glazed terra cotta
Realistic human figures
Purpose associated
with each vessel form
Amphora
See above
See above
•
•
•
•
•
Two handled vase
Swollen belly
Narrow neck
Large Mouth
Handles placed shoulder
to lip
Transport Wine or oil
Crater
See above
See above
•
•
•
•
•
Two handled bowl
Large Belly
Wide Neck
Large mouth
Handles placed low to
the body
Bowls for mixing
wine and water
Cylix
See above
See above
•
Two handled drinking
cup
Bowl on pedestal
Large Mouth
Handles placed low on
body
Individual drinking
cup
Two handled drinking
cup
Bowl on pedestal
Large Mouth
Handles are high on body
and raise above body
Large ceremonial
drinking cup
•
•
•
Cantharus
See above
See above
•
•
•
•
Unit Vocabulary:
Cantharus, Cylix, Crater, Amphora, Ghlami, Baroque, Rococo, Neoclassical, Meissen, Sung Dynasty
Pre-Assessment:
culture, time period, place, characteristics of artistic style and context of the artwork.
473
Activity
printed with: CULTURE, TIME PERIOD, PLACE,
CONTEXT, CHARACTERISTICS.
Activity
Activity
Strategy
Cooperative
Identification
Assessment
Strategy
Applying content
form.
Assessment
Characteristics of the
culture’s artwork must
be present in the art
and the explanation
information.
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
the highest price
the audience of its
information?
Independently conduct research about vessels from other cultures, comparing and contrasting them to
Ancient Greek vessel forms.
Create miniature models of Greek vessel forms and put them into a model for a museum display with
explanatory writing in a student-designed brochure.
Application Level Assessment Ceramics II, CCO III: The student will compare and contrast art/crafts
and the culture it is derived from with reference to time period, place, characteristics of style and context.
Student Task:
Compare and contrast two or more artworks considering several factors: culture, time, place, function,
context, and characteristics of the style.
474
Ceramics II, CCO III, Art History and Culture Reflective Writing Worksheet.
Name:
Class:
Work A
Work B
Work C
Which characteristics helped you identify the culture? How do those characteristics relate to the function of the piece?
Work A
Work B
Work C
Work A
Work B
Work C
475
Work A
Work B
Work C
Work A
Work B
Work C
476
Scoring Guide for Ceramics II, CCO III
Criteria
Tile Design
4
Advanced
•
•
•
•
evaluates Islamic and
contemporary tiles
Addresses the most
of the tiles
tiles
and specific
3
Proficient
•
•
•
•
evaluates Islamic and
contemporary tiles
Addresses important
characteristics of the tiles
reference to the tiles
2
Nearly Proficient
•
•
•
•
•
Figurative
•
•
•
•
evaluates ancient
figurative art with
contemporary figurative
sculpture
Addresses the most
of the two figurative art
forms
artwork
and specific
•
•
•
•
evaluates ancient
figurative art with
sculpture
Addresses important
characteristics of the two
figurative art forms
reference to the artwork
•
•
•
•
•
477
1
Progressing
Islamic and
contemporary tiles
Addresses fewer
important characteristics
of the tiles
Supports some
to the tiles
Some important
be incorrect
•
ancient figurative art
with contemporary
figurative sculpture
Addresses fewer
important characteristics
of the two figurative art
forms
Supports some
to the artwork
Some important
be incorrect
•
•
•
•
•
the Islamic and
contemporary tiles
Information may be
incomplete
Many pieces of
information may be
incorrect
ancient figurative art and
sculpture
Information may be
incomplete
Many pieces of
information may be
incorrect
Vessel Forms:
Amphora
Kylix
Krater
Cantharus
Teapots
•
•
•
•
evaluates vessel forms
Addresses the most
of the vessel
vessel
and specific
•
•
•
•
evaluates vessel forms
Addresses important
characteristics of the vessel
reference to the vessel
•
•
•
•
•
478
Compares and
contrasts vessel forms
Addresses fewer
important
vessel
Supports some
statements with
reference to the vessel
Some important
comparisons are
missing
be incorrect
•
•
•
the vessel
Information may be
incomplete
Many pieces of
information may be
incorrect
Ceramics II, CCO IV
science.
FA
science.
FA
Content and Skills:
The composition of glaze is based on scientific
properties.
be able to do:
Compare and contrast the chemical composition
of glazes.
Compare and contrast the chemical composition
of underglazes.
Unit Vocabulary: glaze, underglaze, flux, refractory, glass former, silica, oxides, viscosity, low fire
glazes, high fire glazes
Pre-Assessment:
Students list the chemical compositions of glaze.
Students define the roles of each mineral component in glaze.
Activity criticism and analytic reasoning processes
Students memorize mineral compositions of glaze and
their scientific symbols.
Strategy
Memorization
Assessment
responses.
Activity
Students will select and use glazes and then explain the
scientific reasons for the final effect.
Strategy
Production, Analysis
Assessment
Scoring Guide
Strategy
Critical thinking
Essay
Assessment
Scoring Guide
Activity
Students critique glazes used on fired pieces, suggesting
chemical changes for different results,
Students can compare and contrast glazes used by various ceramic artists.
Students predict the visual effect of minerals used in unfamiliar glazes.
Application Level Assessment Ceramics II, CCO IV: Students will make connections between ceramics
and science.
Student Task:
Compare and contrast the chemical composition of glazes.
Compare and contrast the chemical composition of underglazes.
479
Scoring Guide for Ceramics II, CCO IV
Criteria
chemical composition of
glazes.
4
Advanced
•
•
underglazes
•
•
evaluate the chemical
composition of glazes
evaluate the chemical
composition of
underglazes
Describe and identify
minerals found in the
glaze and underglaze on
the Periodic Chart
and specific
3
Proficient
•
•
•
•
glazes
underglazes
Identify minerals found
in the glaze and
underglaze on the
Periodic Chart
480
2
Nearly Proficient
•
•
•
•
Compare the chemical
composition of glazes
Compare the chemical
composition of
underglazes
List the minerals found
in the glaze and
underglaze on the
Periodic Chart
be incorrect
1
Progressing
•
•
•
•
Lists the chemical
composition of one glaze
Lists the chemical
composition of one
underglaze
Relates some minerals to
the Periodic Chart
Some information is
either missing or
incorrect
Photography II
481
Photography II Scope and Sequence
A
Line: defines and separates and determines distance; sharp and contrasty or diffuse and subtle
Form: illusion of depth based on value range, overlapping, lighting & size relationship; the
more contrasty the shading, the more abrupt the transition
Texture: use of light intensifies rough or smooth surfaces, matte or shiny surfaces to show
form
Shape: enclosing space, shows length and width; creates mystery and tension, or comfort of
familiarity
B
Traditional black & white photography: various types of film such as infrared, high speed.
or pan film
Digital Photography: digital camera technology, and computer graphic programs to create
advanced refinements such as lens filters, multiple exposure, and manipulative techniques
C
Studio
Self-portrait
Time exposure
Conceptual
Narrative
Aesthetics:
Compare and contrast definitions for art photograhy and photojournalism.
Art Criticism:
Incorporate the criticism process of desciption, analysis, interpretation, and judgment in
student’s own work and in professional photographs
482
Photography II Scope and Sequence
Landscape/Environmental: Timothy O’Sullivan, Carleton Watkins, Sam Abel, Bruce
Barnbaum, David Doubilet
Surrealism: Man Ray, Scott Mutter, Jerry Uelsmann
Studio/Staged: Tatsumi Orimoto, Sandy Skoglund, William Wegman
Portraiture: Richard Avedon, Irving Penn, Dianne Arbus, Annie Liebowitz, Yousef Karsh,
George Hurrell
Documentary/Photojournalism: W. Eugene Smith, Gordon Parks, John Sexton, Andre
Kertesz, Steve McCurry
Compare and contrast the use of photography during the civil war, World War II, and the Viet
Nam war.
Analyze the effect photographs had on public perceptions of and response toward the civil war,
World War II, and the Viet Nam war.
483
Photography II, CCO IA
elements and principles through the production of photographs.
visual language.
Content and Skills:
should know:
FA 1, FA 2
By the end of this course students should be able to do:
Line: Defines, separates and determines
distance. May be sharp and contrasty or
diffuse and subtle.
Create photographs that demonstrate different types of line.
Form: Illusion of depth based on value
range, overlapping, lighting and size
relationship. The more contrasty the
shading, the more abrupt the transition.
Create photographs that demonstrate form.
Texture: The use of light intensifies
rough or smooth surfaces, matte or shiny
surfaces to show form
Use lighting to create texture in photographs.
Shape: Enclosing space, it shows length
and width and creates mystery and
tension or comfort or familiarity.
Create photographs that utilize shape.
Unit Vocabulary:
Ambient light, luminance, reflected light meter, lighting ratio, fill light, line, form, texture, shape
Pre-Assessment:
Define line, form, texture and shape.
Compare and contrast photographs using line, form, texture and shape.
Activity
List different ways to achieve line, form, texture and/or
shape in a photograph.
Activity
Expose and print a photograph demonstrating line, form,
texture and/or shape.
Activity
Critique original prints that demonstrate line, form,
texture and/or shape.
484
Strategy
Graphic Organizer
Assessment
Assign points for
viable answers.
Strategy
Problem-solving
process
Assessment
Scoring Guide
Strategy
Critique
Assessment
Scoring Guide
For the more advanced student, combine more than one concept for an individual project.
Provide concrete examples for students of various elements and principles highlighted in this unit.
Using available software and the internet, work in a team to find photographs using elements and principles
highlighted in this unit and arrange into presentation. (Research, Technology)
Application Level Assessment Photography II, CCO IA: Students will demonstrate knowledge of
elements and principles through the production of photographs.
Student Tasks:
Create photographs that demonstrate different types of line.
Create photographs that demonstrate form.
Use lighting to create texture in photographs.
Create photographs that utilize shape.
485
Scoring Guide for Photography II, CCO IA
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Line
•
Elements tied together
through use of line to
define, separate, and
create distance in
photograph
•
Use of line defines,
separates, and creates
distance in photograph
•
Use of line creates
distance in photograph
•
Line is too subtle to
cause eye movement or
separation of areas
Form
•
Illusion of depth from
light to dark on a single
object is gradual,
showing texture in
shadow and highlight
areas
•
object is gradual,
showing some texture
between highlight and
shadow areas
•
object is abrupt and
contrasty.
•
A limited value range is
represented, perhaps
from lack of directional
lighting
Texture
•
Creative use of light
makes a tactile
impression to signify
form, depth and fullness
of the object,
Conveys mood and
message
•
Good use of light makes
a tactile impression,
showing form and
fullness in the scene
•
Texture is perceivable,
but minute areas of light
and dark are slight
•
High contrast light
washes out texture or
diffused light makes
texture unnoticeable
Has distinct perimeter
lines and is filled in with
brilliant highlights or
dense silhouettes for
impact or soft middle
tones for quiet mood
Placement and
arrangement of shapes
create impression
•
Has distinct perimeter
lines and is filled in with
brilliant highlights or
dense silhouettes for
impact or soft middle
tones for quiet mood
•
Encloses space and has
distinct perimeter lines
•
Middle-tone shapes with
highlights and shadows
show form rather than
shape which is twodimensional
•
Shape
•
•
486
Photography II, CCO IB
Content and Skills:
should know:
FA 1, FA 2
Traditional Photography Process:
35 mm camera, black and white
processing, corrective manipulations
Expose film using the manual SLR camera and correctly process
it, resulting in a finished enlargement.
Alternative Photography Processes:
Infrared, high speed or pan film
Investigate and create a photograph using an alternative process.
Digital Photography Technology:
Digital camera graphic program, scanner
Create a digital photograph and manipulate it using a software
program such as Photoshop.
Unit Vocabulary:
Lithography, albumen, infrared, high speed, ambrotype, shutter priority, aperture priority, anti-halation
backing, artifact, bas-relief, bichromate, bleach, bracketing, bromide paper, carbon process, chromogenic
film, color contrast filters, conversion filter, cyanotype, digital camera, digital enlarger, digital image,
digital image-processing, digital readout, Adobe Photoshop, Spotone
Pre-Assessment:
Using photographs of similar subject matter but with different applied darkroom/camera techniques have
students identify the processes used for each effect.
Activity
Students will explain different processes.
Strategy
Direct Instruction
Assessment
Essay Quiz
Activity
Demonstrate the development and enlargement process.
Strategy
Peer teaching
Assessment
Checklist
Strategy
Production of product
Assessment
Scoring guide
Activity
Use traditional, alternative processes and digital
technology to produce original photographs in each
category.
Advanced students can experiment with more than one alternative photographic technique or give a
demonstration on advanced digital photography techniques.
Visit a studio for hands-on shadowing for a day.
Students will research to find examples of traditional, alternative and digital technology (Research)
487
Application Level Assessment Photography II, CCO IB: The student will demonstrate darkroom
techniques, use of the camera, and creative photographic ideas to create artwork.
Student Tasks:
Expose film using the manual SLR camera and correctly process it, resulting in a finished enlargement.
Students will investigate and create a photograph using an alternative process.
Students will create a digital photograph and manipulate it using a software program such as Photoshop.
488
Scoring Guide for Photography II, CCO IB
Criteria
Infrared film
4
Advanced
•
•
•
Pan Film
•
•
•
•
High Speed Film
•
•
3
Proficient
Proper handling in total
darkness
Correct exposure w/ red
filtration and bracketing
Detailed focus
•
Sharpness, grain, and
resolution exact
Adequate depth of field
Tripod and cable release
used
Purpose for negatives
defined: Either high
contrast for bold line art
or lower contrast for
sharp enlarging
•
Film speed selection
matches subject matter:
journalism, sports, lowlight architectural, etc.
Excellent cropping
through camera lens
•
•
•
•
•
•
2
Nearly Proficient
darkness
Accurate focus
•
resolution excellent
Adequate depth of field
used
Negatives are properly
exposed
•
•
•
•
•
•
1
Progressing
darkness
Use smaller aperture for
more exact focus
•
resolution good
Plane of focus too
shallow for subject
used
Negatives inconsistently
exposed
•
•
•
•
•
•
•
Most subject matter
matches film speed
selection
Cropping through
camera lens adequate
489
•
•
Slower film speed
needed for some subjects
Some cropping needed in
enlarger resulting in
increased grain
•
•
Film was exposed to
light prematurely
Over/underexposure of
negatives
Focus is fuzzy; turn
focusing collar to realign
for infrared
Focus more carefully on
the most important
subject
Use a smaller aperture to
achieve better focus and
depth of field
Use a tripod and cable
release to stabilize
camera
Over/underexposure
Few if any subjects
match purposes for high
speed film
Film grainy; move closer
to subjects to reduce
cropping needed under
enlarger
Digital Camera Controls
•
•
•
Digital Software
•
Excellent cropping with
telephoto/wide angle lens
Lighting highlights
composition, adds
contrast, and mood
Sharp focus defines
subject
•
Demonstrates mastery of
manipulations such as
adjusting color, contrast,
cropping, adding special
effects to enhance
composition, mood and
personality of the print
•
•
•
Adequate cropping with
telephoto/wide angle lens
Lighting highlights
composition
Sharp focus
•
Demonstrates ability to
manipulate a photo such
as adjusting color,
contrast, cropping,
adding special effects to
enhance composition
•
490
•
•
Use telephoto/wide angle
lens for closer cropping
Add more highlights and
contrast by lighting
techniques
Focus is good
•
Some manipulations such
as adjusting color,
contrast, cropping,
adding special effects
•
•
•
Use telephoto/wide angle
lens to crop subject
Under/overexposed—use
backlighting tool and/or
flash for better exposure
Refocus for sharper
image
Unable to comfortably
maneuver through
software in regards to
adjusting color, contrast,
cropping, adding special
effects to enhance
composition, mood and
personality of the print
Photography II, CCO IC
theme.
Content and Skills:
By the end of this course students should
know:
Studio: Different arrangement of
lighting, various types of lighting,
backgrounds available, props
Self-portrait: Creative use of mirrors,
shadows, still-life objects
FA 1, G 3.1
Create an original photograph with intentional use of studio
lighting, ambient lighting and selection of artistic background
based on the work of a master portraitist.
Create an original photograph that reveals the personality of the
photographer by using props or environment, lighting or
background or unconventional film choice.
Time exposure: Low-light, night
photography, motion blur, multiple
exposure, superimposing
Create an original photograph demonstrating knowledge of low
light exposure techniques.
Conceptual narrative: Communicate a
message or idea through imagery;
photojournalism
Create an original photograph that communicates a message or
tells a story either conceptually or through photojournalism.
Unit Vocabulary:
Continuous, hot, and strobe lighting; key, fill, and hair lighting, diffusion techniques, bracketing,
photomontage, photo collage, B (bulb), T (time), negative sandwiching, Sabattier, solarization, sepia toning
Pre-Assessment:
Research various artists for each theme concept, explaining why each represents the assigned concept.
Explain how a studio would be set up for portraiture.
Explain what you would include in a self-portrait photograph.
Explain how time exposure would be controlled for a particular effect.
Explain how you would set up and shoot a specific conceptual theme.
Activity
Identify various types of lighting, including key light,
fill light, hair light, and back light in a variety of
photographs.
Strategy
Lecture
Assessment
Percent of correct
answers
Activity
Experiment with various lighting techniques,
backgrounds, utilize and juxtapose objects.
Strategy
Modeling, partner
work
Assessment
Scoring Guide
Activity
Self-evaluation and peer critique of thematic final prints.
Strategy
Discussion, Critique
Assessment
Scoring Guide
491
The more advanced students can create a portfolio using alternative methods of printing such as paper
negatives or photocopying transparency, hand coloring or chemical toning
The less advanced student may create a visual journal of collected examples organized by theme and/or
subject matter.
Application Level Assessment Photography II, CCO IC: The student will create photographs with
theme and specific subject matter.
Student Tasks:
Create an original photograph with intentional use of studio lighting, ambient lighting and selection of
artistic background based on the work of a master portraitist.
Create an original photograph that reveals the personality of the photographer by using props or
environment, lighting or background or unconventional film choice.
Create an original photograph demonstrating knowledge of low light exposure techniques.
Create an original photograph that communicates a message or tells a story either conceptually or through
photojournalism.
492
Scoring Guide for Photography II, CCO IC
Criteria
Studio
4
Advanced
•
•
•
Self-portrait
•
•
•
•
Time Exposure
•
•
•
3
Proficient
Creative, purposeful choice of
system (tungsten or strobe)
and placement of studio lights
Compositional arrangement
flatters subject
Background unobtrusive
•
Effectively and creatively
captures personality and
mood of photographer
Lighting, flash and/or filter
sets unique mood
Posing technique
compliments theme
Self-timer used correctly
•
Night scene metered,
bracketed and corrected for
reciprocity failure
prevented camera movement
Subject composition conveys
effective mood and is
enhanced through creative
use of elements and principles
•
•
•
•
•
•
2
Nearly Proficient
Choice of system and
placement of studio
lights highlight the
subject and create no
unwanted harsh shadows
Good composition
Background unobtrusive
•
Captures personality and
mood of photographer
Lighting, flash and/or
filter use creates mood
Posing technique
compliments theme
Self-timer used correctly
•
•
•
•
•
•
•
•
Night scene metered,
bracketed and corrected
for reciprocity failure
prevented camera
movement
Subject composition
enhanced through
creative use of elements
and principles
493
•
•
•
1
Progressing
placement of studio
lights create some
shadows
Compositional
arrangement adequate
Watch background
•
Personality and mood of
photographer suggested
filter utilized, but does
not add to the overall
concept
Posing technique
common
Self-timer triggered prior
to subject’s readiness
•
Night scene slightly
under or overexposed
Slight camera movement
Subject composition
suggests mood through
use of elements and
principles
•
•
•
•
•
•
•
•
placement of studio
lights create unnatural
appearance or harsh
shadows
Rearrange composition
Background interferes
with composition and
subject
Personality and mood of
subject are unclear
filter not evident
Posing technique
suggests a different
theme and mood
Another person took
photo or self-timer not
used
Night scene grossly
under or overexposed
through incorrect
metering or failure to
bracket
Camera movement blurs
scene
Few elements and
principles evident
Alternative Processes
Conceptual Narrative
•
Shows mastery in
cyanotype, lithography,
albumen, toning, bleaching,
solarizing, photo silkscreen
or hand coloring processes
• Student uniquely and
creatively personalizes
vision
•
•
•
•
•
Message conveyed is more
important than the object
Idea challenges traditional
thought or inspires change
Student-written text
accompanying piece
successfully explains the
concept and symbols used.
•
•
•
Successfully demonstrates
albumen, toning,
bleaching, solarizing,
photo silkscreening or
hand coloring processes
Student creatively presents
photographic vision
•
Message conveyed is more
important than the object
Idea makes viewer think
accompanying piece
explains the concept and
symbols used
•
•
494
•
•
Prints show difficulty in
albumen, toning,
Student uniquely and
vision
•
A message is conveyed
Idea presented is typical
or uninspired
accompanying piece
attempts to explain
concept
•
•
•
Incorrect processing of
albumen, toning,
Student uniquely and
vision
Message in photograph is
unclear or not present
inadequately explains
concept or text is missing
Photography II, CCO II
vocabulary to critique and respond to works of photographic art.
Culturally literate citizens evaluate, respond to and defend their opinions
or beliefs about photographic art using specific art vocabulary.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Content and Skills:
By the end of this course students should
know:
Aesthetics:
Aesthetics:
What is the difference between
photography as art and photography as
documentary/photojournalism?
Define, compare, and contrast photography as art and
photography as documentary/photojournalism.
•
The line is drawn around the word
interaction. How much interaction
did the photographer have with the
subject?
•
If a photograph is digitally
manipulated, is it still considered
photojournalism?
•
If the photographer merely recorded
the image and did not interact, it is
considered photojournalism
Art Criticism:
Art Criticism:
Use the art criticism process to describe,
analyze, interpret, and judge photographs
Aesthetic theories:
Formalism, Imitationalism,
Emotionalism, Functionalism
Compose a written critique using the art criticism process:
describe, analyze, interpret, and judge.
Identify aesthetic theories within photographs: Formalism,
Imitationalism, Emotionalism, and Functionalism.
Unit Vocabulary:
Aesthetics, describe, analyze, interpret, judge, formalism, imitationalism, emotionalism, functionalism,
documentary, photojournalism
Pre-Assessment:
Define art photography.
Define documentary photography or photojournalism.
Compose an interpretive paragraph about a single photograph, imagining a narrative.
Activity
Group examines series of photos, deciding whether or
not they have narrative potential.
495
Strategy
Group investigation
Assessment
Checklist
Activity
Analyze and categorize photographs on the basis of
narrative concepts.
Activity
After doing research on aesthetic theories, students
critique two photographs on the basis of
photojournalistic style, conceptual narrative, and
aesthetic theory. Students report to class. (Research)
Strategy
Modeling, Essay
Assessment
Scoring Guide
Strategy
Oral Presentation of
Critique
Assessment
Scoring Guide
Students can research current on-line exhibitions of conceptual photographs and documentary photographs
to share in a presentation.
Students can compile images of their own definition of what makes photography “fine art.”
Application Level Assessment Photography II, CCO II: Students will use appropriate art vocabulary to
critique and respond to works of photographic art.
Student Tasks:
Define, compare, and contrast photography as art and photography as documentary/photojournalism.
Compose a written critique using the art criticism process: describe, analyze, interpret, and judge.
Identify aesthetic theories within photographs: Formalism, Imitationalism, Emotionalism, and
Functionalism.
496
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
497
Scoring Guide for Photography II, CCO II
4
Advanced
Criteria
Define, compare, and contrast
photography as art and
photography as
documentary/photojournalism.
•
•
•
•
•
for sorting photos into
two groups: art
photography and
journalism
All photographs fit into
one of the two categories
Defends placement of
photograph into one
category with accurate
evidence
Other students can arrive
at the same conclusion
personal definition of
photojournalism and art
photography from
different perspectives
3
Proficient
•
•
•
•
Develops clear
guidelines for sorting
photos into two
groups: art
photography and
journalism
All photographs fit
into one of the two
categories
Defends placement of
photograph into one
category with accurate
evidence
Other students can
arrive at the same
conclusion
498
2
Nearly Proficient
•
•
•
sorting photos into two
groups: art photography
and journalism
Most photographs fit into
one of the two categories
Other students can arrive
at the same conclusion
with most photographs
falling into the same
group
1
Progressing
•
•
•
Unclear guidelines for
sorting photos into two
groups: art photography
and journalism
Difficulty making a
decision between ethical
and unethical
photographs
Uses weak supporting
evidence for placing
photograph into one
category or another
Photography II Art Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
Introduction
•
Description
Sentence list everything
seen in the artwork
•
is seen in the work
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity,
Proportion)
•
work
in the work
•
work.
Clearly explains
connections between the
artist’s use of each
important
•
Interpretation
cultural meanings),
the work.
personal piece
given
•
•
•
•
•
•
•
•
•
2
Nearly Proficient
personal piece
given
•
the work
•
•
the work
•
ideas
•
499
•
1
Progressing
personal piece
mentioned
title
•
of work listed
•
Random mention of
one or two details
seen in the work
Lists elements and
principles used
Tells how or where
some elements and
the work
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
•
and/or principles
toward subject, or
purpose
•
Judgment
•
should copy the real
or ideal world
•
Formalism – Art
should be an
interesting
arrangement of
elements / principles.
•
should express
feelings or mood
•
Functionalism – Art
should serve a
purpose in society
Grammar, Style
Form
•
•
•
•
•
•
(Imitationalism,
or Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
500
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Photography II, CCO III
contexts.
Photographers influence, and are influenced by, the world in which they
live.
FA 5; SS 6, CA4, G 1.9
Artist’s Context:
Place, Events
• Timothy O’Sullivan,
Carleton Watkins, Sam Abel,
Bruce Barnbaum, David Doubilet
• Civil War, Post-Civil War
landscapes, West Coast National
Parks, National Geographic
photographers, 21st century
Surrealism
• Photographing images that
could be defined as unnatural or
unreal images that defy physical
laws
• Man Ray, Jerry Uelsmann,
Scott Mutter, Dan Burkholder,
Kenji Yanobe (Czech.)
• Post World War I, artists
rejected contemporary
conventions and decided to
glorify the mundane, developing
into Surrealism.
• Image manipulation in the
darkroom to create more
advanced techniques in the 21st
century
• Digital negative and digitally
manipulated print
• Studio/Staged/Conceptual
Photography: A photograph that
is staged and set up to convey a
message
• Tatsumi Orimoto, Sandy
Skoglund, William Wegman
• Everything Post-Modern,
nuclear proliferation, global
corporate uniformity, social
satire
• Portraiture: Intimate
photograph that at its best,
captures the essence of its subject
• Richard Avedon, Irving
Penn, Diane Arbus, Annie
Leibowitz, Yousef Karsh,
George Hurrell
• Post WW2 consumerism and
fashion
• Golden age of Hollywood
• Pop art
• Sexual Revolution
• Vietnam War
• Conceptual movement
•
Style Name, Time and
•
Landscape/Environmental
•
Compare and contrast artworks with reference to the time, place, context, characteristics of style and
processes.
Unit Vocabulary:
501
Pre-Assessment:
1.
2.
3.
Students complete a Venn diagram on which they compare and contrast artworks on each
attribute: time, place, style name, characteristics of style, what life was like and how art was
valued in the society/culture.
Identify major developments in photographic history.
Activity
WHY WAS IT VALUED?
Activity
Create a photograph that the artist could have created
(but didn’t). Explain how this work would have fit in
with the times/culture in which the artist worked. Refer
to the place, time, context, characteristics of style, and
give information about the artist to defend your work.
Activity
Technology)
Strategy
Cooperative
Identification
Assessment
Strategy
Applying content
form.
Assessment
information.
Strategy
Role Playing. Each
student, or team,
promotes a work.
Audience has a
limited amount of
money to spend at a
mock auction.
Assessment
the highest price
the audience of its
information?
Independently research and critique a photographer’s work.
Create a booklet or a power point presentation that critiques the work in its historical context.
Trace the impact that a Photo or a body of a photographer’s work had on an historical event.
Application Level Assessment Photography II, CCO III: The student will compare and contrast
artworks on the basis of style including reference to the time, place, context, and characteristics of each.
Student Task:
502
Course:
Name:
Class:
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
503
Work A
Work B
Work C
Work A
Work B
Work C
Work A
Work B
Work C
504
Scoring Guide for Photography II, CCO III Art History & Culture
Criteria
photographic genres and
artists:
4
Advanced
•
•
•
Landscape/
Environmental
Surrealism
Studio/Commercial
Portraiture
•
all genres
Lists artists
Explains multiple
photo and the identifying
elements for a particular
style
Describes impact on
photography as an art
form
3
Proficient
•
•
•
all time periods,
Lists artists
Explains multiple
characteristics of a
particular photo in
history
Documentary/
Photojournalism
Conceptual
505
2
Nearly Proficient
•
•
•
Compares or contrasts all
time periods
Lists one or two
characteristics common
to a photographic style
Lists artists
1
Progressing
•
•
•
Lists two time periods
Names one characteristic
of each style
Identifies some artists
correctly in each style
Photography II, CCO IV
between visual arts and American history.
Photography not only documents historical events, but also can affect the
outcomes.
Content and Skills:
By the end of this course students
should know:
Connections between photography and
historical events: civil war, World
War II, Viet Nam war.
FA 4, CA 1
Compare and contrast the use of photography during the civil war,
World War II, and the Viet Nam war.
Analyze the effect photographs had on public perceptions of and
response toward the civil war, World War II, and the Viet Nam
war.
Unit Vocabulary:
Daguerreotype, Ambrotype, collodeon, orthochromatic, panchromatic, Kodachrome,
Pre-Assessment:
Identify photos taken during various American wars and then explain the impact each had on society.
Activity
Hand out a series of historical photographs; students will
pair up discuss the relationship of the photograph to
American history.
Activity
Create a timeline from 1850 to the present including
historical events that were documented using
photography. Illustrate with historical images.
Activity
Create a portfolio or slide show of photos from a
specific event in history. Write an essay about how these
photographs might have affected the people who saw
them at the time and the affect these images might have
had upon the event itself.
Strategy
Facilitate group
discussion
Assessment
Checklist
Strategy
Applying content
form
Assessment
Accuracy of
Strategy
Individual research
Presentation
Assessment
Scoring Guide
Students can re-create a well-known historical photo in modern context that are in some way relevant to
events important to the student.
By looking at a photograph, students will employ deductive reasoning to determine an approximate
historical period and list important events that occurred.
Using an antique or vintage photograph, write a historically accurate story about what they see in the photo.
506
Application Level Assessment Photography II, CCO IV: The student will make connections between
historical events and authentic photography from the period.
Student Tasks:
Compare and contrast the use of photography during the civil war, World War II, and the Viet Nam war.
Analyze the effect photographs had on public perceptions of and response toward the civil war, World War
II, and the Viet Nam war.
507
Scoring Guide for Photography II, CCO IV
Criteria
use of photography during
the civil war, World War II,
and the Viet Nam war.
4
Advanced
•
•
Analyze the effect
photographs had on public
perceptions of and response
toward the civil war, World
War II, and the Viet Nam
war.
•
Determines and defends
a significant event in
history which relate to a
vital artist in that period
Analyzes artist’s impact
in recording that event
citing facts, reasons, and
examples of work
Analyzes artist’s cultural
and social impact while
scrutinizing multiple
works and their influence
3
Proficient
•
•
•
Determines an important
event in history linked to
an artist
Discusses artist’s impact
in recording that event
citing examples of work
Analyzes artist’s cultural
and social impact, and
mentions multiple works
and their influence
508
2
Nearly Proficient
•
•
•
Historical event is
important
Attempt is made to
connect artist to the time
period, but not
necessarily the event
Discusses artist’s cultural
and social impact with
few citations of his/her
work
1
Progressing
•
•
•
Event lacks importance
in historical context
Artist’s connection to
event unclear or incorrect
Cultural and social
impact of artist weak,
with one or no mentions
of his/her work
Advanced Placement
Art History
509
Advanced Placement Art History Scope and Sequence
CCO I Students will demonstrate knowledge of art in historical and cultural contexts.
Compare and contrast artwork in terms of: time period, place/culture, artist, style,
elements and principles of art, technical processes, themes, and the function of the work in
its historical context.
Greece
Rome
Medieval: Early Middle Ages, Carolingian, Ottonian, Romanesque, Gothic
Fourteenth through Eighteenth Centuries: Renaissance, Mannerism
Seventeenth and Eighteenth Centuries: Baroque, Romanticism
Twentieth Century: Modern, Post-Modern
Beyond the European Artistic Traditions: Africa, the Americas, Asia, Near East, and
Oceania
Evaluate artworks in historical context, considering such issues as patronage, gender, and
their functions and effects.
Demonstrate how artists have had an influence upon the cultures in which they lived.
Demonstrate how particular artists have had an influence on other artists.
CCO II: Students will analyze artworks using the art criticism process.
Complete the process of art criticism for historical artworks, comparing and contrasting
how the work would have been judged when/where it was created with how it is judged
today.
• Greece
• Rome
• Beyond the European Artistic Traditions: Africa, the Americas, Asia, Near East, and
Oceania
510
Advanced Placement Art History Scope and Sequence
CCO III: Students will analyze artworks using aesthetics.
Analyze how the subject matter and style of artworks reflect aesthetic preferences in a the
following historical/ cultural contexts:
• Greece
• Rome
• Beyond the European Artistic Traditions: Africa, the Americas, Asia, Near East, and
Oceania
Demonstrate the role of aesthetics in art production as influenced by society, politics,
religion, and/or individual needs and tastes.
511
Advanced Placement Art History, CCO I Art History
Core Conceptual Objective I, Culture: Students will demonstrate knowledge of art historical styles from
ancient to present times.
Artistic expression is integral to all cultures from all ages, past to
present.
Content and Skills:
Greece
FA 5
Compare and contrast artwork in terms of: time period,
place/culture, artist, style, elements and principles of art,
technical processes, themes, and the function of the work in its
historical context.
Rome
Medieval: Early Middle Ages,
Carolingian, Ottonian, Romanesque,
Gothic
Fourteenth through Eighteenth
Centuries: Renaissance, Mannerism
Evaluate artworks in historical context, considering such issues
as patronage, gender, and their functions and effects.
Demonstrate how artists have had an influence upon the cultures
in which they lived.
Demonstrate how particular artists have had an influence on other
artists.
Seventeenth and Eighteenth
Centuries: Baroque, Romanticism
Twentieth Century: Modern, PostModern
Beyond the European Artistic
Traditions: Africa, the Americas,
Asia, Near East, and Oceania
Unit Vocabulary:
Paleolithic, Mesolithic, Neolithic, Magdalenian, relief, in-the-round, engraving, megalith, cromlech,
dolmen, mortuary and pylon temple, hypostyle hall, clerestory, ziggurat, mastaba, Amarna, registered art,
narrative art, fresco, canon, megaron, Cyclopean, tholos, dromos, repousse, amphora, krater, hydria,
lekythos, oinochoe, kylix, black-figure, red-figure, engobe, kore, kouros, Doric, Ionic, Corinthian,
Composite, Tuscan, stereobate, stylobate, guttae, capital, entablature architrave, frieze, triglyph, metope,
pediment, echinus, abacus, fasciae, cella, pronaos, peristyle, acanthus, caryatid, encaustic, Golden Mean,
tumulus, arch, vault, voussoir, basilica, pilaster, trabeated, domus, insula, atrium, linear and aerial
perspective, skenographia, oculus, coffer, triumphal arch, catacomb, embrasures, loculi, orans figures,
ambulatory, transept, central plan, tesserae, diptych, triptych, polyptych, vellum, parchment, continuous
narration, rotulus, codex, pendentives, conch, squinch, impost block, hieratic, iconoclast, iconophile,
quibla, imam, minbar, minaret, mihrab, zoomorphic, arabesque, horror vacui, nimbus, archivolt, chevet,
chiaroscuro, crypt, flying buttress, gisant, hallenkirche, mandorla, maniera greca, pieta, pilgramage choir,
quatrefoil, radiating chapels, rose window, ribbed vault, stucco, tracery, transcept, triforium, trumeau,
tympanum, westwork, alla prima, anamorphic, disquised symbolism, engraving, etching, dry point,
woodcut, genre, humanism, impasto, intaglio, predella, sacra conversazione, sfumato, tondo, trompe l’oeil,
512
baldacchino, quadro riportato, tenebrism, memento mori, Rubeniste, Poussiniste, daguerreotype, calotype,
apotheosis, vignette, plein-air, divisionism, impasto, Modernism, Post Modernism, Art Nouveau,
Fauvism, De stijle, Art Deco, Bauhaus, Purism, International Style, Symbolists, Expressionism, Die
Brucke, Der Blaue Reiter, Analytic and Synthetic Cubism, Futurism, Suprematism, Constructivism,
Formalism, Neoplasticism, Dada, Surrealism, ideogram, Precisionists, deconstruction, Art Brut, Gestural
Abstractionism, color-field, soak stain, Op Art, Kinetic Art, assemblage, Minimalism, Earth Art, Pop Art,
Superrealism, Conceptual Art, Pictorialism, mobile, ferroconcrete, space blocks
Pre-Assessment:
Students describe methods and procedures of working in various art materials.
Students analyze artworks in terms of composition, historical and cultural impact, and message.
Students compare and contrast artworks of various styles, periods, and place.
Activity
Identify a series of artworks on the basis of period, style,
and culture.
Activity
Compare and contrast student-selected artworks on the
basis of its: use of elements, principles, media, and the
style, time period, and artists intent.
Activity
Research and evaluate an artwork on its success using
the standards of the time, place, and culture in which it
was created.
Strategy
Memorization
Assessment
Strategy
Graphic Organizer
Assessment
Scoring Guide
Strategy
Essay
Assessment
Scoring Guide
Oral discussion on the organization and meaning of artwork studied in an art museum or gallery.
Written dialogue between 2 or more chosen artists in a fictional encounter where they discourse on their
personal approach to art.
Create a miniature children’s art museum or a brochure that would be used in it.
Application Level Assessment Advanced Placement Art History, CCO I: The student will demonstrate
knowledge of composition, media processes, historical styles, movements, and periods through written
analyses.
Student Tasks:
Compare and contrast artwork in terms of: time period, place/culture, artist, style, elements and principles
of art, technical processes, themes, and the function of the work in its historical context.
Evaluate artworks in historical context, considering such issues as patronage, gender, and their functions
and effects.
Demonstrate how artists have had an influence upon the cultures in which they lived.
Demonstrate how particular artists have had an influence on other artists.
513
Scoring Guide for Advanced Placement Art History, CCO I
Criteria
artworks on style,
artist, use of media, and
function in these cultural
contexts:
•
•
•
•
•
•
•
•
•
4
Advanced
•
•
•
Prehistory,
Mesopotamia, Egyptian
Greece
Rome
Early Christian,
Byzantine, Islamic
Medieval: Early Middle
Ages, Carolingian,
Ottonian, Romanesque,
Gothic
Fourteenth through
Eighteenth Centuries:
Renaissance, Mannerism
Seventeenth and
Baroque, Romanticism
Twentieth Century:
Modern, Post-Modern
Beyond the European
Artistic Traditions:
Africa, the Americas,
Asia, Near East, and
Oceania
•
evaluates sets of
artworks.
Addresses the most
of the work
work.
and specific.
3
Proficient
•
•
•
•
evaluates sets of
artworks.
Addresses important
work
All information is
correct.
514
2
Nearly Proficient
•
•
•
•
•
sets of artworks.
work
Supports some
to the work.
Some important
be incorrect.
1
Progressing
•
•
•
the artwork.
Information may be
incomplete.
Many pieces of
information may be
incorrect.
Evaluate artworks in
historical context,
considering such issues as
patronage, gender, and
their functions and effects.
•
•
•
•
Demonstrate how artists
have had an influence upon
the cultures in which they
lived.
•
•
•
Independently conducts
research on the historical
context of artwork using
a variety of reliable
resources
Selects and applies
standards of art quality
that were used in the
culture in which the art
was created to make
judgments
Relates issues of
patronage and gender to
the meaning of the
artwork
Addresses additional
issues that were relevant
in the culture
•
Makes connections based
upon independent
research and analysis
detailed, specific
references to the artwork
and the history
Investigates artists
beyond those discussed
in class
•
•
•
•
•
Conducts research on the
historical context of an
artwork using a variety
of sources
Applies standards of art
quality that were used in
the culture in which the
art was created to make
judgments
Relates issues of
patronage and gender to
the meaning of the
artwork
•
upon independent
artwork and the history
Discusses influences of
artists discussed in class
•
515
•
•
•
Conducts research,
mostly using resources
provided by teacher
Uses art quality
standards to make
judgments about artwork
Explains how the artists
showed issues of
patronage and gender
•
Makes guided
connections based upon
research presented in
class
general mention of the
•
•
Uses art quality
standards provided by
the teacher or another
student to make
judgments about artwork
Explanation shows
confusion in
understanding how the
artist showed issues of
patronage or gender
Memorizes and repeats
an example of an artist’s
influence on his/her
culture
Demonstrate how
particular artists have had
an influence on other
artists.
•
•
•
upon independent
detailed, specific
references to the artwork
and the history
Investigates artists
beyond those discussed
in class
•
•
•
upon independent
Discusses influences of
artists discussed in class
516
•
•
Makes guided
connections based upon
research presented in
class
general mention of the
•
Memorizes and repeats
an example of an artist’s
influence on his/her
culture
Advanced Placement Art History, CCO II
Core Conceptual Objective II, Art Criticism: Students will critique artwork from a variety of cultures.
Content and Skills:
should know:
How to use the art criticism process to
describe, analyze, interpret and judge
artworks from multiple cultural
perspectives.
Complete the process of art criticism for historical artworks,
comparing and contrasting how the work would have been
judged when/where it was created with how it is judged today.
Unit Vocabulary:
Imitationalism, emotionalism, formalism, functionalism, naturalism, realism, conventional, stylized,
abstract, nonobjective, describe, analyze, interpret, judge, critique
Pre-Assessment:
Students will write an essay describing and interpreting the use of the elements and principles of art in a
chosen work.
Students will discuss the reasons for choice of media, style, and subject matter in an artwork.
Activity
Describe artwork in terms of the elements and principles
employed.
Activity
Analyze the purpose of an artwork based on knowledge
of the culture’s sociological, economic and political
climate.
Activity
Write an imaginary dialogue between two or more artists
comparing and contrasting like works and the purposes
behind their choice of media, style, form, and
expression.
Strategy
Lecture and modeling
Assessment
Scoring Guide
Strategy
Research and lecture.
Assessment
Scoring Guide
Strategy
Assessment
Modeling
Scoring Guide
Application Level Assessment Advanced Placement Art History, CCO II: The student will critique
artwork verbally and in written analyses following the Feldman model.
Student Tasks: Complete the process of art criticism for historical artworks, comparing and
contrasting how the work would have been judged when/where it was created with how it is judged today.
517
Scoring Guide for Advanced Placement Art History, CCO II Art Criticism
Criteria
Introduction
4
Advanced
•
•
Clearly states intention to critique
another artist’s work or to explain
the goal of a personal piece
All available information given
(artist, title, date media,
dimensions)
3
Proficient
•
•
Description
•
description of what is visible in the
work
Analysis
•
principle to determine which are
most important in the work
Explains in detail how and where
principle is used
•
Clearly infers meaning of work
(mood, symbolic idea, attitude
toward subject, social commentary,
spiritual purpose, story telling)
between the artist’s use of each
important element/principle and the
meaning
•
•
Interpretation
Consider
sociological,
religious, political,
economic, and
personal factors
influencing art
production and
style
•
•
•
•
•
personal piece
Most available
information given
Logical, coherent
visible in the work
2
Nearly Proficient
•
•
•
which are most
•
Explains meaning of
work (mood,
symbolism, attitude
to ideas
•
518
•
1
Progressing
personal piece mentioned
title
•
Artist’s name or title of
work listed
Description of what is
visible in the work but
slightly unorganized
•
Random mention of one
or two details
Lists elements and
principles used
Tells how or where
some elements and
principles are used
•
and/or principles
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
toward subject, or
purpose
Judgment
Compare, contrast
and justify how the
work was judged at
the time it was
created with the
way it is judged
today.
•
Grammar, Style
Form
•
•
•
•
•
•
Functionalism)
context
•
Free of errors
if own piece
correct order
•
•
•
•
•
•
(Imitationalism,
or Functionalism)
support theory
•
Few minor errors in
spelling or grammar
if own piece
after introductory
paragraph
in correct order
•
519
•
•
•
•
•
the term
•
clarity
second person
essay
order
•
third person
essay
order
•
•
•
Advanced Placement Art History, CCO III Aesthetics
Core Conceptual Objective III, Aesthetics: Students will demonstrate knowledge of aesthetics in
historical and cultural contexts.
The aesthetic value of an artwork is determined by beliefs about what
makes an object “art” in a specific historical/cultural context.
Content and Skills:
How the subject matter and style of
artworks reflect aesthetic preferences
in the following cultures:
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Analyze how the subject matter and style of artworks reflect
aesthetic preferences in a particular historical/ cultural context.
Demonstrate the role of aesthetics in art production as influenced
by society, politics, religion, and/or individual needs and tastes.
Greece
Rome
Medieval: Early Middle Ages,
Carolingian, Ottonian, Romanesque,
Gothic
Fourteenth through Sixteenth
Centuries: Renaissance, Mannerism
Seventeenth and Eighteenth Centuries:
Nineteenth Century: Realism,
Impressionism, Post-Impressionism
Twentieth Century: Modern, PostModern
Beyond European Artistic Tradition:
Africa, the Americas, Asia, Near East, and
Oceania
Unit Vocabulary:
Imitationalism, Emotionalism, Formalism, Functionalism, Verism, Representationalism, Aestheticism
Pre-Assessment:
Students identify the aesthetic purpose of artworks from various times and cultures.
520
Activity
Name the aesthetic belief that was expressed in the
artwork of each type of art.
Strategy
Lecture,
Memorization
Assessment
Activity
Compare and contrast works of like subject from
different periods or artists.
Strategy
Lecture and
discussion
Assessment
Scoring Guide
Strategy
Role Play Debate
Assessment
Scoring Guide
Activity
Students work in groups to sort the artworks studied in
class from least to most successful. Each group uses the
same images but applies a different aesthetic belief to
evaluate their value. Groups present their findings in a
simulation where each competes for the right to arrange
a Quality Gallery in a museum to the museum curator.
Use “puzzles about art” to hold class discussions or debates.
Consider additional aesthetic theory of Institutionalism where the culture gives power to certain people or
agencies who then determine the definition of art.
Application Level Assessment Advanced Placement Art History, CCO III Aesthetics: The student will
demonstrate the role of aesthetics in art production as influenced by society, politics, religion, and/or
individual needs and tastes.
Student Tasks:
Analyze how the subject matter and style of artworks reflect aesthetic preferences in a particular historical/
cultural context.
Demonstrate the role of aesthetics in art production as influenced by society, politics, religion, and/or
521
Scoring Guide for Advanced Placement Art History, CCO III Aesthetics
Criteria
Analyze how the subject
matter and style of
artworks reflect aesthetic
preferences in the following
historical/ cultural contexts.
• Prehistory,
Mesopotamia, Egyptian
• Greece
• Rome
• Early Christian,
Byzantine, Islamic
• Medieval: Early Middle
Ages, Carolingian, Ottonian,
Romanesque, Gothic
• Fourteenth through
Renaissance, Mannerism
• Seventeenth and
• Twentieth Century:
Modern, Post-Modern
• Beyond the European
Artistic Traditions: Africa,
the Americas, Asia, Near
East, and Oceania
•
4
Advanced
•
•
•
•
Analyzes, compares,
sets of artworks on the
basis of aesthetic theories
Addresses the most
of the work
and specific
3
Proficient
•
•
•
•
Analyzes, compares,
Addresses important
work
cultural context
2
Nearly Proficient
•
•
•
•
•
522
work
Supports some
context
Some important
be incorrect
1
Progressing
•
•
•
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
Demonstrate the role of aesthetics
in art production as influenced by
society, politics, religion, and/or
•
•
•
•
•
basis of the role of
aesthetics in art production
Addresses the most
of view in the work
work and the artist’s life
reference to the society,
politics, religion, and/or
individual needs and tastes
and specific
•
•
•
•
•
on the basis of the role
of aesthetics in art
production
Addresses important
in the work
Defends statements
life
Defends statements
society, politics,
religion, and/or
individual needs and
tastes
All information is
correct
•
•
•
•
•
•
523
the role of aesthetics in
art production
Addresses less
important aesthetic
work
Supports some
statements with
and the artist’s life
Supports some
statements with
reference to the society,
politics, religion, and/or
individual needs and
tastes
are missing
be incorrect
•
•
•
Describes
artwork on the basis
of the role of
aesthetics in art
production
Information may be
incomplete.
Many pieces of
information may be
incorrect
Advanced Placement
Art Studio
524
Advanced Placement Art Studio I and II Scope and Sequence
Three separate art portfolios may be submitted to the College Board for scoring. Each is the equivalent of a
separate college-level course and is described as a Strand (A, B, or C) in this document. Students in
Advanced Placement Art Studio I and II choose one strand for each year in which they take the course.
Teachers differentiate by strand within the same classroom.
A
Line quality
Illusion of Form
Tonal values
Linear perspective
Illusion of Depth
Spatial systems
Unity / Variety
Balance
Emphasis/Contrast
Proportion / Scale
Unity
Emphasis
Rhythm
Proportion/Scale
Balance
Contrast
B
Tonal values
Line quality
Drawing surface
Materials
Techniques
Materials
Techniques
Materials
Technique
525
Advanced Placement Art Studio I and II Scope and Sequence
Two sections are required in the portfolio for each strand (A, B, or C). One section is “Breadth” in which
students must demonstrate works that address a wide variety of themes and media techniques. The other
section is “Concentration” in which students must select and develop a thematic idea through a series of
related artworks.
C
Breadth: Landscape/cityscape, still-life, figurative, portraiture, realism, abstract, non-objective
Breadth: Realism, abstract and non-objective approaches focusing upon inventive applications
of the elements and principles of 2-D design
Breadth: Realism, abstract, non-objective approaches focusing upon inventive applications of
the elements and principles of 3-D design
Concentration: Decided upon by each student as an individual
Aesthetics
Analyze and respond to the aesthetic intent of artworks created by themselves and others.
Art Criticism
Critique artworks created by self and peers both during the creating process and when work has
been completed.
Produce a journal or sketchbook that records the creative process, challenges, and solutions.
526
Advanced Placement Art Studio, CCO I A
Three separate art portfolios may be submitted to the College Board for scoring. Each is the equivalent of a
separate college-level course and is described as a Strand (A, B, or C) in this document. Students in
Advanced Placement Art Studio I and II choose one strand for each year in which they take the course.
Teachers differentiate by strand within the same classroom.
visual language.
Content and Skills:
should know:
Line quality
Illusion of Form
Tonal values
Linear perspective
Illusion of Depth
Spatial systems
Unity / Variety
Balance
Emphasis/Contrast
Proportion / Scale
Unity
Emphasis
Rhythm
Proportion/Scale
Balance
Contrast
FA 1, FA 2
Create artworks demonstrating a wide range of line qualities.
Create an artwork using the illusion of form.
Create an artwork using a wide range of tonal values.
Create an artwork that demonstrates depth of space through
linear perspective.
Create an artwork creating the illusion of depth.
Create an artwork showing spatial relationships.
Create a unfired composition that demonstrates variety.
Create artwork that demonstrates formal/symmetrical,
informal/asymmetrical and or radial balance.
Create an artwork that demonstrates a focal point achieved
through contrast.
Create an artwork that demonstrates correct size relationships
according to scale.
Create a unified composition.
Create an artwork that demonstrates emphasis through focal
point, contrast or convergence.
Creates an artwork using a motif of regular or progressing
rhythm.
Create an artwork that demonstrates correct size relationships
according to scale.
Create an artwork that demonstrates formal/symmetrical,
informal asymmetrical, and or radial balance.
Create an artwork that demonstrates simultaneous contrast of
elements.
527
Unit Vocabulary:
Strand A: Line quality, Form, Tonal values, Linear Perspective and other spatial systems, illusion of Depth
Strand B: Unity, Balance, Emphasis, Contrast, Proportion, Scale
Strand C: Unity, Emphasis, Rhythm, Proportion, Scale, Balance, Contrast
Pre-Assessment:
Strand A:
Sketch an object demonstrating a variety of line quality.
Sketch an observed object emphasizing form.
Create a value scale demonstrating a wide range of tonal quality.
Sketch a landscape or hallway using linear perspective.
Create thumbnail sketches showing examples of depth in composition.
Strand B:
Sketch a composition that emphasizes Unity.
Sketch a composition that emphasizes asymmetrical balance or symmetrical balance.
Draw an abstract composition that clearly demonstrates a focal point.
Create a composition based on color contrasts.
Create a gesture drawing of a human figure showing correct proportion.
Strand C:
Sketch a still life emphasizing unity of composition.
Create a model that emphasizes focal point.
Create forms in clay that demonstrate regular and progressive rhythm.
Create a clay relief of a human face that demonstrates correct proportion and scale.
Create a balance composition using 3-D geometric forms.
Create a 3-D composition that shows contrast through the elements.
Activity
Students will create organized compositions for each of
the elements emphasized.
Activity
Students create compositions based upon observation.
Activity
Simultaneously combine several elements in a
composition to best express a concept.
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Modeling
Assessment
Scoring Guide
Difficulty level and complexity of subject matter and technical skill can vary with student ability level.
Student goals can be accomplished through preliminary plan work, sketches, and finished complex
artworks, completed portfolios for predetermined Strand.
Choice of theme and subject matter can vary with each student.
528
Application Level Assessment Advanced Placement Art Studio, CCO IA: The student will demonstrate
knowledge of elements and principles through the production of artwork.
Student Tasks for Strand A: Drawing Portfolio
Create artworks demonstrating a wide range of line qualities.
Create an artwork using the illusion of form.
Create an artwork using a wide range of tonal values.
Create an artwork that demonstrates depth of space through linear perspective.
Create an artwork creating the illusion of depth.
Create an artwork showing spatial relationships.
Student Tasks for Strand B: 2D Design Portfolio
Create a unified composition that demonstrates variety.
Create artwork that demonstrates formal/symmetrical, informal/asymmetrical and or radial balance.
Creates artwork that demonstrates a focal point achieved through contrast.
Create an artwork that demonstrates correct size relationships according to scale.
Student Tasks for Strand C: 3-D Design Portfolio
Create a unified composition
Create an artwork that demonstrates emphasis through focal point, contrast and convergence.
Create an artwork using a motif of regular or progressing rhythm.
Create artwork that demonstrates correct size relationships according to scale.
Create an artwork that demonstrates formal/symmetrical, informal asymmetrical, and or radial balance.
Create an artwork that demonstrates simultaneous contrast of elements.
529
Advanced Placement Art Studio, CCO IB
Content and Skills:
should know:
Tonal values
Line quality
Drawing surface
Materials
Techniques
Materials
Techniques
Materials
Technique
FA 1, FA 2
Create an artwork that demonstrates a broad range of tonal
quality.
Create an artwork that emphasizes line quality
Create a series of related works on a variety of surfaces.
Use a variety of drawing materials in an effective manner.
Use a variety of drawing tech inquest.
Use of a wide variety of materials in an effective manner.
Create an art work in which the technical aspects are generally
excellent
Use of a wide variety of materials in an effective manner.
Create an art work in which the technical aspects are generally
excellent
Unit Vocabulary:
Strand A: Tonal values, line quality, drawing surface, and materials and techniques as they relate to
Drawing
Strand B: Materials, techniques as they relate to 2-D Design
Strand C: Materials, techniques as they relate to 3-D Design
Pre-Assessment:
Strand A, B and C:
Students compare and contrast artworks completed by different media skills.
Students describe methods and procedure of working in given media
Activity
Students will identify techniques used to create tonal
values in artworks.
Strategy
Matching Test
Assessment
Activity
Students select and apply media techniques to express a
concept.
Strategy
Modeling
Assessment
Scoring Guide
530
Activity
Before executing a final work, students create the piece
in a variety of media, evaluate the one which best
expresses the concept, and then uses it for to create a
final artwork.
Strategy
Hypothesis testing
Assessment
Scoring Guide
Difficulty level and complexity of subject matter and technical skill level can vary with each student.
Student goals can be accomplished through preliminary plan work, sketches, and finished complex
artworks, completed portfolios for pre-determined Strand.
Choice of theme, concentration, subject matter and direction can vary with each student.
Application Level Assessment Advanced Placement Art Studio: The student will demonstrate
knowledge of media processes and skills through the production of artwork.
Student Tasks for Strand A:
Create an artwork that demonstrates a broad range of tonal quality.
Create an artwork that emphasizes line quality
Create a series of related works on a variety of surfaces.
Use a variety of drawing materials in an effective manner.
Use a variety of drawing techniques.
Effectively use a wide variety of materials.
Create an art work in which the technical aspects are generally excellent.
Student Tasks for Strand B:
Student Tasks for Strand C:
Create an artwork in which the technical aspects are generally excellent.
531
Advanced Placement Art Studio, CCO IC
Artists communicate ideas through their use of subject matter and themes.
Content and Skills:
should know:
Breadth: Landscape/cityscape, still-life,
figurative, portraiture, realism, abstract,
non-objective
Concentration: Decided upon by each
student as an individual
FA 1, G 3.1
Communicate a variety of themes or subject matter in artworks.
Develop a body of work around an idea with evidence of
thinking, investigation, and focus.
Create artwork that shows effective integration of concept and
technique.
Create artwork that demonstrates an original vision.
Breadth: Realism, abstract and nonobjective approaches focusing upon
inventive applications of the elements
and principles of 2-D design
technique.
Breadth: Realism, abstract, nonobjective approaches focusing upon
inventive applications of the elements
and principles of 3-D design
technique.
Unit Vocabulary:
Strand A: Themes or subject matter as they relate to Drawing
Strand B: Themes or subject matter as they relate to 2-D Design
Strand C: Themes or subject matter as they relate to 3-D Design
Pre-Assessment:
Students compare and contrast diverse artworks that address similar subjects or themes.
Activity
Students will identify themes and subject matter from a
variety of sources.
Activity
Students will create artwork based upon a chosen
concentration.
532
Strategy
Graphic organizer
Assessment
Class discussion
Strategy
Individual
investigation
Assessment
Scoring Guide
Activity
Students reflect upon and present a self-evaluation of
their concentration body of work to the class.
Strategy
Modeling
Assessment
Scoring Guide
Each student can explore and experiment with a variety of techniques and subject matter. The level of
difficulty and complexity of subject matter can vary based upon decisions made by each individual student.
Application Level Assessment Advanced Placement Art Studio, CCO IC: The student will demonstrate
knowledge of themes and subject matter through the production of original artwork.
Student Tasks for Strand A, B, C:
Develop a body of work around an idea with evidence of thinking, investigation, and focus.
Create artwork that shows effective integration of concept and technique.
533
The following scoring guides have been reproduced with permission from the College Board. They are the
scoring guides used to score portfolios.
“Drawing Quality” Scoring guide for Advanced Placement Art Studio
CCO IA, CCO IB, CCO IC for Strand A: Drawing Portfolio
Five works that demonstrate mastery of drawing – apparent in the composition, concept, and execution of
works
6 Excellent Quality
Work at this level:
•
•
•
•
•
•
•
•
•
•
•
Is consistently of high quality, although not all pieces will necessarily be at precisely the same
level of expertise.
Shows obvious evidence of thinking.
Demonstrates a sense of confidence and verve.
Addresses fairly complex visual and / or conceptual ideas
Shows an imaginative, inventive, and confident use of the elements and principles of design.
Uses materials effectively; technique is generally excellent.
May show successful engagement with experimentation and /or risk taking.
May be notable for sensitivity and/or subtlety.
Shows purposeful composition.
Demonstrates informed decision-making.
Any apparent use of published or photographic sources or the work of other artists seems merely
to have provided a visual reference in the service of a larger, personal vision.
5 Strong Quality
Work at this level:
•
•
•
•
•
•
•
•
Is generally strong, although there may be inconsistencies in overall quality.
Shows evidence of thinking; i.e., it conveys a sense that it is about something.
Shows evidence of confidence.
May have evocative qualities.
Successfully engages with most aspects of technique and materials.
Demonstrates a strong grasp of the elements and principles of design, using them to express a
visual idea.
Shows generally strong composition.
If there is apparent use of published or photographic sources or the work of other artists, there is
also a strong sense of the student’s individual transformation of the images.
534
4 Good Quality
Work at this level:
•
•
•
•
•
•
•
Has some sense of purpose or direction, but it may not be fully resolved.
Demonstrates some degree of success.
Shows some manipulation of ideas.
Demonstrates a good understanding of the elements and principles of design.
Has some technical aspects that are handled well or some ideas that are handled well, but the two
don’t always have to mesh and work together.
Shows a sense of technical competence.
If there is apparent use of published or photographic sources or the work of other artists, the
student’s individual “voice” can be discerned.
3 Moderate Quality
Work at this level:
•
•
•
•
•
•
•
Might show a sense of real effort, but problems are not successfully resolved.
Might be more accomplished technically than it is conceptually.
Might not show the technical skills needed to resolve the ideas it addresses.
Shows an emerging awareness of the elements and principles of design.
Might have erratic technique, with little or no sense of challenge.
Might show some ambition while achieving only moderate success.
If published photographic sources or the work of other artists are used, the work appears to be a
nearly direct reproduction; the student’s “voice” is minimal.
2 Weak Quality
Work at this level:
•
•
•
•
•
•
•
Shows weak or awkward technique.
Solves problems simplistically.
Has little sense of exploration
Lacks a clear sense of intention.
Shows little awareness of elements and principles of design; composition is weak.
Shows limited artistic decision-making.
The works are copies of published or photographic sources or the works of other artists; little
discernible student “voice”.
535
1 Poor Quality
Work at this level:
•
•
•
•
•
•
Shows little evidence of thinking / artistic decision-making.
Reveals a misunderstanding of technique.
Shows a lack of awareness of tools / media.
Uses trite solutions to visual problems.
Is poorly composed, with minimal consideration given to elements and principles of design.
The works are obviously direct copies or photographic sources or the works of other artists; no
discernible student “voice”
536
“Drawing Concentration” Scoring guide for Advanced Placement Art Studio
A concentration is defined as “a body of work unified by an underlying idea that has visual coherence.” In
scoring concentrations, there are four major areas of concern.
•
•
•
•
Coherence and or development – is the work presented actually a concentration?
Quality of the concept/idea represented – is there evidence of thinking and of focus?
Degree of development and investigation that is evident in the work – including the
amount of work or number of pieces represented.
Quality of the work in both concept and technique
Note:
These four areas will necessarily appear in shifting relationships of relative strength and weakness.
Where the four are not even in the level of achievement they represent, they will be considered as a whole
to arrive at the score for the section.
Because this section is concerned with a process of growth and discovery, the work presented may
span a range of levels of achievement. If this is the case, the higher level that is reached should be
acknowledged in the score that is given.
The scoring guide that follows provides examples of overall characteristics of concentrations that
would merit each of the six scores.
6 Excellent concentration
•
•
•
•
•
•
•
•
There is an unmistakable connection between the idea of the concentration and the work
presented.
The concentration engages the viewer with the work and the idea.
The work shows effective integration of concept and technique.
Mastery of drawing techniques is strong to excellent.
The work shows informed risk-taking and development beyond technical concerns.
An evocative theme is carried out.
The work demonstrates an original vision.
Overall, the work is excellent quality.
5 Strong Concentration
•
•
•
•
•
•
•
•
The work and the concentration topic have a close relationship..
The idea of the concentration is good to strong; there is evidence of thought in the work.
The work is technically competent; skill is evident.
There is evidence of effective pursuit of the idea.
There may be some less successful pieces, but overall, there is strong evidence of drawing
competency.
The work shows a sense of transformation over time, although it may not be totally successful.
An evocative theme is investigated.
Overall the work is of strong quality.
4 Good concentration
•
•
•
•
•
•
•
There is a sense of concentration, and the work is related to the idea.
The drawing quality is generally good.
Manipulation of ideas is evident.
Some growth and discovery is evident.
The work may be a concentration and be technically competent, but with an insufficient sense of
investigation.
Although the work is of strong or excellent quality, it is not a concentration.
Overall the work is of good quality.
537
3 Moderate Concentration
•
•
•
•
•
•
•
The work is a concentration, but the topic is inadequately considered.
It may include several loosely related ideas.
It may be so broad that he student couldn’t really explore an idea in depth.
The work may be inconsistently related to the idea.
Some growth is evident but only moderate drawing skill is demonstrated.
Although the work may be of good quality, it is not a concentration.
Overall the work is of moderate quality.
2 Weak Concentration
•
•
•
•
•
•
•
There is little investigation of the idea.
The idea is appropriate for a concentration, but the knowledge and understanding needed to
execute it are not evident.
A concentration is presented but the work is consistently weak in drawing quality.
The work may appear to constitute a good start, but it does not show sufficient investigation.
Although the work shows moderate drawing competence, it is not a concentration.
Quantity of work may be lacking.
Overall the work is of weak quality.
1 Poor Concentration
•
•
•
•
•
•
•
•
The work shows little or not evidence of drawing competence.
The work may be a concentration but drawing is of poor quality.
The idea is incoherent or not focused.
There is a lack of an underlying rationale that would link the work.
There is not enough work to represent a concentration.
The slides are virtually impossible to see.
Overall, the work is of poor quality.
538
“Drawing Breadth” Scoring guide for Advanced Placement Art Studio
6 Excellent Breadth
•
•
•
•
•
•
•
Work demonstrates serious, successful engagement with a broad range of drawing issues and or
techniques.
The work successfully demonstrates command of stylistic as well as technical concerns.
Work is executed with confidence.
Work shows flexibility of thinking, as evidenced in the variety of works presented.
Form and content are effectively synthesized to communicate visual ideas.
A variety of materials are used effectively.
Most work demonstrates successful experimentation, risk taking, and / or ambition.
5 Strong Breadth
•
•
•
•
•
•
•
Work demonstrates engagement with a broad range of drawing issues.
A range of stylistic, as well as technical drawing concerns is evident in the work.
The quality of the work is strong.
The work shows clear decision-making; there is evidence of thinking.
The link between form and content is strong.
A range of materials is used, in most cases successfully.
The work may include some excellent pieces but address less than range of drawing issues.
4 Good Breadth
•
•
•
•
•
•
•
Work demonstrates engagement with a reasonable range of drawing issues.
Technical skill in drawing is generally competent.
Work is generally good quality; its success may be somewhat variable.
There is evidence of thinking in most of the works.
There is some relationship between form and content.
Work may demonstrate strong to excellent breadth of drawing issues, but be of less than good
quality.
Work may be of strong or excellent quality, without demonstrating breadth of experience.
3 Moderate Breadth
•
•
•
•
•
•
•
•
In general, work shows engagement with a superficial range of drawing issues.
Technical skill in drawing is uneven and/or variable.
Overall, the work is of moderate quality.
Modest evidence of thinking/decision making in the work.
The relationship between form and content is unclear.
There may be a sense of experimentation, without a completely competent resolution or
exploration of what is being attempted.
Work may demonstrate attempts at good breadth, but be of less than moderate quality.
Work may be of good quality, but with a narrow range of experience demonstrated.
539
2 Weak Breadth
•
•
•
•
•
•
•
•
•
Range of drawing issues addressed is very limited.
Solutions to the range of problems attempted may be simplistic.
Understanding of drawing issues appears to be undeveloped.
Technical skill in drawing is limited. Drawing tends to be awkward.
Overall, the work is of weak quality.
Evidence of thinking may be slight or present in only a few works.
There is little apparent relationship between form and content.
Some works may be of moderate quality, but the work does not address a range of drawing issues.
There may be a moderate demonstration of breadth, but with work of poor quality.
1 Poor Breadth
•
•
•
•
•
•
•
•
•
The range of drawing issues addressed is extremely limited.
Engagement with drawing issues is questionable and/or lacking.
Technique is clumsy and/or inept.
Little, if any evidence of thinking/decision-making.
Form, material, and content are unconsidered.
Not enough work presented to demonstrate breadth.
Slides are virtually impossible to see.
Very little work is presented.
540
“2-D Design Quality” Scoring Guide for Advanced Placement Art Studio
CCO IA, CCO IB, CCO IC for Strand B: 2-D Design Portfolio
Five works that show mastery of design; apparent in the composition, concept, and execution of works
6 Excellent Quality
Work at this level:
•
•
•
•
•
•
•
•
•
•
•
Is consistently of high quality, although not all pieces will necessarily be at precisely the same
level of expertise.
Shows an imaginative, inventive and confident articulation of the principles of design.
Shows accomplished use of the elements of design guided by the principles.
Shows a well-informed sense of composition.
Demonstrates evidence of confidence, and verve.
Addresses fairly complex visual /and or conceptual ideas.
Uses materials effectively; technique is generally excellent.
May show successful engagement with experimentation and/ or risk taking.
May be notable for sensitivity and/or subtlety.
Demonstrates informed decision-making.
Any apparent use of published or photographic sources or the work of other artists seems merely
to have provided a visual reference in the service of a larger, personal vision.
5 Strong Quality
Work at this level:
•
•
•
•
•
•
•
•
Is generally strong, although there may be inconsistencies in overall quality.
Shows generally strong composition
Shows effective manipulation of the elements of design with in the work as a whole.
Shows evidence of thinking; i.e., it conveys a sense that it is about something.
Is fairly confident.
May have evocative qualities.
Successfully engages with most aspects of technique and materials.
If there is apparent use of published or photographic sources or the work of other artists, there is
also a strong sense of the student’s individual transformation of the images.
4 Good Quality
Work at this level:
•
•
•
•
•
•
•
•
•
Has some sense of purpose or direction, but it may not be fully resolved.
Demonstrates a good understanding of the elements and principles of design
Uses the elements of design in support of at least one principle of design.
Shows generally purposeful composition.
Demonstrates some degree of success.
Shows some manipulation of ideas.
Has some technical aspects that are handled well or some ideas that are handled well, but the two
don’t always have to mesh and work together.
Shows a sense of technical competence.
If there is apparent use of published or photographic sources or the work of other artists, the
student’s individual “voice” can be discerned.
541
3 Moderate Quality
Work at this level:
•
•
•
•
•
•
•
•
•
•
Shows an emerging awareness of the elements and principles of design.
Shows a stronger emphasis on the elements of design than the principles.
Demonstrates a limited sense of composition
Shows a sense of real effort, but problems are not successfully resolved.
Is more accomplished technically than it is conceptually.
Might not show the technical skills needed to resolve the ideas it addresses.
Might be more accomplished technically than it is conceptually.
Has erratic technique, with little or no sense of challenge.
Shows some ambition while achieving only moderate success.
If published photographic sources or the work of other artists are used, the work appears to be a
nearly direct reproduction; the student’s “voice” is minimal.
2 Weak Quality
Work at this level:
•
•
•
•
•
•
•
•
•
•
Is generally weak or awkward
Shows little awareness of elements and principles.
May show some ability at using the elements of design with little awareness of the principles
Is weak in terms of composition.
Employs simplistic solutions to design problems
Has little sense of exploration
Lacks a clear sense of intention.
Shows limited artistic decision – making.
Shows limited artistic decision-making.
The works are copies of published or photographic sources or the works of other artists; little
discernible student “voice”.
1 Poor Quality
Work at this level:
•
•
•
•
•
•
Shows little evidence of thinking / artistic decision-making.
Reveals a misunderstanding of technique.
Shows a lack of awareness of tools / media.
Uses trite solutions to visual problems.
Is poorly composed, with minimal consideration given to elements and principles of design.
The works are obviously direct copies or photographic sources or the works of other artists; no
discernible student “voice”
542
“2-D Design Concentration” Scoring guide for A.P. Art Studio 1
A concentration is defined as “a body of work unified by an underlying idea that has visual coherence.” In
scoring concentrations, there are four major areas of concern.
•
•
•
•
Coherence and or development – is the work presented actually a concentration?
Degree of development and investigation that is evident in the work – including the
amount of work or number of pieces represented.
Note:
These four areas will necessarily appear in shifting relationships of relative strength and weakness. Where
the four are not even in the level of achievement they represent, they will be considered as a whole to arrive
at the score for the section.
Because this section is concerned with a process of growth and discovery, the work presented may span a
range of levels of achievement. If this is the case, the higher level that is reached should be acknowledged
in the score that is given.
The scoring guide that follows provides examples of overall characteristics of concentrations that would
merit each of the six scores.
6 Excellent concentration
•
•
•
•
•
•
•
•
presented.
The work shows effective integration of concept and design skills.
Technical aspects are strong to excellent.
Overall, the work is excellent quality.
•
•
•
•
•
•
•
•
•
The work and the concentration topic have a close relationship.
The idea of the concentration is good to strong;
There is evidence of thought in the work.
There may be some less successful pieces, but overall, the work shows a strong grasp of design
principles.
Overall the work is of strong quality.
543
4 Good concentration
•
•
•
•
•
•
•
The work may be inconsistent in terms of quality but overall the application of design principles is
good.
Some growth and discovery is evident.
The work may be a concentration and be technically competent, but with an incomplete sense of
investigation.
Overall the work is of good quality.
•
•
•
•
•
•
•
The concentration may include several loosely related ideas.
The concentration may be so broad that the student couldn’t really explore an idea in depth.
The work may be inconsistently related to the idea.
Some growth is evident but only moderate understanding of design principles is demonstrated.
•
•
•
•
•
•
•
A concentration is presented but the work is consistently weak in application of design principles.
Although the work shows moderate grasp of design principles, it is not a concentration.
•
•
•
•
•
•
•
•
There is very little or no sense of investigation.
The idea of the concentration is not carried out.
The work shows very little or no evidence of understanding of design principles.
The work may be a concentration but drawing is of poor quality.
544
“2-D Design Breadth” Scoring guide for Advanced Placement Art Studio
6 Excellent Breadth
•
•
•
•
•
•
•
•
Work demonstrates serious, successful engagement with a broad range of design problems
The work demonstrates confident articulation of the principles of design.
The work uses the elements and principles of design in inventive or evocative ways.
Most work demonstrates successful experimentation, risk taking, and / or ambition.
The work is technically accomplished.
Work addresses sophisticated / complex ideas with confidence and verve.
Form and content are synthesized to communicate visual ideas.
Overall the work is of excellent quality.
5 Strong Breadth
•
•
•
•
•
•
•
•
Work demonstrates engagement with a broad range of design problems.
The work demonstrates successful articulation of the principles of design.
Works may demonstrate successful experimentation and / or risk taking.
The use of materials is appropriate to the problems addressed and technique is generally strong.
The work addresses sophisticated and/ or complex ideas with some success.
The work shows clear decision-making.
Overall, the quality of the work is strong.
4 Good Breadth
•
•
•
•
•
•
•
•
•
•
Work shows engagement with a reasonable range of design problems.
The work demonstrates a clear effort to apply the principles of design with some success.
Work may appear as very successful solutions to design exercises, but not go beyond that level.
Technique and use of materials is reasonably competent.
Works show an emerging sense of ambition and/ or sophistication.
There is evidence of thinking in most of the works
Range of design problems may be limited, despite strong to excellent quality.
Work may demonstrate strong to excellent breadth of design problems attempted,, but be of less
than good quality.
Overall, the work is of good quality.
3 Moderate Breadth
•
•
•
•
•
•
•
•
•
•
The work shows engagement with a superficial range of design problems.
Understanding and application of design principles is emerging.
Work may appear to be good solutions to design exercises, but not go beyond that level.
Technical skill is uneven or questionable.
Work may show slight experimentation or risk taking.
There is evidence of a modest level of thinking / decision-making in the work.
Work may exhibit good breadth, but be of less than moderate quality.
545
2 Weak Breadth
•
•
•
•
•
•
•
•
•
•
•
Work shows little engagement with a range of design problems.
Understanding of design principles appears to be fairly undeveloped.
Work may attempt to address a range of design issues without much success.
Technique / use of materials is awkward.
Work may demonstrate good to moderate technique, but the engagement with the principles of
design is weak.
Solutions to a range of problems may be simplistic.
Evidence of thinking / decision-making is slight or present in only a few works.
Work may be moderate in quality but not address a range of design issues.
There may be a moderate demonstration of breadth but the work is of poor quality.
1 Poor Breadth
•
•
•
•
•
•
•
•
•
•
•
•
The range of design problems addressed is extremely limited.
Understanding of design principles is questionable or lacking.
Work may be weak in quality and does not address a range of design issues.
A variety of design problems are attempted, but solutions are generally unsuccessful.
Technique is clumsy / incompetent.
Work may demonstrate a moderate to weak technique, and the engagement with the principles of
design is poor.
Solutions tend to be inept or trite.
Little, if any, evidence of thinking / decision-making is present in the work.
Form, material and content are unconsidered.
Not enough work is present to demonstrate breadth.
Overall the work is of poor quality.
546
“3-D Design Concentration” Scoring guide for Advanced Placement Art Studio
CCO IA, CCO IB, CCO IC for Strand C: 3-D Design Portfolio
A concentration is defined as “a body of work unified by an underlying idea that has visual
coherence.” In scoring concentrations, there are four major areas of concern.
•
•
•
•
Coherence and/or development – is the work presented actually a concentration?
Degree of development and investigation that is evident in the work – including the amount of
work or number of pieces represented
Note: These four areas will necessarily appear in shifting relationships of relative strength and
weakness. Where the four are not even in the level of achievement they represent, they will be
considered as a whole to arrive at the score for the section.
Because this section is concerned with a process of growth and discovery, the work presented my span
a range of levels of achievement. If this is the case, the higher level is reached should be
acknowledged in the score that is given.
The rubric that follows provides examples of overall characteristics of concentrations that would merit
each of the six scores.
6 Excellent Concentration
•
•
•
•
•
•
•
•
presented.
The work shows effective integration of concept and 3-D design skills.
Technical aspects are strong to excellent.
Overall, the work is of excellent quality.
•
•
•
•
•
•
•
•
•
The work and the concentration topic have a close relationship.
The idea of the concentration is good to strong.
There is evidence of thought in the work.
There may be some weaker pieces, but overall the work shows a strong grasp of 3-D design
principles.
Overall, the work is of strong quality.
547
4 Good Concentration
•
•
•
•
•
•
•
The work may be inconsistent in terms of quality, but overall the application of 3-D design
principles is good.
Some growth and discovery are evident.
The work may be a concentration and be technically competent, but with an incomplete sense of
investigation.
•
•
•
•
•
•
•
It might include several loosely related ideas.
It might be so broad that the student couldn’t really explore an idea in depth.
The work might be inconsistently related to the idea.
Some growth is evident, but only moderate understanding of 3-D design principles is
demonstrated.
•
•
•
•
•
•
•
A concentration is presented, but the work is consistently weak in application of 3-D design
principles.
Although the work shows moderate grasp of 3-D design, it is not a concentration.
•
•
•
•
•
•
•
There is very little or no sense of investigation.
The idea of the concentration is not carried out.
The work shows little or no evidence of understanding of 3-D design principles.
548
“3-D Design Breadth” Scoring guide for Advanced Placement Art Studio
CCO IA, CCO IB, CCO IC for Strand C: 3-D Design Portfolio
A variety of works demonstrates understanding of the principles of 3-D design. Look for engagement
with a range of 3-D design principles:
Unity/variety
Rhythm
Balance
Repetition
Emphasis
Proportion/scale
Contrast
Figure/ground relationship
6 Excellent Breadth
•
•
•
•
•
•
•
•
The work demonstrates serious, successful engagement with a broad range of 3-D design
problems.
Work demonstrates confident articulation of the principles of 3-D design.
The work uses the elements and principles of 3-D design in inventive or evocative ways.
Most work demonstrates successful experimentation, risk-taking and/or ambition.
The work demonstrates technical accomplishment.
The work addresses sophisticated/complex ideas with confidence and verve.
Form and content are synthesized to communicate visual ideas.
Overall, the work is of excellent quality.
5 Strong Breadth
•
•
•
•
•
•
•
•
The works demonstrate engagement with a broad range of 3-D design problems.
The works demonstrate successful articulation of the principles of 3-D design.
Work may demonstrate successful experimentation and/or risk-taking.
The use of materials is appropriate to the problems addressed and technique is generally strong.
The work addresses sophisticated and/or complex ideas with some success.
The work shows clear decision-making.
Overall, the quality of the work is strong.
4 Good Breadth
•
•
•
•
•
•
•
•
•
•
Work shows engagement with a reasonable range of 3-D design problems.
The work demonstrates a clear effort to apply the principles of 3-D design, with some success.
Range of design problems may be limited, despite strong to excellent quality.
Work may appear as very successful solutions to design exercises, but not go beyond that level.
Technique and use of materials show an emerging sense of competence.
Work shows an emerging sense of ambition and/or sophistication.
There is evidence of thinking in most of the works.
Work may demonstrate strong to excellent breadth of design problems attempted, but be of less
than good quality.
549
3 Moderate Breadth
•
•
•
•
•
•
•
•
•
•
The work shows a superficial range of engagement with 3-D design problems.
Understanding and application of 3-D design principles is limited.
Work may appear to be good solutions to design exercises, but not go beyond that level.
Technical skill is uneven or questionable.
Work may show slight experimentation or risk-taking.
There is evidence of a modest level of thinking/decision-making in the work.
Work may exhibit good breadth, but be of less than moderate quality.
2 Weak Breadth
•
•
•
•
•
•
•
•
•
•
•
Work shows little engagement with a range of 3-D design problems.
Understanding of 3-D design principles appears to be undeveloped.
Work may be moderate in quality, but does not address a range of design issues.
Work may attempt to address a range of design issues without much success.
Technique/use of materials is awkward.
Work may demonstrate good to moderate technique, but the engagement with the principles of
design is weak.
Solutions to a range of problems are simplistic.
Evidence of thinking/decision-making is slight or present in only a few works.
There may be a moderate demonstration of breadth, but the work is of poor quality.
1 Poor Breadth
•
•
•
•
•
•
•
•
•
•
•
•
The range of 3-D design problems addressed is extremely limited.
Understanding of 3-D design principles is questionable or lacking.
Work is weak in quality, but does not address a range of design issues.
A variety of design problems are attempted, but solutions are generally unsuccessful.
Technique is clumsy or incompetent.
Work demonstrates moderate to weak technique, but the engagement with the principles of design
is poor.
Solutions tend to be inept or trite.
Little if any evidence of thinking/decision-making are present in the work.
Form, material, and content are unconsidered.
Not enough work is presented to demonstrate breadth.
550
Advanced Placement Art Studio, CCO II
Artists critically assess and respond to their own artwork as part of the
creative process.
FA 2, FA 3, CA 1, CA 4,
G1.5, G 2.4
Content and Skills:
should know:
Aesthetics
The aesthetic ideas communicated in
artworks.
Aesthetics
Analyze and respond to the aesthetic intent of artworks created
by self and others.
Art Criticism
Critique artworks.
Art Criticism
Critique artworks created by self and peers both during the
creating process and when work has been completed.
Produce a journal or sketchbook that records the creative
process, challenges, and solutions.
Unit Vocabulary:
Imitationalism, emotionalism, formalism, functionalism, critique
Pre-Assessment:
Students critique their own artwork.
Activity
Identify the aesthetic ideas communicated in each of
their artworks.
Strategy
Graphic Organizer
Assessment
Match between image
and writing
Activity
Compare and contrast the aesthetic ideas in two pieces
of student artwork.
Strategy
Modeling
Assessment
Scoring Guide
Strategy
Oral Presentation
Assessment
Scoring Guide
Activity
As an independent artist, display a body of work in an
exhibit, self-evaluate the work from a variety of
perspectives, and present this critique to the class.
551
Analysis could be completed orally or in writing.
Application Level Assessment Advanced Placement Art, CCO II: Students will use appropriate art
Student Tasks:
Aesthetics
Analyze and respond to the aesthetic intent of artworks created by self and others.
Art Criticism
Critique artworks created by self and peers both during the creating process and when work has been
completed.
Produce a journal or sketchbook that records the creative process, challenges, and solutions.
552
Name________________________________
Class_________________ Date:______
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
553
Scoring Guide for Advanced Placement Art Studio, CCO II
Criteria
Analyze and respond to the
aesthetic intent of artworks
created by self and others.
3
Proficient
4
Advanced
•
•
•
•
Analyzes, compares,
sets of artworks
Addresses the most
of the work
and specific
•
•
•
•
Analyzes, compares,
sets of artworks
Addresses important
work
cultural context
2
Nearly Proficient
•
•
•
•
•
554
sets of artworks
work
Supports some
context
Some important
be incorrect
1
Progressing
•
•
•
the artwork
Information may be
incomplete
Many pieces of
information may be
incorrect
Criteria
Introduction
•
•
4
Advanced
3
Proficient
piece
given
•
•
2
Nearly Proficient
piece
given
•
•
1
Progressing
personal piece
mentioned
title
•
of work listed
•
Random mention of
one or two details
seen in the work
Description
•
seen in the work
•
the work
•
Analysis
•
work
work
•
the work
•
Lists elements and
principles used
Tells how or where
some elements and
the work
•
and/or principles
work
each important
meaning of the work
•
ideas
•
Suggests meaning of
work but does not
explain: mood,
symbolism, attitude
•
toward subject, or
purpose
•
Interpretation
•
•
•
•
555
•
Judgment
•
•
Grammar, Style
Form
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
•
Free of errors
correct order
•
•
•
•
•
•
aesthetic theories
Emotionalism or
Functionalism)
theory
•
or grammar
own piece
correct order
•
556
•
•
•
•
•
the term
•
spelling without
affecting clarity
second person
of artist used
throughout essay
of order
•
Uses first, second
and/or third person
of artist used
throughout essay
of order
•
•
•
Appendix
557
Fine Arts Resource Selection
Evaluation Checklist
Course:______________________________________________________
Title of Text:__________________________________________________
Publisher:____________________________________________________
Copyright:____________________________________________________
Please use the scoring guidelines to assess the following items:
Scoring Guidelines:
+ 3 = Excellent
2 = Good
− 1 = Poor or Not at All
NA = Not Applicable
Student Textbook:
1.
______
Objectives for lessons are clear.
2.
______
Objectives represent various levels of Bloom’s.
3.
______
Includes historical/cultural information.
4.
______
Emphasizes fine arts process skills and inquiry.
5.
______
Develops problem solving and critical thinking skills.
6.
______
Performance assessments with scoring guides are provided and
match objectives.
7.
______
Makes the connection among fine arts and with core subjects,
technology, and society.
8.
______
Appropriate reading level.
9.
______
Is gender-fair, multicultural and disability aware.
558
10.
______
Text meets District CCOs (percent covered______%).
Overall Rating
Teacher Resources:
1.
_______
Contains clearly written, easy-to-use plans.
2.
_______
Includes enough background information for teacher.
3.
_______
Provides extension ideas for differentiating instruction.
4.
_______
Integrates writing in lessons.
5.
_______
Incorporates technology in lessons (provides lesson examples, web
sites, etc.).
6.
_______
Provides quality supplemental materials.
Overall Rating
Check one
_____This textbook would be a great choice.
_____This textbook should be considered.
_____I would not recommend this textbook.
Other Comments:
559
Rockwood
Writing Guidelines
While the emphasis of the Rockwood drama program is on the elements of performance and production of dramatic works,
formal writing is a portion of the class grade. At least one formal writing assignment from any of the listed categories will
be a part of the grade of each course. Below are the minimum standards for formal writing assignments:
Content:
Critiques should be based on specific criteria supported by observations referenced to the artwork.
Expository Writing should include a thesis backed by supporting details.
Form:
Critiques should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,
usage, and mechanics rules per Rockwood scoring guide.
Analyses should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,
usage, and mechanics rules per Rockwood scoring guide.
Expository Writing should follow multi-paragraph essay format. Students should document sources as necessary. Writing
will follow grade appropriate grammar, usage, and mechanics rules per Rockwood scoring guide.
560
ROCKWOOD WRITING ASSESSMENT
HOLISTIC SCORING GUIDE
Overview: The holistic method of assessing writing samples gives a numerical score to papers based on an overall single
impression of each paper. How well a student can communicate and elaborate ideas as well as his/her general command of
mechanical conventions are considered in this assessment.
6
5
4
3
2
1
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Appropriate content totally relevant to prompt with full elaboration
Effective, engaging opening; consistent, controlled central focus; clear order; strong closure
Varied and complete sentence structure; precise, high-level vocabulary; appropriate transitions
Virtually no mechanical, grammatical, or spelling errors
Appropriate content relevant to prompt with full elaboration
Effective opening; consistent central focus; clear order; strong closure
Varied and complete sentence structure; high-level vocabulary; appropriate transitions
Few mechanical, grammatical, or spelling errors
Appropriate content relevant to prompt with elaboration
Generally varied and complete sentence structure; suitable vocabulary; transitions
Mechanical, grammatical, and/or spelling errors are present; do not affect readability
Opening; apparent central focus; some order; closure
Little sentence variety; may have short choppy sentences; nondescript vocabulary; few Mechanical,
grammatical, and/or spelling errors are present; may detract from readability
Some communication of ideas; minimal support
Weak or no opening; may ramble or include irrelevancies; may lack closure
Numerous errors in sentence structure with low-level vocabulary; few, if any, transitions
Mechanical, grammatical, and/or spelling errors are varied and numerous; errors interfere with
readability
Topic is barely addressed
No opening; rambles and includes irrelevancies; lacks closure
Few, if any, complete sentences with low-level vocabulary; lacks transitions
Mechanical, grammatical, and/or spelling errors are frequent; intended meaning is unclear
A score of “” is given to a paper that is not scoreable because the student apparently did not understand the task. That is,
the student demonstrated some degree of writing ability, but did not address the topic.
August 27, 2001
DRAFT Fine Arts Scoring Guide
for Local Assessment of the Missouri Show-Me Standards
Criteria
Advanced
Level 4
+ Proficient
Level 3
identifies and categorizes
works
+ identifies many works
+ compares and contrasts
characteristics in historic works
Content Standard: FA 5
compares, contrasts, and
evaluates characteristics in
historic works
Process Standards:
G 1.6, G 1.7, G 1.9,
G 2.4, G 4.1
analyzes cultural context of
historic works and their
influences on own works
B. Criticism/Analysis
uses discipline-specific
vocabulary to fluently describe,
analyze, interpret, and evaluate
works created by:
1. self
2. 2. peers
3. 3. artists of
historical/cultural
significance
A. History
Analysis of the past as seen
through the arts
Critical analysis of artistic work
based upon the elements and
principles of the art form
Content Standards:
FA 2, FA 3, FA 4
Process Standards:
G 1.5, G 1.6, G 1.9,
G 2.4, G 4.1
analyzes connections among
arts and other disciplines
Nearing Proficient
Level 2
identifies few works
-Progressing
Level 1
- attempts to identify works
explains characteristics in
historic works
- lists characteristics in historic
works
relates art from some
historical periods, movements
and/or cultures to own works
- attempts to relate historic works
to own work
+ uses discipline-specific
vocabulary to describe, analyze,
interpret, and evaluate works
created by:
1. self
2. 2. peers
3. artists of historical/
cultural significance
sometimes uses disciplinespecific vocabulary to describe,
analyze, interpret, or evaluate
works created by:
1. self
2. peers
3. artists of historical/
cultural significance
- rarely uses discipline-specific
vocabulary to describe, analyze,
or interpret works
+ identifies connections among
arts and other disciplines
makes some connections
among arts and other
disciplines
- attempts to make connections
among arts and other disciplines
+ explains cultural context of
historic works and their
relationship to own works
Criteria
Advanced
Level 4
+ Proficient
Nearing Proficient
Level 2
- Progressing
Level 1
Level 3
C. Aesthetics
formulates and defends
complex perceptions of works
+ formulates detailed
perceptions of works
explains perceptions of
works
- attempts to explain perceptions
of the works
supports and defends others’
responses to works
+ compares and contrasts
others’ responses to works
describes others’ responses
to works
- attempts to describe others’
responses to works
independently expands upon
assigned processes, media, and
techniques
+ correctly applies assigned
processes, media, and
techniques
uses some assigned
processes, media, and
techniques
- attempts to use assigned signed
processes, media, and techniques
The process through which works
of art evolve
independently formulates
problems and demonstrates
problem-solving process:
1. investigates
2. develops and revises
3. produces/ performs
4. reflects (with others if
required)
+ identifies problems and
demonstrates problem-solving
process:
1. investigates
3. produces/performs
required)
demonstrates most steps of
1. investigates
required)
demonstrates originality
consistently
+ demonstrates originality with
prompting
composes original works that
reflect careful planning and are
effective for desired purposes
+ composes original works that
are well-organized
composes original works that
reflect some planning
+ improves from past
performances
improves minimally from
past performances
The nature of the art sand their
impact on an audience
Process Standards: G 1.6,
G 2.3, G 2.4, G 4.1
D. Product/Performance
Part I: Process
- demonstrates few steps of the
1. investigates
required)
- copies ideas of others
Process Standards:
G 1.1, G 1.3, G 1.5,
G 2.1, G 2.2, G 2.5,
G 3.1, G 3.2, G 3.3,
G 3.4, G 3.6
improves, in a continuous,
self-directed manner, from past
performances
563
modifies ideas of others
- composes works without
planning
- remains the same as past
performances
Criteria
D. Product /Performance
Part II: Completed Work
Advanced
Level 4
demonstrates high degree of
technical skill, craftsmanship,
and/or artistry
+ Proficient
Level 3
- Progressing
Level 1
+ demonstrates technical skill,
craftsmanship, and/or artistry
demonstrates developing
technical skill, craftsmanship,
and/or artistry
- attempts to demonstrate
technical skill , craftsmanship,
and/or artistry
+ demonstrates relevant
historical influences, modified
by student
restates relevant historical
characteristics; copied instead
of personalized
- lacks relevant historical
characteristics
Terminal exhibition/ performance
that demonstrates knowledge and
skills in the fine arts: dance,
music, theatre, and/or the visual
arts
synthesizes relevant historical
influence with student’s personal
interpretation
Content Standards: FA 1,
FA 2
creates/recreates complex
works that demonstrate assigned
concepts, processes, elements,
and/or principles
+ creates/recreates works that
demonstrate many assigned
concepts, processes, elements,
and/or principles
articulates clear, well thoughtout intent of artist
+ communicates intent of artist
Process Standards: G 4.1,
G 4.8
Nearing Proficient
Level 2
564
creates/recreates works that
demonstrate some assigned
concepts, processes, elements
and/or principles
attempts to communicate the
intent of artist
- creates/recreates work that
attempt to demonstrate some
assigned concepts, processes,
elements and/or principles
- does not communicate the intent
of artist
The following category refers to attitudes and behaviors conducive to success.
They are to be encouraged but not assigned score points.
Criteria
E. Responsibility
Process Standards:
G 4.5, G 4.6, G 4.7
Advanced
Level 4
consistently on task
+ Proficient
Level 3
+ usually on task
independently uses and assists
with materials and equipment
appropriately
+ uses materials and equipment
appropriately
consistently respects students
and their artistic
products/equipment
+ usually respects students and
their artistic
products/equipment
collaborates as required
+ collaborates, with assistance,
as required
565
Nearing Proficient
Level 2
occasionally on task
- Progressing
Level 1
- rarely on task
occasionally uses materials
and equipment appropriately
- rarely uses materials and
equipment appropriately
occasionally respects
students and their artistic
products/equipment
- rarely respects students and
their artistic products/equipment
works in groups, with
assistance, as required
- works poorly in groups
Missouri Show-Me Standards
The Missouri Department of Elementary and Secondary Education has issued a set of standards that are intended to define
what students should learn by the time they graduate from high school. These guidelines are titled “The Show-Me
Standards”.
The Rockwood School District Art Curriculum is referenced to the Missouri Show-Me Standards. You will find the
references explained below.
Example from Grade Six Art Studio:
I.
Core Conceptual Objective IA:
Students will demonstrate knowledge of elements and principles through the
create artwork.
FA 1, FA 2
FA I and FA 2 refer to the Content Standards for Fine Arts 1 and Fine Arts 2:
Students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
process and techniques for the production, exhibition, or performance of one or more of the visual or performed arts
the principles and elements of different art forms
II,
Core Conceptual Objective IC: Students will communicate a theme or subject matter through the production of
original artwork.
theme.
FA 1, G 3.1
G 3.1 refers to Goal 3, statement #1:
Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.
Students will demonstrate within and integrate across all content areas the ability to
1.
identify problems and define their scope and elements
KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS
Note to Readers: What should high school graduates in Missouri know and be able to do? The Missourians who
developed these standards wrestled with that question. In the end, they agreed that “knowing” and “doing” are actually two
sides of the same coin. To perform well in school or on the job, one must have a good foundation of basic knowledge and
skills. Equally important, though, is the ability to use and apply one’s knowledge in real-life situations.
These standards (73 in all) are intended to define what students should learn by the time they graduate from high
school. There are 33 “Performance” standards, listed under four broad goals. There are also 40 “knowledge” standards,
listed in six subject areas. Taken together, they are intended to establish higher expectations for students throughout the
Show-Me State. These standards do not represent everything a student will or should learn. However, graduates who meet
these standards should be well-prepared for further education, work, and civic responsibilities.
All Missourians are eager to ensure that graduates of Missouri’s public schools have the knowledge, skills, and
competencies essential to leading productive, fulfilling and successful lives as they continue their education, enter the
workforce and assume their civic responsibilities. Schools need to establish high expectations that will challenge all
students to reach their maximum potential. To that end, the Outstanding Schools Act of 1993 called together master
teachers, parents, and policy-makers from around the state to create Missouri academic standards. These standards are the
work of that group.
The standards are built around the belief that the success of Missouri’s students depends on both a solid foundation
of knowledge and skills and the ability of students to apply their knowledge and skills to the kinds of problems and
decisions they will likely encounter after they graduate.
The academic standards incorporate and strongly promote the understanding that active, hands-on learning will
benefit students of all ages. By integrating and applying basic knowledge and skills in practical and challenging ways
across all disciplines, students experience learning that is more engaging and motivating. Such learning stays in the mind
long after the tests are over and acts as a springboard to success beyond the classroom.
These standards for students are not a curriculum. Rather, the standards serve as a blueprint from which local
school districts may write challenging curriculum to help all students achieve their maximum potential. Missouri law
assures local control of education. Each school district will determine how its curriculum will be structured and the best
methods to implement that curriculum in the classroom.
Authority for the Show-Me Standards: Section 160.514, Revised Statutes of Missouri, and the Code of State
Regulations, 5 CSR 50-375.100.
567
GOAL 1
Students in Missouri public schools will acquire the knowledge and skills to gather, analyze, and apply information
and ideas.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
develop questions and ideas to initiate and refine research
conduct research to answer questions and evaluate information and ideas
design and conduct field and laboratory investigations to study nature and society
use technological tools and other resources to locate, select, and organize information
comprehend and evaluate written, visual, and oral presentations and works
discover and evaluate patterns and relationships in information, ideas, and structures
evaluate the accuracy of information and the reliability of its sources
organize data, information, and ideas into useful forms (including charts, graphs, outlines) for analysis or presentation
identify, analyze, and compare the institutions, traditions, and art forms of past and present societies
apply acquired information, ideas, and skills to different contexts as students, workers, citizens, and consumers
GOAL 2
Students in Missouri public schools will acquire the knowledge and skills to communicate effectively within and
beyond the classroom.
1.
2.
3.
4.
5.
6.
7.
plan and make written, oral, and visual presentations for a variety of purposes and audiences
review and revise communications to improve accuracy and clarity
exchange information, questions, and ideas while recognizing the perspectives of others
present perceptions and ideas regarding works of the arts, humanities, and sciences
perform or produce works in the fine and practical arts
apply communication techniques to the job search and to the workplace
use technological tools to exchange information and ideas
568
GOAL 3
Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.
2.
3.
4.
5.
6.
7.
8.
9.
identify problems and define their scope and elements
develop and apply strategies based on ways others have prevented or solved problems
develop and apply strategies based on one’s own experience in preventing or solving problems
evaluate the processes used in recognizing and solving problems
reason inductively from a set of specific facts and deductively from general premises
examine problems and proposed solutions from multiple perspectives
evaluate the extent to which a strategy addresses the problem
assess costs, benefits, and other consequences of proposed solutions
GOAL 4
Students in Missouri public schools will acquire the knowledge and skills to make decisions and act as responsible
members of society.
1.
2.
3.
4.
5.
6.
7.
8.
explain reasoning and identify information used to support decisions
understand and apply the rights and responsibilities of citizenship in Missouri and the United States
analyze the duties and responsibilities of individuals in societies
recognize and practice honesty and integrity in academic work and in the workplace
develop, monitor, and revise plans of action to meet deadlines and accomplish goals
identify tasks that require a coordinated effort and work with others to complete those tasks
identify and apply practices that preserve and enhance the safety and health of self and others
explore, prepare for, and seek educational and job opportunities
569
Missouri students must build a solid foundation of factual knowledge and basic skills in the traditional content areas. The
statements listed here represent such a foundation in reading, writing, mathematics, world and American history, forms of
government, geography, science, health/physical education, and the fine arts. This foundation of knowledge and skills
should also be incorporated into courses in vocational education and practical arts. Students should acquire this knowledge
base at various grade levels and through various courses of study. Each grade level and each course sequence should build
on the knowledge base that students have previously acquired.
These concepts and areas of study are indeed significant to success in school and in the workplace. However, they
are neither inclusive nor are they likely to remain the same over the years. We live in an age in which “knowledge” grows
at an ever-increasing rate, and our expectations for students must keep up with that expanding knowledge base.
Combining what students must know and what they must be able to do may require teachers and districts to adapt
their curriculum. To assist districts in this effort, teachers from across the state are developing curriculum frameworks
show how others might balance concepts and abilities for students at the elementary, middle, and secondary levels. These
models, however, are only resources. Missouri law assures local control of education. Each district has the authority to
determine the content of its curriculum, how it will be organized, and how it will be presented.
Communication Arts
In Communication Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
and proficiency in
1.
2.
3.
4.
5.
6.
7.
speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)
reading and evaluating fiction, poetry, and drama
reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)
writing formally (such as reports, narratives, essays)
comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling,
debates, lectures, multi-media productions)
participating in formal and informal presentations and discussions of issues and ideas
identifying and evaluating relationships between language and culture
570
Mathematics
In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
addition, subtraction, multiplication, and division; other number sense, including numeration and estimation; and the
application of these operations and concepts in the workplace and other situations
geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and similarity and
transformations of shapes
data analysis, probability, and statistics
patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts
mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number theory
(including primes, factors, multiples)
discrete mathematics (such as graph theory, counting techniques, matrices)
Science
In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
7.
8.
properties and principles of matter and energy
properties and principles of force and motion
characteristics and interactions of living organisms
changes in ecosystems and interactions of organisms with their environments
processes (such as plate movement, water cycle, air flow) and interactions of earth’s biosphere, atmosphere,
lithosphere, and hydrosphere
composition and structure of the universe and the motions of the objects within it
processes of scientific inquiry (such as formulating and testing hypotheses)
impact of science, technology, and human activity on resources and the environment
571
Social Studies
In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
7.
principles expressed in the documents shaping constitutional democracy in the United States
continuity and change in the history of Missouri, the United States, and the world
principles and processes of governance systems
economic concepts (including productivity and the market system) and principles (including the laws of supply and
demand)
the major elements of geographical study and analysis (such as location, place, movement, regions) and their
relationships to changes in society and environment
relationships of the individual and groups to institutions and cultural traditions
the use of tools of social science inquiry (such as surveys, statistics, maps, documents)
Fine Arts
In Fine Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
process and techniques for the production, exhibition, or performance of one or more of the visual or performed
arts
the principles and elements of different art forms
the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and visual arts
interrelationships of visual and performing arts and the relationships of the arts to other disciplines
visual and performing arts in historical and cultural contexts
572
Health/Physical Education
In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which includes
knowledge of
1.
2.
3.
4.
5.
6.
7.
structures of, functions of, and relationships among human body systems
principles and practices of physical and mental health (such as personal health habits, nutrition, stress management)
diseases and methods for prevention, treatment, and control
principles of movement and physical fitness
methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco, alcohol,
and other drug use)
consumer health issues (such as the effects of mass media and technologies on safety and health)
responses to emergency situations
573
August 27, 2001 DRAFT
Missouri Department of Elementary & Secondary Education
Integrated (Interdisciplinary/Cross Discipline) Fine Arts Vocabulary
HISTORY STRAND
DANCE
STYLES:
Ballet – European style of dance;
traditionally performed en pointe by
ladies and having a story line
Folk – native dances of different
cultures
Jazz – dance with African-American
roots performed with soft sole shoes
Modern – style of dance
characterized by freedom of form and
performed barefoot
Tap – dance with African-American
roots performed with steel taps on the
dances shoes
Ballroom/Social – form of dance
used in social settings
Recreation – moving with or without
partners for the sheer enjoyment of
moving through space
Exercise – choreographed
movements designed to build up body
and maintain general health and wellbeing
MUSIC
STYLES:
Classical Music – in its broadest sense,
refers to a style of “art” music as
distinguished from folk, jazz, or popular
music
(See Historical Periods for further
definition)
Folk Music – music from a specific
culture
Folk Song – uncomplicated music that
speaks directly of everyday matters
Jazz – a style of American music
originated in the South by AfricanAmericans; it is characterized by strong,
prominent meter, improvisation, and
dotted or syncopated patterns
Long Ago – music from the past
Modern – music that is current;
generally, 20th century music
Popular Style (Music) – American
music that has wide appeal, is
immediately communicative and
relatively short
THEATRE
STYLES:
Comedy – a funny or amusing play
with a happy ending
Improvisation – short scenes made
up on the spur of the moment
following generated guidelines
Melodrama – a serious play with
an unhappy ending; the major
characters are predictable
Musical – a play with songs
supporting the plot
Tragedy/Drama – a serious play
with an unhappy ending; major
characters are unpredictable
574
VISUAL ARTS
STYLES:
Abstract – art that exaggerates,
simplifies, or distorts reality
Fantasy – art showing imaginary or
unreal people, places or things
Realistic – art showing life as it is
Non-objective – based on elements of
art rather than on recognizable people,
places or things
Modern – 20th century art with a focus
on abstraction
DANCE
FUNCTIONS:
Education – dance intended to teach
Entertainment – dance intended for
audience enjoyment
Sacred – dance dealing with religious
themes
MUSIC
FUNCTIONS:
Accompaniment – music that adds
texture to a melody or melodies
Ceremonial – an established custom or
formal actions connected with an
occasion
Functional Music – wedding,
graduation, funeral, parade,
entertainment
Lullaby – sleep song
March – music with a steady beat
suitable for a parade or processional.
Popular Style – American music that
has wide appeal, is immediately
communicative and relatively short
Sacred – religious music
Secular –non-religious music
Spiritual – a sacred song that evolved
from the period of slavery in the U. S.
Waltz – dance in triple meter
Work Song – songs in which the text
describes the task of the worker
THEATRE
FUNCTIONS:
Education – theatre intended for
instruction
Entertainment – theatre intended
for audience enjoyment
Sacred – theatre dealing with
religious themes
575
VISUAL ARTS
FUNCTIONS:
Ceremonial – art serving a symbolic
function in a culture, e.g., flag
Commercial/Popular – art used for
business purposes, e.g., advertising,
fashion design, architecture, product
design, cartooning
Expressive – art that conveys
emotion or feeling
Formalism – art for art’s sake
Functional – decorated objects for
everyday use, e.g., pottery, jewelry,
fibers
Representational – art showing real
life
Sacred – art dealing with religious
themes
DANCE
MUSIC
THEATRE
VISUAL ARTS
TRADITIONAL CULTURES:
Asian/Chinese – usually ceremonial;
used during theatrical productions;
uses mime and head and eye
movements; generally, tells a story or
depicts activities in everyday life
Asian – representational, stylized sound
images of people and nature;
identifiable sound characteristics
include artisan-made acoustical bamboo
and string instruments and drums,
pentatonic scales, narrow melodic
range, and a bright and nasal vocal
quality
Asian – superior craftsmanship,
representational, stylized images of
people and nature created to match an
ideal; narrative depiction of history
and culture; may emphasize line and
flat areas of color
African – movements generally low
and grounded, using body
contractions, foot stamping,
percussive and swinging head and
arm movements; always rhythmic,
often energetic; ceremonial; religious
and secular events occurring in
everyday life; may use
costumes/masks
African – functional music that is
participatory; instruments include a
variety of bells, drums, and rattles;
characterized by percussive and
polyrhythmic sounds that often use
improvisation
Asian – characters wear white
and elaborately patterned
makeup along with colorful
embroidered robes to perform
stylized plays with stories of
long ago, or about family life
African – actors wear carved
masks and perform rituals based on
everyday activities
576
African – ceremonial and functional
objects; handmade with natural
materials; masks/sculptures show
exaggerated, stylized features of
people and animals, jewelry and
printed cloth use bright, bold,
geometric designs
DANCE
MUSIC
THEATRE
VISUAL ARTS
Native American – dances may vary
in movement from tribe to tribe;
generally, dances affecting people in
everyday life use large groups; use
simple, repetitive steps and
music/singing; women dance for
women’s activities, e.g., birth,
marriage, planting; men dance for
men’s activities, e.g., coming of age,
war, hunting; dances usually tell
stories and can be narrated
simultaneously; solo work can explain
a tribal myth or tradition or carry on a
history of the tribe; solos are usually
performed with costumes and makeup
Native American – functional music
that celebrates the cultural heritage of
the Native American; drums and rattles
are the predominant instruments that
accompany the voice; the only pure
instrumental music is for flutes and
whistles; the steady beat of the drum
does not always match the beat of the
song; there is no harmony
Native American – story
tellers/dancers may wear traditional
Regalia while performing for an
audience; Regalia may include
beadwork, feathers, and body
painting depending on region or
tribal affiliation
Native American – functional art
celebrating the cultural heritage of the
Native American; regional
characteristics: southwest (geometric,
Kachina); plains (narrative symbols);
northwest coast (animal totems)
577
DANCE
HISTORICAL PERIODS:
American/Colonial – dances adapted
from European culture to the new
environment; examples of dances
include gavottes, minuets, marches,
jigs, circle group dances, and folk
dances
American/Western Expansion –
square and reel dance forms evolved;
the Grand March and the Polonaise
were used at ceremonial balls; the
mazurka and polka were danced in
couples
American/Civil War –waltz and
country dances were popular
Classical – tap and soft-shoe
dances were developed during
the 1750 to 1820 time period
MUSIC
HISTORICAL PERIODS:
American/Colonial–folk songs adapted
from European cultures
cowboy songs, work songs and folk
songs
American/Civil War – spirituals and
work songs
Classical – specifically refers to
European music composed from about
1750 to 1820 that borrows from Art
History’s neoclassical period focusing
on unity, balance and ideas of realism
Modern – 20th century innovative forms
and combinations of sounds
Modern – 20th century dance
characterized by freedom of
movement and performed barefoot
THEATRE
HISTORICAL PERIODS:
American/Colonial – Began with
British companies touring the
colonies with English-style plays;
developed into plays written by
Americans with typically American
characters
troupes of actors traveled by
wagons and showboats to perform
for people in the expanding
American West
American/Civil War–melodramas
became the predominant theatrical
form; American themes and/or
spectacular plays once again
became popular
Classical – the first formal theatre
came from ancient Greece; Thespis
was the first actor to step from a
chorus of actors to speak individual
lines
VISUAL ARTS
HISTORICAL PERIODS:
American/Colonial –Real looking
paintings/sculptures of portraits and
history based on European art.
Architecture: styles brought by
colonists from European villages
Idealized, symbolic landscapes show
images of American wilderness;
architecture: rebellion against English
styles, Roman domes and columns
symbolize democracy
American/Civil War – realistic
painting/ sculpture/ photography
document current history;
architecture: industrial barons base
homes on European castles
Classical – realistic figure sculpture
based on ancient Greek and Roman
art; architecture: Greek and Roman,
elements: columns, arch, and dome
Modern – the director emerged as
the dominant force; realism is the
predominant style with most theatre
being very lifelike
Modern – 20th century abstract and
non-objective styles; the subject
matter is the elements and principles
of art; architecture: reaction against
historical styles, form follows
function
578
DANCE
Composition – a grouping of
movements to form a dance
Forms – methods of choreography; 2part form (AB), 3-part form (ABA),
Rondo (ABACA), theme and
variations, free sequential forms
Balance – ability to remain upright
Criticism and Analysis Strand
MUSIC
THEATRE
Composition – an original work or
Book – play manuscript; in musical
“opus”
productions the libretto without the
music
Manuscript (Script) – written or
typed play, or the book of a musical
(usually used in rehearsal)
Form – overall structure or organization Form – structure of a play, e.g.,
of a musical composition may
scenes and acts
incorporate repetition, contrast, unity
and variety
Call and response – a song style that
follows a simple question and answer
pattern in which a soloist “calls” out the
melody and a group “responds”
Canon – composition for two or more
voices in which one voice enters after
another in exact imitation of the first,
similar to a round
Balance – sounds adjusted to create
Balance – equalization of stage
desired effect
picture including placement of
characters and set pieces on the
stage
579
VISUAL ARTS
Composition – arrangement of
Form – three-dimensional or illusion
of 3D
Geometric – forms with
mathematical names
Organic – living things forms
Balance – arrangement with equal
visual weight on both sides of a
position
Asymmetrical/Informal – two sides
of a composition have the same visual
weight but the lines, shapes and
colors are not the same
DANCE
Space – a dancer moves in and
through space
MUSIC
Space –
a) relationship between sound and
silence
b) lines and spaces on a staff
THEATRE
Space – where the actors are
located on the stage
Dynamics – movements determined
by the amount of energy, e.g.,
sustained, percussive, vibratory
Contrast – the use of different
elements of movement, e.g., high
movement versus low levels; fast
versus slow actions
Tempo – speed of the movements
Dynamics –the volume of sound; the
loudness or softness of a musical
passage
Contrast – referring to extremes in each
element, e.g., pitch, rhythm, dynamics,
timbre
Dynamics – relationship of loud to
soft in the actor’s speech, intensity
Steady beat – a consistent and regular
pulse
Tempo – speed of the underlying beat
Ritardando/Ritard – a gradual slowing
of tempo; abbreviate as rit
Accelerando – to gradually accelerate
Pace – the timing of lines and stage
business (not to be confused with
speed)
Contrast – variation used to
heighten interest in dramatic
construction and acting
580
VISUAL ARTS
Symmetrical/Formal – 2 sides of a
composition are identical, mirror
images
Proportion – the size relationships of
parts to a whole and to each other
Space – the distance around and
between things; area that can be filled
with an art element
Perspective – a way of making a flat
surface look as if it goes back in
space; illusion of depth
Foreground – area in twodimensional artwork that appears
closest to the viewer, usually
positioned at the bottom of the
artwork
Background – the part of a twodimensional artwork farthest from the
viewer, usually closest to the horizon
line
Positive space – the object itself; is
there
Negative space – the areas around the
object; is not there
Color Intensity – brightness or
dullness of hue
Contrast – a difference between
elements in a work of art
DANCE
Rhythm – the movement with or
against sound in time
(get faster) in tempo
MUSIC
Rhythm – combinations of long and
short sounds and silences that convey a
sense of movement
Line – linear motion, unspoken (sing
the line)
Melody – horizontal, linear aspect of
music; organized succession of pitches
Pitch – measured and named number of
vibrations per second; heard as a sound
from high to low; wave lengths in sound
Scale – the series of steps from one
pitch to another
Timbre – unique quality of a voice or
instrument
Tone Quality – dark or light quality of
sound
THEATRE
VISUAL ARTS
Beat – change of interpretation in a
thought process; the ending of one
thought process and the beginning
of another
Line – linear motion, speech to
speeches in a play
Movement – stage movement;
blocking; moving from one stage
area to another
Pitch – raise or lower the voice
according to the musical scale
Inflection – vocal modulation,
variety in pitch
Acoustics – the quality of sound
transmission within a theater
Quality – unique sound of the
actor’s voice
Voice projection – control of the
voice so that even those in the last
row of the house can hear and
understand every word
Rhythm – visual movement created
by repetition
581
Line – path of a moving dot
Movement – path of viewer’s eye as
it travels around a composition
Hue - measured and named qualities
of light
Color - reflected quality of asurface
based on pigment or light,
wavelengths in light
Value – steps from white through
gray to black; value scales are regular
intervals of values
Tint – light value of a color, made by
mixing white with the color
Shade – the dark value of a color,
made by mixing black with the color
Color intensity – brightness or
dullness of a hue
Color Wheel – colors of the rainbow
turned into a circle
Cool Colors – colors around blue on
the color wheel; green, blue, violet
Warm colors – colors around orange
on the color wheel; red, orange,
yellow
Primary colors – the first colors from
which others are mixed; red, yellow,
blue
Secondary colors – colors made
when two primary colors are mixed;
orange, violet, green
DANCE
MUSIC
THEATRE
VISUAL ARTS
Texture – the density or scarcity of
movement in a dance; it can also be
used to describe movements such as
rough, smooth, etc.
Texture – the character of the different
layers of sound in music
Solo – one person only plays or sings
Duet – two people play or sing
Trio – three people play or sing
Quartet – a combination of four voices
or instruments; also music written for
such an ensemble
Notation – written symbols used to
identify the musical elements
Texture – to add depth and tactile
qualities to scenery pieces
Texture – the way a surface feels or
looks like it would feel.
Symbols – abbreviations for stage
directions, movement and vocal
inflection
Harmony – two or more pitches
occurring simultaneously; used in
musical theatre
Shape – design of the structure that
is the set for a play
Symbol – an image that stands for an
idea
Symbols – signs for parts of the body
used in dance notation
Harmony – the sounding together of
two or more tones
Shape – interesting and interrelated
arrangement of body parts of one
dancer; the overall visible appearance
of a group of dancers
Pattern – repetition – principle of
choreographic form based upon using
movements or phrases again in a work
Shape – to perform a phrase musically
Accent – an emphasized movement
Accent – the emphasis placed on a beat
Ostinato – a rhythmic or melodic
passage that is repeated continuously
Pattern/Stage Picture – the
arrangement of actors on the stage
Repetition – repeating a word,
phrase, movement or design
Accent – use of a dialect
Emphasis – a stressed word in a
line
Product/Performance Strand
Students will demonstrate the application of knowledge (see terms in History and Criticism sections of this document).
582
Harmony/Unity – elements work
together in an artwork
Shape – two-dimensional or flat
Geometric – mathematical
Organic – living things
Pattern – repetition of line, shape,
and/or color
Emphasis/Center of Interest – part
of a composition that gets the most
attention
Graphic
Organizers
583
Easy Start Herringbone
1. Who is it about?
2. Where did it happen?
3. When did it happen?
MAIN IDEA
4. What happened?
5. How did it happen?
584
6. Why did it happen?
Compare and Contrast
Transition Words: different from, same as, instead of, on the other hand
585
TOPIC: _____________________________________________________________________
MAIN IDEA: ________________________________________________________________
_____________________________________________________________________________
MAJOR SUPPORTING DETAILS
1.
2.
3.
4.
5.
586
Suggested Graphic Organizer for Cause and Effect
Cause
Effect
Effect
Effect
Effect
Transition Words: because, since, so that, if/then
587
Chronological/Sequence
Event 1
Event 3
Event 2
Transition Words: First, second, then, after, next etc.
588
Event 4
Problem/Solution
Problem
Transition Words: One answer is, the question is, the problem, the solution
589
STORY MAP (CHART)
(Isabel Beck)
The Character:
The setting:
Statement of the Problem:
Event 1:
Event 2:
Event 3:
Event 4:
Event 5:
Event 6:
Event 7:
Statement of the Solution:
Story Theme: (What is this story REALLY about?)
Values brought out in the story:
590
SEQUENCE CHAIN
591
Essay Organizer - Standard Outline
Introductory Paragraph
Thesis Statement:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
(Note: You are NOT limited to only 3 support paragraphs!)
Conclusion
(Emphasize Thesis)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
592
Paragraph Organizer
Topic Sentence:
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concluding sentence:
593
Essay Organizer – Standard Outline
Paragraph 1 – Introduction:
Main Idea/ Thesis:
Paragraph 2 – Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 3– Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 4 – Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 5 – Conclusion
594
MIDDLE SCHOOL ART FUNDAMENTALS WAIVER EXAM
As they enroll in high school, advanced eighth grade art students may be accelerated in art by
earning a waiver of the entry level high school art course, Art Fundamentals. The waiver allows
them to enroll in intermediate level art courses for the first semester of their freshman year. It
does not grant high school credit.
The Art Fundamentals waiver is awarded on the basis of the successful completion of both a
paper and pencil test (50%) and a portfolio evaluation (50%). The paper and pencil test is
equivalent to the Art Fundamentals semester final exam. It includes multiple choice, constructed
response, essay, and drawing items. The portfolio of student artworks demonstrates elements,
principles, themes, media skills, and concepts taught in Art Fundamentals. The student
organizes the artwork on the basis of his/her definition of art, explains each piece and writes an
art criticism essay about one of his/her artworks. Students who score a total of 80% or higher on
the combined test and portfolio evaluation will obtain a waiver.
High school faculty members who teach Art Fundamentals write the exam and score the test and
portfolio.
Frequently Asked Questions
How do students prepare for the Art Waiver?
Test and portfolio content are available in advance. (See following pages.) Students will be
taught portions of the Art Fundamentals content in each middle school Art Studio and Design
Studio course. Artworks created in these classes can be used in the portfolio. Students may also
learn the content and create art independently.
Must middle school students take every available Art/Design class offered (i.e. taking Art
and Design Studio each year) in order to take advantage of the Art Fundamentals Waiver
Exam for high school?
No. Any middle school student may take the Art Fundamentals Waiver Exam for high school
acceleration. However, those students who take those Art/Design classes each year will have
been taught the skills assessed on the Waiver Exam, and will have had the opportunity to build
the required portfolio, as well.
595
Waiver of Art Fundamentals Paper & Pencil Test Content
The paper and pencil test will be worth 50 points = ½ of total number of exam points.
The paper and pencil test will include multiple choice, short answer, constructed response, essay,
and drawing items. The following will be covered in the test.
10. Principles of Design
a. Balance
b. Emphasis
c. Contrast
d. Unity
e. Proportions of faces
f. Rhythm
1. Contour Line
2. Texture
a. Invented
b. Simulated
c. Real
3. Drawing techniques
a. Shading with side of pencil
b. Hatching
c. Crosshatching
d. Stippling
11. One-Point Linear Perspective
12. Space
a.
b.
c.
d.
4. Value Scale
5. Properties of Color
a. Hue
b. Intensity
c. Value
Negative
Positive
Linear perspective
Illusion of form
13. Illusion of Form
a. Shaded part of form
b. Cast shadow
c. Highlight
6. Color wheel
14. Art History
a. Realistic, Abstract, and NonObjective styles
b. Portrait, Still Life,
Landscape, Sculpture
Themes
c. Art as Communication of an
idea
d. Art as Graphic
Communication (mass
media)
7. Color Schemes
a. Monochromatic
b. Analogous
c. Complementary
d. Split-complementary
e. Triad
8. Shape
a. Geometric
b. Organic
c. Freeform
15. Connections between the art
criticism process and analytical writing
in language arts
9. Form
a. Geometric
b. Organic
c. Freeform
596
Portfolio Requirements for Art Fundamentals Waiver
The portfolio will be worth 50 points = ½ of total number of exam points.
The portfolio must include:
•
•
•
•
Completed Table of Contents pages
Between four and nine completed artworks
Examples of all requirements listed below It is possible for one artwork to meet more
than one requirement at the same time. For example, a realistic, charcoal still life drawing
could be counted as meeting four requirements: still life theme, drawing media, example of
realism, and illusion of form.
Typed Art Criticism essay about the best work. The scoring guide for this writing will be
given to you along with these requirements pages.
Artwork may have been done during middle school classes or independent study. Check to be
sure that each of the following requirements is demonstrated in one or more of the artworks. If
it is not, then create artwork that shows your understanding of the missing item(s).
1. Themes - At least one work is from direct observation (not of a photograph)
a. Still Life
b. Collage
c. Landscape
d. Portrait
2. Media
a. Drawing (continuous tone, graduated tone)
b. Painting (mixed colors, smooth blending)
c. Mixed Media (more than one material used, for example, paint or marker used on
top of a collage)
d. Sculpture or 3-D Design in-the-round (shown from 3 different angles in slides or
photographs)
3. Other concepts
a. Illusion of Form
b. Realistic style
c. Abstract style
d. Nonobjective style
e. Elements of art (line, shape, form, value, texture, space)
f. Principles of design (balance, emphasis, contrast, rhythm, unity, proportion)
597
Art Fundamentals Waiver Portfolio Table of Contents
Name______________________________________________
School____________________________
The portfolio contents, including artwork and writing will be worth 50 points = ½ of total number of exam points.
Directions for preparing your portfolio for evaluation:
1. Select 4-9 works for the portfolio from all art you have created in or outside of art class. Choose the best art that shows the
requirements. Use photographs or slides showing three views of your “in-the-round” sculpture/3-D design instead of turning in the
original.
2. Write your personal definition of art in the space below.
3. Use your definition to arrange your artwork from the weakest work on the top to the strongest work on the bottom.
4. Type these Table of Contents pages so entries match the order of artwork. Check the requirements sheet to be sure you have a
sample of everything on the list. If you do not have a good example of one or more of the requirements, then you should create it.
5. Place completed Table of Contents on top of artworks. The bottom page will be your Art Criticism essay of the last (best) artwork.
The personal Definition of Art I used to organize these artworks from weakest to strongest is:
Explain how you used your definition to put artworks in this order. Why is each piece better than the one before it?
598
Complete this chart so that the first row describes the top artwork (weakest). Your last entry on the chart should be the strongest artwork.
You may retype this chart if you need more room.
Media Used
Theme or Subject Matter
Art Concepts (elements, principles,
other concepts)
Historical and/or Personal Influences
The last page(s) should be a typed Art Criticism essay that you write about the best (last in order) artwork in your portfolio.
599
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
Introduction
when and where it was
created, what media was
used, its period, style, or
culture.
Description
Sentences that list
artwork
personal piece
given
personal piece
Most available
information given
personal piece
mentioned
and title
is seen in the work
Logical, coherent,
complete description of
Analysis
Space, Value)
Emphasis, Contrast,
Rhythm, Unity, Proportion)
work
in the work
work.
each important
which are most
Explains how and
element and principle is
used in the work
Explains meaning of
work (mood,
symbolism, attitude
to ideas
Complete
description of what
is seen in the work
but slightly
unorganized
Lists elements and
principles used
Tells how or where
some elements and
principles are used
in the work
1
Progressin
g
Artist’s
name or
title of
work listed
Random
mention of
one or two
details seen
in the work
Partially
lists
elements
and/or
principles
Suggests meaning
Lists mood,
Interpretation
of work but does
attitude
not explain: mood, toward
cultural meanings),
symbolism,
subject, or
attitude toward
purpose
subject, social
commentary,
spiritual purpose,
story telling
the work.
Implies an
States
Judgment
would be valued
aesthetic theory
personal
according to aesthetic
but may not use
opinion
theories
the term
Emotionalism or
(Imitationalism,
Gives opinion of
should copy the real or ideal Functionalism)
Formalism,
work that supports
world
Emotionalism or
mood or content
Formalism – Art should be specific references to the
Functionalism)
with few facts
an interesting arrangement
of elements / principles.
Emotionalism – Art should
support theory
express feelings or mood
Functionalism – Art should
serve a purpose in society
Few minor errors in
Grammar Free of errors
spelling or grammar
spelling without
, Style
person in other artist’s
affecting clarity
Form
work or first person if own artist’s work or first
piece
person if own piece
second person
third person
Uses sophisticated
sentence variety, precise
First and/or last name of artist used throughout
vocabulary
References last name only artist used throughout
essay
References last name only after introductory
essay
after introductory
paragraph
paragraph
All steps of critique model model present but out of order
All steps of critique model in correct order
order
in correct order
600
601

rockwood school district high school art curriculum

Transcription

Similar documents

Teacher Resource Packet - Culturally

jamil naqsh - Albemarle Gallery

customer supplied art guidlines

Lincoln Family Newsletter - Evanston/Skokie School District 65

Criticism strategies

Biography Kulayd - hotspotentertainmentstudios

Washed Colors Tutorial

Keith Haring - Hartwood PTO

Robbin Deyo Flow - La Chambre Blanche

Learning to Look - Grand Rapids Art Museum