With voice, values, and vision elementary art students can begin to develop a legacy.
Students assign symbols to their interests, hobbies, favorite subjects and foods, personal and physical characteristics, and aspirations, drawing at least two symbols on small square cards. Students attach symbols to a large connect card to align symbols with other students’ symbols like dominoes. In addition to being able to move the entire domino card to different parts of the mind map or even different maps, each of the two symbols are moveable, as all of the aforementioned components are jpegs. Part of the experience includes exhibiting cards, using separate mind maps. Students experience how separate may not be equal and how sorting methods are demoralizing and rejoining offers renewal. Students attempt to connect with their peers or certain peers more frequently, by analyzing interests less rigidly, attaching and reattaching cards, and drawing more symbols to facilitate a match with a symbol of another.
2. Table of Contents
Philosophy 3
Philosophy References 4
Rationale 5
Rationale References 23
Scope and Sequence 25
Voice Unit Plan 31
Brainwave 35
Expressionism
Shout 43
Values Unit Plan 51
Life is Good® Logos 55
My American Gothic 63
Vision Unit Plan 72
Wish Keeper 76
Recycled Art 84
Assemblage
Unit Plan References 91
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3. Philosophy Statement
Artists contribute to understandings, communicating ideas about place and experiences. Art appreciation shapes
self-conception and worldview, helping people, as Albert Schweitzer wrote, to “devote themselves to that which comes
within their own sphere of influence and needs” (p. 277). Being an artist-teacher is the “investment…work in which one
gives authentic self to people,” (Meyer and Bergel, 2002, p. 84) and how art educators, who are also artists, are able to
embolden the lives of their students. Teaching art with Schweitzer’s Reverence for Life shows students “how they view
other people, their classmates, people in the town where they live, and those from different cultures….most importantly,
their role and potential contributions to society” (p. 276). Art educators guide children to construct their own meaning,
develop their values, to ultimately contribute a legacy. Artist-teachers, model authenticity of voice, illuminate the creative
process, and help students develop a creative process, authenticity, and voice (Daichendt, 2010). A creative process occurs
when one experiences making art, uses art media, develops preference for the ways to weave the elements and principles
of design independently, and when one asserts voice. Art appreciation and production sets the sails, and when one is able
to identify personally one has navigated a position. An art student, who sees differences, yet determines more similarities
in artworks made around the world, is less sailor and more astronaut; one who can really see a larger set of stars,
understand people as unique individuals that are a part of a collective whole.
An art student, with a unique voice and a broad vision, has a way to navigate and hold course; one who makes art
based on personal characteristics, interests, experiences, who adheres to values, makes authentic art. To be authentic
requires courage. Alexenberg (2008) identifies moral courage in his eight realms of learning for educating artists for the
future. Alexenberg explains that “it is not enough for artists to rest content with their compassionate responses… they
must gain the strength and moral courage to use art to confront hatred, bigotry, racism…” (p. 331). An artist becomes
optimally communicative as a tolerant listener, and as one who can deliver a message in a way which others care to listen.
Gardner (2008), like Alexenberg, stresses having respectful and ethical mindsets in Five Minds for the Future, “In the
complex global terrain in which we now live, we should…give priority to respect for those with different backgrounds
and beliefs” (p. 119). “Good work…ultimately it must extend to the workplace, the nation, and the global community” (p.
151). Values and voice amalgamate with a vision. In art education, students discover, explore, navigate, and position their
worldviews.
Intelligence, states Eisner (1998), is not just “constrained by the rules of logic. Human intellectual capacity is far
wider. The realization of this capacity is surely more likely as we create a richer, more nurturant culture for our students”
(pp. 85-86). The visual arts help us think contextually, assert our own meaning, and “create a life worth living” (p. 86).
Winner and Hetland (2008) contend that “the arts teach vital modes of seeing, imagining, inventing, and thinking” (p. 31).
With voice, values, and vision, an art student authenticates, communicates, and contributes a legacy.
3
4. References
Alexenberg, M. (Ed.). (2008). Educating artists for the future: Learning at the intersection of
art, science, technology and culture. Bristol, United Kingdom: Intellect Books.
Daichendt, G. J. (2010). Artist- teacher: A philosophy for creating and teaching. Bristol, UK:
Intellect.
Eisner, E. W. (1998). The misunderstood role of the arts in human development. In L. Bridges
(Eds.), The kind of schools we need: Personal essays (pp. 77-86). Portsmouth, NH:
Heinemann.
Gardner, H. (2008). Five minds for the future. Boston, MA: Harvard Business Press.
Meyer, M. & Bergel, K. (Eds.). (2002). Reverence for life: The ethics of Albert Schweitzer for
the twenty-first century. Syracuse, NY: University Press.
Winner, E. & Hetland, L. (2008). Art for art sake: School arts classes matter more than ever-but
not for the reasons you think. Arts Education Policy Review, 109(5), pp. 29-31
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5. Rationale
Considering legacy, students think about how their story does and how will it matter.
Voice, values, and vision are the parts of the legacy’s story. Through alternative self-portraiture,
students will begin building their legacy, first internally, and then externally progressing to local
and then global commentary. Authentic art studio habits develop aesthetic preferences and begin
to establish how students will leave a legacy and what their voice looks like.
Standards
In Studio Thinking, Hetland, Winner, Veenema, and Sheridan (2007) wrote that in the art
room students develop skills and come to understandings, “dispositions…artistic thinking and
behavior” (p. 1). There are eight Studio Habits of Mind, all of which are involved in the Legacy
Curriculum, where students are “learning to embrace problems of relevance within the art world
and/or personal importance, to develop focus and other mental states conducive to working and
persevering at art tasks” (p. 6). In the Legacy Curriculum students create art, using materials and
the elements and principles of design relating to the themes and subthemes. The Legacy
Curriculum also considers curriculum standards, mission statements, and community resources
and needs.
The Two Rivers, Wisconsin public school district has adopted the National Common
Core Standards. The information relates to Math and English but the government emphasizes the
importance of arts education in its agenda as such, “The Agenda for Education in the United
States outlines the Obama-Biden plan to restore the promise of America's public education and
ensure that America's children will again lead the world in achievement, creativity, and success”
(2010, n.p.). Information supporting the importance of education in the arts, stating all students
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6. are to “perform works of art, create their own works, and respond to works of art and the ideas
they impart” is made available through the Arts Education Partnership (2010, n.p.).
The Wisconsin Department of Instruction aligns the art and design standards to the
national curriculum, stated in the mandate, “art, dance, and theater have used the National
Standards in those disciplines as a guide but have written their own standards” (Arts Education
Partnership, 2010, n.p.). Assessments, objectives, and art production references in the lesson
plans are made to the 2000 Wisconsin Department of Public Instruction Model of Academic
Standards for Art and Design.
Materials.
The Studio Habit of Mind most directly related to using art materials is Develop Craft.
Using materials relates specifically to Application of the Basics and Production of Quality of
Work in the standards. The lessons in the Legacy Curriculum are types of alternative self-
portraiture, asking students to make art related to their identity and place. Authentic use of the
materials is partly the style in which the student manipulates the art materials and partly the
preferences towards media. Students understand that artists use materials to evoke a different
response, express ideas, and learn about establishing their own voices, participating in the
lessons in the Voice Unit. One of the standards relating to how students use the materials is
Visual Communication and Expression.
The two lessons using two-dimensional media included in the Legacy Curriculum,
specifically designed to nurture voice are Brainwave Expressionism (BWX) and Shout. Two
lessons with three-dimensional media are Initial Media Choices (IMC) and Recycled Art
Assemblages. All four lessons address the five general categories of the standards: Applications
of the Basics, Ability to Think, Skill in Communication, Production of Quality Work, and
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7. Connections with Community, some especially so. For example, with IMC students learn how
an artist’s geography informs selection of media. One of the association questions is “Look at the
map…do you know why these parts are green and these are brown?” Students discover how the
art making differs between Northwest and Southwest Native American tribes, through the
exploration of climates that grow trees as opposed to those that do not. In addition to
interdisciplinary connection making, lessons make other connections.
One of the association questions for Shout is “What is making the sound in Dove’s
painting…hint, you hear it all the time?” Students not only learn about how Arthur Dove’s
connection to the Long Island Sound informed his painting, Fog Horns, but they also link to
their own experiences living on Lake Michigan, hearing fog horns and understand the purposes
of lighthouses. “Art is a vehicle through which meanings are conveyed” wrote Judith Simpson
(1998). “Making sense of the world around us, our interactions, and experiences compels us to
make literal and metaphoric connections” (p. 49). Art education accesses self-concepts, personal
experiences, and subsequent metaphoric connections. “All aspects of cultures must be examined
as the context in which art is produced. Not allowing ourselves to think this way is to continue to
minimize the importance of our field and its syncretic meaning in education” (p. 50).
Aesthetics.
The three Studio Habits of Mind most directly related to aesthetics are Express and
Observe and particularly Cultural and Aesthetic Understanding. While the Legacy Curriculum is
theme-based, there is application of the elements and principles of design in the art projects. For
example, in the BWX lesson students use line and color expressively. Students look at actual
brainwaves to understand how lines take on different qualities, depending on whether the brain is
active or passive. Students draw lines, or perform lines according to their feelings and
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8. experiences, according to a story, or how they think someone else might feel. When prompted,
students perform joyful lines that look like undulating waves and peaceful lines that look like
unraveling ribbons. In addition to the elements of design, line and color, the BWX lesson focuses
on the principles movement and rhythm. Rhythm is explored conceptually when students explore
their internal rhythms, peace within, or lack of peace, which is to explore active rhythms.
With many of the assignments the element of design space is addressed compositionally
through creating depth, and learning foreground, middleground, and background. Conceptually,
space is considered progressively, beginning with inward exploration, transitioning to outward
exploration. The depth students reach through inward exploration is evidenced by the written
paragraphs which accompany the BWX. Outward explorations culminate in the final lessons, in
the Vision Unit. During the Wish Keeper lesson, students consider wishes as the seeds of change,
thinking about what they would like to see different in the world. Students consider how their
private and public thoughts are change-agents. Housen’s (2001-2001) study Aesthetic Thought,
Critical Thinking and Transfer, suggests “art can speak to all viewers…art can take a viewer as
deep as the viewer has a capacity to go…possibilities in art keep unfolding” (p. 121). The quality
of the design, the procedures of the delivery, and the attention to the standards, inherently meets
goals set forth by the mission statements.
Mission Statements
Koenig Elementary School students attend an award winning school. The Action Plan
mission statement reads, “the Koenig staff is committed to implementing practices and strategies
with parents to build a positive learning environment and promote high achievement for every
student” (Koenig Elementary School, 2010, n.p.). The Action Plan reinforces the importance of
parent involvement detailing specifically how this unfolds. The new principal, one of the former
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9. first grade teachers, reiterates the importance of community in her personal mission. The start of
her mission is almost identical to the state mission but also says that she “believes in the power
of ten: that is, the importance of building strong relationships between community, school and
home” (personal communication, July 21, 2010).
The district’s mission is the state’s department of public instruction mission: “Every child
must graduate ready for further education and the workforce. We must align our efforts so our
students benefit from both college and career preparation, learning the skills and knowledge
necessary to be contributing members of our communities….” (Wisconsin Department of Public
Instruction, 2010, n.p.). Further in the state achievement goals are the buzz words: quality,
innovation, safe, respectable, accountability, and sustainable. Although the district does not
specifically render a mission statement, Two Rivers High School (2010) “strives to provide all
students with the academic, fine arts, vocational, and social skills necessary to become
competent, caring, and contributing members of a global society. All students will become more
responsible and increase their achievement in the academic setting” (n.p.).
Delineating each statement shows the commonalities and emphasizes the nuances.
Students at Koenig Elementary experience a success culture. Koenig’s focus is “high
achievement” as opposed to the high school’s language, “more competent…more responsible.”
While each statement wants students to become contributors to the community, only Koenig
insists on community involvement at the school and stresses the role of the families with such
reverence, “The mission of Koenig Elementary School is to blend our rich heritage as a family-
oriented neighborhood school with an emphasis on high expectations for our future” (2008/2009,
p. 4). Again, teaching in a success culture is to have “high expectations” not just to “increase
learning.” The Legacy Curriculum is aligned with Koenig’s insistence, reverence, and
9
10. expectations. Lessons making powerful connections to the community are Propagandist’s Street
Team Takeaways (PSST), Two Rivers Mural Project (TRMP), and Dig it and Pick it (DIPI).
Individual character development.
The Koenig art room guidelines center on three ideas: work ethic, responsibility, and
respect. Setting expectations and forming procedures for classroom operations creates an
environment conducive for learning. It is within this safe and supportive environment that
students are “motivated, self-directed, and reflective learners, who independently manage their
goals and time to continuously improve as artists” as set forth by the Partnership for 21st Century
(2010) art skills “initiative and self-direction” (p. 12). Each lesson in the Legacy Curriculum
requires students to make decisions, persist through multiple steps and processes, and defend
choices, during critique and/or in writing. Students approach the material in the lesson, based on
how they best learn and provide evidences of their learning, based on how they can best express
their ideas and feelings.
Nakayla, new to Koenig school in 2009, would not write a paragraph about her decisions
to use certain lines and colors in her BWX. Instead, Nakayla orally defended her use of lines and
colors in her BWX as the ones from her bedspread and thought about Hip Hop music, when she
painted. Allowing Nakayla to provide evidence of
her decisions orally nurtured Nakayla’s engagement
in her own learning. Retained in 2009, Nakayla
made new explorations in her 2010 BWX. Later in
this Rationale Statement, is Nakayla’s BWX from
Nakayla’s BWX from 2009, Navajo Hip Hop
2010 and her written paragraph.
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11. Contributive.
Reverence for Life, Albert Schweitzer’s Nobel Prize winning philosophy, shapes the
intent of the Legacy Curriculum. Effective teachers educate students with the skills, knowledge,
and understandings the students need. Rarely is learning limited within a discipline, nor should it
be. Art education is a discipline opportune for guiding students in “friendship, caring, service,
and courage…how they view other people, their classmates, people in the town where they live,
and those from different cultures ….most importantly, their role and potential contributions to
society” (Meyer, 2002, p. 276-277).
Trenten, a gifted art student, explained why he was not wearing any socks. When he
tried to find some, his father told him to “Get the hell out.” He walked to school without socks,
on a cold, snowy day because he preferred it to staying home. Trenten, who besides being a
gifted artist, is also a student with an emotional-behavioral disorder (EBD). In a recent IEP
meeting, “school” was determined to be Trenten’s new incentive. If he is defiant, then he will be
unable to stay at school. One day, he made it until 9:30 a.m. and then was sent back home,
issuing the teacher an invective as he left. Another defiant behavior is public urination. If
Trenten is comfortable enough to comply, he begins to build confidence in his wonderful art.
Without guidance Trenten will mill
around the room, inciting others,
degrading the learning environment
for everyone, including him.
Wish Keeper, 2009 Bird Print, 2010
11
12. The Wish Keeper lesson in the Vision Unit encourages students to think proactively, as if their
ideas for others are contributive. In 2009, Trenten created a Wish Keeper, and although this art
product and others were always successful, Trenten still felt negatively about numerous things.
In 2010, Trenten earned more outside affirmations of his art making with his bird print. In fact,
he was awarded a first place prize in the district art show by the judges. Besides good attendance
from the community, and since Trenten won a prize, the Koenig Elementary principal picked
Trenten up at his house and attended the art show reception with Trenten.
Koenig Kids
In the Two Rivers school district, Koenig Elementary is where all the elementary students
with disabilities attend. The special education department has faced reductions in staff but the
number of students, especially those with autism spectrum disorders, has increased. Keeping
environments the most conducive for learning has been most challenged be the severity of
behavioral issues, which is exacerbated by staff shortages.
Koenig Elementary is a New Wisconsin Promise School for the sixth consecutive year.
Despite the fact that fewer hands do more work, some of our programs and practices are not
academics related, are offered before and after school, and ran by the staff and faculty. Koenig
students eat breakfast and two planned snacks, and more when needed. Koenig has a “Magic
Closet” for students to choose clothes, outerwear, and school supplies, if they need it. Students
are ready and willing to learn, having basic necessities met. Koenig school culture is one of
success, collaboration, and community. First hand experience of a sense community, ultimately
helps students learn Civic Literacy, an interdisciplinary theme included on the Partnership for
21st Century Skills Map and in the Legacy Curriculum.
12
13. Students know that even if they need help learning, behaving appropriately, scheduling or
equipment considerations, an array of paraprofessionals, parents, staff, and faculty will help
them. Koenig staff and faculty expect that children will need education in many things besides
academics. Koenig Elementary School accepts students including those expelled by other
schools as they come and does not reject them if they still have to learn basic human behavior.
The district superintendent and many others wonder how and what Koenig staff and faculty are
doing; the measurable success is hard to comprehend, considering the other measurable numbers,
percentages and ratios, relating to student learning profiles; students receiving free lunches and
special education services.
The Legacy Curriculum makes numerous interdisciplinary connections, placement within
personal, social, cultural, historical, and political context as shown in the Scope and Sequence
and full-length lesson plans. In Educating Artists for the Future, Alexenberg (2008) reveals his
eight realms of learning. In the realm, Learning through Moral Courage, Alexenberg states that
“it is not enough for artists to rest content with their compassionate responses …they must gain
the strength and moral courage to use art to confront hatred, bigotry, racism, terrorism, genocide,
and cults of death and destruction” (p. 331). The Partnership for 21st Century Skills (2010)
“illustrate how the arts promote work habits that cultivate curiosity, imagination, creativity, and
evaluation skills….these examples [from the Skills Map] suggest ways that study of the arts can
help produce globally aware, collaborative, and responsible citizens” (p. 2). Each of the units in
the Legacy Curriculum, Voice, Values, and Vision, promote global concerns that Alexenberg
and the 21st Century Skills emphasize for art education.
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14. Voice.
If students do not put their name on their artwork, is the viewer able to tell who made it?
Students assert their voice as the very signature of their artwork. Students learn that voice is not
just style but a combination of style and contribution; a representation, opinion, and activism.
Hetland, Winner, Veenema, and Sheridan (2007) explain voice as Express, the Habit of Mind
“learning to create works that convey an idea, a feeling, a personal meaning” (p. 6). The lessons,
BWX, Shout, IMC, and Wabi-Sabi Mobiles, are four authentic ways that students express their
personality, interests, feelings, and ideas. For Audrey Lorde (1984/2007) this artwork, the poetry
is not a luxury, it is “a vital necessity of our existence.” Poetry to Lorde means “a revelatory
distillation of experience” (p. 37). Revelations are a function of knowledge, carrying ideas and
generating thoughts into actions, distilling and liberating art making. “Communication…
articulating thoughts and ideas clearly and effectively” is the first skill on the 21st Century Skills
Map (2010, p.4).
In students’ BWX watercolors, the syncretic meanings must be defended in written
paragraph or orally. Last year, Nakayla lacked the confidence to write about her artwork. This
year her writing is so much improved, she is more willing to try to write about her work. Last
year, Nakayla was too shy to participate in critique. Having had a year to practice the critique
process and get to know the other students better, Nakayla is not only ebullient during critique
but exemplifies how to make positive, and even helpful and specific comments. This year she
remembered the color term neutrals as naturals; a great mistake because she understands a
concept, if not the term. Shown below is the paragraph and BWX by Caroline and Nakayla:
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15. Caroline’s BWX: Caroline’s Freckles
Nakayla’s 2010 BWX: Happy Jumpy
Values.
The lessons within the Values Unit are: Life is Good® Logos, My American Gothic,
Time Capsule Guess Book, Zoom, In/Out, Metamorphic Metaphors, and DIPI. Transitioning
conceptually to their immediate families, students think about what is important for their family
members to do, to be like, to feel, and to think. Students consider how it takes courage to
maintain values and establish traits, such as, self-sufficiency and perseverance. Sandell (2006)
wrote, “the big idea, explored through specific themes and sub-themes, is revealed by the artists’
chosen expressive viewpoint or perspective that reflects his or her culture and era” (p. 34).
15
16. In a double-portrait, for the lesson called, My American Gothic, students share ideas
about people who are important to them and why. The building in the background, how the
people are dressed, and what the people are holding, will clue the viewer to familial values. In
2009, Ty chose Barack and Michelle Obama for his double-portrait. Haley’s shows the value of a
tradition, that her sister and she share. Both students reveal specifics about their culture, using
Grant Wood’s American Gothic “to draw on…to generate, evaluate, and select creative ideas to
turn into personally meaningful products” (Partnership for 21st Century Skills, 2010, p. 6). Here
is the 21st Century Skill, Creativity, as demonstrated by Ty and Haley:
Vision.
In the Legacy Curriculum, there are five lessons within the Vision Unit: Wish Keeper,
Recycle Art Assemblage, Worldview Illumination, PSTT, and TRMP. Students reveal their
outlook; what they hope their imprints will be on their futures or what they hope will be their
place in their family, community, and world. Students come to believe that their vision can be
helpful to others. “Vision precipitates in an artist’s voice and carries the artist’s hopes and
dreams to change the future and longings for a condition in the past. Vision is the voice’s
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17. absorption and reflection of perception. Vision communicates contribution and participation”
(Stein, 1984, p.31). Students consider their worldviews and grow empathetic towards others,
respectfully allowing room on the planet for opposing views. Astronaut, Jerry Linenger (2000),
shared his unique perspective about the human condition as a result of going into space:
I have been a U.S. naval officer for twenty years. I understand the
necessity of armed forces. But I have also seen the undivided earth from space.
When viewed from this perspective, the fighting amongst ourselves makes no
sense whatsoever. Now, whenever I witness conflict in any form, I try to step
back and examine the problem from a broader perspective….
I have learned we are 99.9 percent alike. Why we earthlings chose to
concentrate on the .1 percent difference makes no sense…. We are all on the earth
together, and the earth when viewed from space is not divided up piecemeal, but
exists as a wondrous whole. (p. 247)
In the Worldview Illumination, choosing from a list of idioms, adages, truisms, and
chestnuts, students illustrate the fun visual images that come to mind. Students strive to simply
state their visual illuminations of a plainly stated, yet powerful expression. Students “access and
evaluate information from a variety of sources accurately and creatively with an understanding
of ethical and legal issues” (Partnership for 21st Century Skills, 2010, p. 8).
Constraints
The Two Rivers Mural Project (TRMP), Propagandist Street Team Takeaways (PSTT),
and Dig It and Pick It (DIPI) have five, six, and seven lessons respectively. These lessons could
be used in addition to or supplanting the other lessons, depending on constraints or opportunities.
Using existing small groups, such as Art Club, will allow implementation of these units at more
17
18. flexible times or simultaneously. If considerable time is allotted, then there are several other
considerations and benefits.
Sensitivity.
Values relate to PSTT, or propaganda, in that these determine how students feel about
themselves and others, how they perceive the world, and how they act on their beliefs.
Propaganda is a term used in this application for promoting something for meaningful discourse.
Students choose values that matter to them and that they think should matter to others; values
relating to issues, facts, personal truths, and ideas. Art products students make are materials that
others can takeaway for free. The people who take these materials (stickers, postcards, fliers,
brochures, or pamphlets) and pass them out create a street team. Propaganda as its own theme is
especially suited for vertical planning. Some of the themes, even though grade level appropriate,
are not necessarily ever deemed appropriate as a school topic.
Two Rivers community, Northeastern Wisconsin, and a considerable number of people in
the rural Midwest, constitute a conservative base (Manitowoc County Election Results, 2008, p.
1). With respect for the community’s values, child development regarding issues that matter
should be considered. For example, issues relating to intrapersonal relationships could begin at
the early elementary level as treating friends well, then late elementary as keeping secrets, then
at the middle school level as loyalty, and then at the high school level more mature ideas of
loyalty could be explored, such as, monogamy and sacrifice. Some issues relate to the antithesis,
such as, mutiny, revolt, and treason. A student supporting sacrifice may pursue the design of the
takeaways around President Kennedy’s words, “Ask not what your country can do for you, ask
what you can do for your country?”
18
19. In addition to the considerations of the topics relating to values in PSTT, are the
constraints making the types of artwork, specifically using graphic software. The computer lab
has limited availability. Other media could be used for the PSTT projects, however, production
of the takeaways needs to be low-cost, computer generated, to actually produce freebies. The lab
is more available, in the late spring, since it is used for testing in the beginning half of the year.
Additional considerations.
The TRMP and DIPI are suited for warmer weather, best taught in late spring or early
summer. Therefore, these projects should be scheduled towards the end of the year, as well.
Another commonality is that all three, TRMP, PSTT, and DIPI, are suited for small groups of
students, in particular Art Club. Serious effort should be made for volunteer help, if taught to the
regular classes. Since PSTT, TRMP, and DIPI integrate alternate sites, these projects require
considerably more coordination. DIPI requires permission slips and possibly arranging for a van.
DIPI and maybe TRMP may require scheduling for rain dates. Considering the scheduling
constraints of an art teacher, based on experiences accompanying classes on their field trips,
attending classroom parties, and special presentations, coordinating work at alternate sites with
small groups, during the summer or on a weekend, may be advisable. Another option, as opposed
to going to smaller groups, is to make the clay dig aspect of the DIPI open to the entire
community, including the neighboring community of Manitowoc.
Two Rivers sites are sometimes state as opposed to city parks. The Wisconsin
Department of Natural Resources is a larger entity to coordinate plans with, while the
Manitowoc Department of Parks and Recreation (MDPR) is smaller, with fewer stipulations to
hinder operations. My first choice of site for my student’s clay dig is Silver Creek Park in the
city of Manitowoc. This park, on the south side of Manitowoc, while not in Two Rivers, is only
19
20. eight miles south on Lake Michigan, about a 20 minute drive. A community clay dig here could
be coordinated with MDPR, both school districts, and the local museum, the Rahr West. This
creek’s clay is comparable to other clay from the Two River’s sites but has more cream-colored
clay. The park’s amenities make this a reasonable location for a group involving two
communities and many young children. The creek bed is wheelchair accessible in more than one
area of the park. The location is very suitable for the other portion of the lesson, where students
gather other natural materials, because there are well-defined areas where students can be kept in
range, while they are still able to wander. No special permits are required but the date needs to be
prearranged with the MDPR. There has been community digs here before, coordinated by the
Rahr West. Waiting another two years for the next community (the lakeshore and nearby towns)
dig is another plausible idea.
Benefits warranting implementation.
A vertical design for the PSTT lesson, considering which meaningful issues to choose,
relates to state learning initiatives: skills in communication and connections to community. The
Two Rivers community, although eager to prepare their children for the global economy, are still
harboring strong taboos regarding the discourse of meaningful issues, necessitating the urgency
for students to be exposed to these issues and make personal connections in safe settings. Also
critical to opening discourse is providing students the opportunity to hold less antiquated or
separatist views. With careful vertical planning, the PSTT could be an effective way to teach
social justice in art education. Additionally beneficial, PSTT is designed to use software not art
room supplies. The other two projects, TRMP and DIPI are budget-friendly, as well.
Students will paint the TRMP with recycled latex house paint interior or exterior,
depending on the location. Two Rivers, and many other Wisconsin communities, share
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21. conservation ethics. Many families enjoy boating, fishing, and hunting, and have a catch-and-eat
ethic. Using recycled materials honors that ethic and “local connections root us to place and
make us native to the Earth” (Gradle, 2008, p. 11).
The rivers and surrounding areas supply the clay and the other material for the six
subsequent DIPI lessons. During the DIPI process, students enlist all of their senses, making
especially strong connections to environment. Gradle (2008) wrote, “place…is sometimes a
setting, but it is most often married to memory, imagination, and our embodied experiences in
such a way that words like emplaced, displaced, replaced, or out-of-place conjure up meanings
that are felt immediately and viscerally” (p. 6). We need to reacquaint with our environment to
get back to our own sinew, bones, and musculature.
Improving the life quality
Csikszentmihalyi (1996) contends “if the next generation is to face the future with zest
and self-confidence, we must educate them to be original as well as competent” (p. 12). Even
though originality is not a trait or capacity tested in our schools today, each student has
“potentially, all the psychic energy he or she needs to lead a creative life” (p. 344). Art
educators, if prepared correctly, are in the position to foster our most important facility for being
contributive individuals in a community, voice.
According to Meyer (2002), “today, at the beginning of the twenty-first century… we
recognize that we need to discuss creative ways in which life may be revered and maintained
around the world” (p. xvi). Feeling a passion for art, love for others as we love our selves, and
reverence for giving each moment our focus, brings forth many hands to worthy endeavors and
expands seconds into minutes. Albert Schweitzer said “reverence before the infinity of life
21
22. means the removal of the strangeness, the restoration of shared experiences and of compassion
and sympathy” (p. 68). Reverence consists of one’s values.
The learning experience in the Legacy Curriculum correlates to life experiences and our
involvement living with others, our vision. The learning “integrates teaching with action research
and art making. It explores borderlands between art, science, technology and culture, integrating
knowing, doing and making through aesthetic experiences that elegantly flow between intellect,
feeling and practice to create and convey meaning” (Alexenberg, 2008, p. 231). In life, our
experiences meld and our lives connect. The Legacy Curriculum is authentic learning about
giving a genuine self, as Audrey Lorde (1984/2007) wrote, “to pluck out some one aspect…
eclipsing or denying the other…is a destructive and fragmenting way to life” (p. 120).
All aspects of living, including learning are connected, and by combining our voice,
values, and vision creates a contributive legacy, not possible without authenticity. Lorde
describes a genuine self:
My fullest concentration of energy is available to me only when I integrate
all the parts of who I am, openly, allowing power from particular sources of my
living to flow back and forth freely through all my different selves, without
restriction of externally imposed definition. Only then can I bring myself and my
energies as a whole to the service of those struggles…. (pp.120-121)
We sharpen self-definition by exposing the self in work and struggle
together with those whom we define as different from ourselves, although sharing
the same goals. (p. 123)
22
23. References
Alexenberg, M. (2008). Autoethnographic identification of realms of learning for art education in a
post-digital age. International Journal of Education through Art, (4)3, pp. 231-246.
Alexenberg, M. (Ed.). (2008). Educating artists for the future: Learning at the intersection of art,
science, technology and culture. Bristol, United Kingdom: Intellect Books.
Arts Education Partnership. (2010) Re: Art education curriculum. Retrieved from http://www.aep-
arts.org/database/results2.htm?select_state_id=38
Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New
York, NY: HarperCollins Publishers.
Gradle, S. A. (2008). When vines talk: Community, art, and ecology. Art Education, 61(6), pp. 6-12.
Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2007). Studio thinking: The real benefits of
visual arts education. New York, NY: Teachers College Press.
Housen, A. (2001-2002). Aesthetic thought, critical thinking and transfer. Arts and Learning Research
Journal, 18(1), 99-131.
Koenig Elementary School. (2008/09). Re: Community involvement. Retrieved from
http://www.trschools.k12.wi.us/Koenig/web-content/2008-2009_pdf/2008-09%20%20parent
%20handbook%20Koenig.pdf
Koenig Elementary School. (2010). Re: Action Plan. Retrieved from
http://www.trschools.k12.wi.us/Koenig/web-content/2009-2010_pdf/action_plan.pdf
Linenger, J. (2000). Off the planet: Surviving five perilous months aboard the space station MIR. New
York, NY: McGraw-Hill.
Lorde, A. (2007). Sister outsider. Trumansberg, NY: Crossing Press. (Original work published 1984).
23
24. Manitowoc County Election Results. (2008). Re: Conservative base. Retrieved from
http://www.manitowoc-county.com/upload/electionresults/November042008Elections
Results111708.pdf
Meyer, M. & Bergel, K. (Eds.). (2002). Reverence for life: The ethics of Albert Schweitzer for
the twenty-first century. Syracuse, NY: University Press.
Partnership for 21st Century Skills. (2010). Re: 21st Century Skills Map. Retrieved from
http://arteducators.org/research/21st_Century_Skills_Arts_Map.pdf
Sandell, R. (2006). Form + theme + context: Balancing considerations for meaningful art
learning. Art Education, 59(1), 33-37.
Simpson, J. W. (1998). Myth, metaphors and meaning. In R. J. Saunders (Ed.), Beyond the traditional
in art: facing a pluralistic society (pp. 48-50). Reston, VA: National Art Education
Association.
Stein, M. I. (1984). Anecdotes Poems and Illustrations for the Creative Process: Making the Point.
Buffalo, NY: Bearly.
Two Rivers High School. (2010). Re: Mission statement. Retrieved from
http://www.trschools.k12.wi.us/TRHS/web-content/2009-2010-pdf/HANDBOOK.pdf
United States Government Department of Education. (2010) Re: Commitment to the arts. Retrieved
from http://www2.ed.gov/teachers/how/tools/initiative/updates/040826.html
Wisconsin Department of Public Instruction. (2010) Re: Buzz words. Retrieved from
http://dpi.wi.gov/sprntdnt/index.html
Wisconsin Department of Public Instruction. (2000). Re: Model of academic standards for art and
design education. Retrieved from http://dpi.wi.gov/standards/pdf/art&design.pdf
24
25. SCOPE AND Materials/ skills Elements/ Exemplars/ resources Associations/ visualizations
SEQUENCE principles
UNIT VOICE
1
Lesson Brainwave Watercolor/ Color, line/ Art images from Von Bruggen and How could someone’s thinking be a
1 Expressionism acting out lines, rhythm, Oldenburg, Van Gogh, Benton, Tamburri, toothbrush in a cup by a sink?
(BWX) thumbnail movement, Kandinsky/ actual EEG’s, power point, What lines could you draw for this child
sketches, unity Teacher and student samples of BWX, (student acts out a line for what she
transparency, dry alternative self-portraiture visual, Children perceives a child in a picture is feeling)?
brush, wet-on-wet of Many Lands by Hanns Reich
2 Shout Painting, printing, Simulated Art images from Arthur Dove, Cave What is making the sound in Dove’s
stenciling/ texture in paintings, Robert Rauschenberg, Shepard painting…hint you hear it all the time?
sketching to surface, Fairey YouTube video showing If caves and pottery had not have been
develop ideas, line, shape, process/books and handouts with patterns painted with prints and patterns, what else
layers and color/ from various cultures on pottery and could archeologists have learned from the
overlap proportion, textiles, samples of simulated textures, artwork?
repetition, teacher model and teacher samples showing What lines and colors from your BWX
pattern painting with different amount of layers should you think about using for your talk
overlapped. bubble pattern?
3 Initial Media Choosing media/ Form, Art images from Roni Horn, Harmony Look at the map…do you know why these
Choices authentic choices color, Hammond, Northwest Indian sculpture, parts are green and these are brown? What
in 2D drawing or texture/ Navajo textiles and pottery, student and does the land in the green parts of the map
painting, 3D form, teacher samples of 2D media techniques, have that the brown parts do not have? What
assemblage emphasis teacher model 2D and 3D. do we use in the art room that is brown?
In what ways are artists like and not like
26. reporters?
How would you be able to decide if you are
mostly a 2D or a 3D artist?
4 Wabi-Sabi Clay and mobile Space, Art images of Asian, Celtic, Peruvian, and Why would something that looked a little
Mobiles building, working form/ African cultures of charms, pendants, beads, funny seem very beautiful?
with symbols, balance and miniatures. Images of mobiles and wind How would a small object help us feel like
making simple chimes. Constructed mobiles and pieces of we belong to something larger than
designs mobiles in different stages for ourselves…what are some little things that
demonstration purposes. make us feel safe, loved, important?
Images of Japanese wabi-sabi ceramics. What are some small symbols that you see
Book Wabi Sabi by Mark Reibstein and Ed people wear?
Young.
UNIT VALUES
2
Lesson Life is Good® Carving, printing/ Color, line, Art images from Keith Haring and Robert Was there ever a time you tried to change
1 Logos “less is more” shape/ Indiana. Deck art images of vintage something about yourself so you would be
design, extending harmony, skateboard exhibit, Preserve and Collect. more like other people? The kind of clothes
experience variety Images of student work with symbols from you wear…how you run…liking sports…?
designing previous class work. Teacher model and Why would a radiant baby be a symbol for a
symbols other print samples by teacher and students. man? What type of symbol could you make
“Life is Good” t-shirts, The book Block to stand for a whole bunch of different
Printing by Susie O’Reilly. people?
2 My American Multi-media Shape, Art images from Grant Wood, Winslow Is it okay for artists to make jokes about
Gothic drawing/ building space Homer, Archibald Motley, Henry Ossawa people in their paintings…can you think of
upon overlap, and Tanner, and teacher and student work. The how it might not be okay?
developing ideas book My Painted House My Friendly Where do you think these artists live…what
through sketching Chicken and Me by Angelou and Courtney- do the all like…what do some like others
Review Clarke and The Artist in the Hayloft by might not?
proportion and Prestel. Matching worksheet, template for If your mom and dad like to go boating, then
27. foreground, face proportions, teacher models showing what kind of building could you draw behind
middleground, how to format composition. them? If your mom and your aunt went
and background shopping, then what would they be holding?
3 Time Capsule Colored pencils/ Value, Art images from Josh Agle (Shag), Gary What are your hobbies, your favorite toys,
Guess Book using source texture, Panter, Jeremy Pinc, and Tom Biskup. shows or movies you watch?
material to space three Google images, teacher image file with What do you think the words “HE DUTY”
develop ideas, ways/ pictures from magazines, Teacher samples said on the bottle in Pinc’s painting, before
drawing from unity, of books, during different stages of he painted over part of the label?
observation, variety assembly. Teacher paintings using pop- What movies do you think Tom Biskup
cutting holes in culture references from the 70’s, 80’s, and likes…what do you think Gary Panter reads?
page, collating 90’s.
pages
4 Zoom Colored pencil Color, Art images by Piet Mondrian and Camille Do you think Jim Zwadlo knows about
and/or other space, Corot. Art images by Jim Zwadlo. The Waldo?
drawing media/ texture/ books Zoom and Re-Zoom by Istvan Banya, Are there changes in the texture and color as
spatial thinking; unity Looking Down by Steve Jenkins, and you view something further away?
different points of Where’s the Fly by Cohen and Barnet. Astronauts talk about feelings they have
view from Teacher model and student samples. Use looking at the planet from space, knowing a
observation and sketches from microscope work in science war is happening; they feel like we are all
memory. class as starting point. connected. When do you feel small or tall,
when you are walking on the beach…in a
forest…down the crowed hallway…over an
anthill?
5 In/Out Colored pencil Color, Images of artwork showing exteriors and Have you ever felt trapped in…left out…out
and/or other space, interiors, such as Turner’s Snow Storm and of luck…?
28. drawing media/ texture/ Van Gogh’s Bedroom. Teacher models and This is a painting about rain. How else could
spatial thinking; unity student work. Snowy Day by Keats. Short this student make this painting look like it is
different points of story I stand Here Ironing by Tillie Olsen raining? How did she make it feel like a
view from or the poem The Tornado by Norman storm?
observation and Russell. Also, reinterpretations of classics Can you tell which of these paintings are
memory. in the Visions in Poetry Series from Kids about inside places…outside places…?
Can Press.
6 Metamorphic Colored pencil Color, Images of Escher and zoomorphism in Think about how a burning match looks like
Metaphors and/or other space, illuminated manuscripts. Images and the top of a palm tree in your teacher’s
(Meta Meta) drawing media/ texture/ samples of teacher and student work. The drawing…are there ways that fire and palm
spatial thinking; unity books from the Let’s-Read-and-Find-Out fronds are similar besides visually?
imagining the series. Also, Metamorphosis of Flowers by Can you think of something to symbolize…
transformation Nuridsany and Perennou. when your sister got her driver’s license…
when you moved to a new house… when
your grandma died…?
7 Dig it and Pick it Clay and natural Texture, Images and samples of pottery from Why do you think art objects from some
(DIPI) objects/ color, different Native American tribes: Native American people have more clay art
observing the form/ Southwest, Eastern Woodlands, Plains, and objects than wood…stone…textile…metal
vicissitudes. variety and Basin, for example: Cherokee, Iroquois, art objects?
Burnish and low- emphasis Pueblo, Hopi, Catawaba, Acoma, Where have you seen bricks the color of this
fire, molds/casts Cheyenne, and Shoshoni. Additional clay in town?
considerations in lesson plan and rationale. Did you lie down on the moss before you
(See diagram of lessons in 4.1 submission.) picked a little for your baggie?
UNIT VISION
3
Lesson Wish Keeper Clay building/ Texture, Images of other art containers: Lucas • If you were all powerful, what would you like
29. 1 designing a lid color, Samaras, Images of Asian, student, and to change about the world?
that holds a wish form/ teacher Wish Keepers. Critique sheet with Can you guess why this artist, who lives in
and fits vessel emphasis, questions to accompany display, crossword Hawaii, makes Asian Wish Keepers…what
proportion with clay working terms, reflection sheet, plant does the handle look like?
and Wish Keeper Lid checklist. The Book
Bento’s Dream Bottle by Nye and Pak
2 Recycle Art Assemblage/ Texture, Art images from Louise Nevelson, Chris Do you think this artist lived in a city or the
Assemblage authentic choices color, Murphy artist visit/ The books Recycled Re- country?
with recycled and color, Seen: Folk Art from the Global Scrap Heap What other job do you think Chris Murphy
found object texture, by Cerny and Trashformations by Herman. has besides being an artist…hint he uses
form/ DVD i love trash by Brown and Mann. wire?
balance, If your favorite sport is soccer or football,
unity what is something that has a bright color and
soft texture that both sports have in
common?
3 Worldview Multi-media Color, line, Art images from Rachel Carns, Roy What do you think a cartoon is…a poster…a
Illumination drawing/ shape, Lichtenstein, Mardsen Hartley, Hokusai, diagram…a decoration…an illustration?
compositional building Book of Kells, Babylon Lion, teacher Commercials try to get people to buy things.
decisions, upon model, idiom list. The book A Little Peace In what ways are illuminated manuscripts
building upon pattern and by Barbara Kerley. like commercials? What message do you
“less is more” creating think the artist’s snarling lion has?
design, sketching space and What images does “Don’t worry be happy”
to develop ideas depth make you think of?
4 Propagandist Graphics Color, line, Shepard Fairey, website/story. Art images Why is there so much red in some of these
Street Team software, shape/ by Picasso, Goya, Rivera, and Sequiros. posters? What do you notice about the
Takeaways producing low building Compare poster art from Cuba, China, people…how are they similarly posed to the
(PSTT) cost items to be upon Russia, and America. Poster books by couple in American Gothic?
given away for harmony, Cushing. Soviet posters in book by Lafont. How many people in your class would have
30. free, “less is variety Vertical plan for issues sorted by grade to start wearing a type of shoes until you did
more” design level. (See chart in submission 4.1.) Go to too?
www.freechild.org to research issues,
change-agent process, and youth
empowerment.
5 Two Rivers Using recycled Color, line, Images of New Deal murals in WI. Possibly Many of the New Deal artists were visiting a
Mural Project paint, drawing shape/ visits to murals and public artwork done by community just to do the artwork but were
(TRMP) from life for ideas building WPA artists from Layton School of Art. expected to portray the community and its
and using upon unity Images of murals in Ashland, WI. Teacher history. How can you best show the history
sketching to and images of murals and examples of sketches of Two Rivers?
develop ideas, creating and grids from other murals. Images of Do you see how the road in the Hana Mural
grid enlargement space Rivers series done by teacher. Reference continues the entire 160’ without ever
materials regarding rivers. running parallel to the bottom of the
composition? How will you compose the
rivers?
How is that road like your rivers?
31. BOSTON UNIVERSITY
PROGRAMS IN EDUCATION
Art Education Department
LEGACY CURRICULUM: VOICE UNIT
NAME: Joan Schlough CLASS: CFAAR 620
DESCRIPTIVE TITLE: VOICE. If students do not put their name on their artwork, will the
viewer be able to tell who made it? Students assert their voice as the very signature of their
artwork. The Voice Unit lessons teach how voice is not just style but a combination of style and
contribution (representation, opinion, and activism). While the Voice Unit focuses on aesthetic
preferences, the personal process, and media choices, students consider these decisions as part of
their experience.
You only have to let the soft animal of your body love what it loves.
From Wild Geese by Mary Oliver
GOALS: Students SHOULD:
KNOW…
• and remember information and ideas about the art and design around them and throughout
the world (Content Standard A).
UNDERSTAND…
• the value and significance of the visual arts, media and design in relation to history,
citizenship, the environment, and social development (Content Standard B).
BE ABLE TO…
• design and produce quality original images and objects, such as paintings, sculptures,
designed objects, photographs, graphic designs, videos, and computer images (Content
Standard C).
• apply their knowledge of people, places, ideas, and language of art and design to their daily
lives (Content Standard D).
• produce quality images and objects that effectively communicate and express ideas using
varied media, techniques, and processes (Content Standard E).
• interpret visual experiences, such as artwork, designed objects, architecture, movies,
television, and multimedia images, using a range of subject matter, symbols, and ideas
(Content Standard G).
• use their senses and emotions through art and design to develop their minds and to improve
social relationships (Content Standard I).
• reflect upon the nature of art and design and meaning in art and culture (Content Standard J).
31
32. • make connections among arts, other disciplines, other cultures, and the world of work
(Content Standard K).
• use their imaginations and creativity to develop multiple solutions to problems, expand their
minds, and create ideas for original works of art and design (Content Standard L).
Wisconsin’s Model Academic Standards for Art and Design
http://dpi.wi.gov/standards/pdf/art&design.pdf
INSTRUCTIONAL CONCEPTS: With voice, values, and vision, people are all able to be
authentic, communicative, and contributive of a legacy. The Voice Unit is one-third of the
Legacy Curriculum. Renee Sandell (2009) uses the formula Form + Theme + Context (FTC) to
equate art lessons as a balance of visual literacy within art education. All the lessons in the
Legacy Curriculum use Sandell’s formula. In addition, these ideas contribute to the Voice Unit:
• Teaching to encourage all voices, “avoiding stereotypes in terms of student interest and
ability as well as media, style, subject matter” (Collins and Sandell, 1984, p. 189).
• Hetland, Winner, Veenema, and Sheridan (2007) explain voice as Express, the Habit of Mind
“learning to create works that convey an idea, a feeling, a personal meaning” (p. 6).
• Robert K. Abbett stated that “an artist’s style will be the sum of his or her philosophy,
interests, and personality, among other things, but will be arrived at via their technique”
(Mitchell, 2007, p. 132).
• “The teacher creates an environment in which meaning can be constructed by all students”
(Simpson, et al., 1998, p. 295).
ARTISTIC BEHAVIORS: In Studio Thinking, Hetland, Winner, Veenema, and Sheridan
(2007) identify these eight habits:
Develop Craft: Students learn technique and studio practices, using and properly caring for tools.
Students learn studio conventions.
Engage and Persist: Students follow classroom procedure, learn media technique, be willing to
make revisions, start anew, and work supportively with others.
Envision: Students use sketching to develop ideas and construct meanings, individually and
collaboratively.
Observe: Students learn to attend to looking in order to really see things that might not otherwise
be seen.
Express: Students communicate through aesthetics, artist statements, collaborative journals, and
written wishes.
Reflect: Students judge the success of artwork by themselves and others through the use of
rubrics, oral and written words, and portfolios. Students are willing to redo process, components,
or even the project, if remediation is considered necessary by the student.
Stretch and Explore: Students reach beyond their capacities. Students play without a plan, make
mistakes and capitalize from them.
Understand the Art World Domain: Students view fine art, multicultural art, YouTube artists,
and other outsider art. Students compare all of these images and other student work to their own
work. Developing their own ideas about the purposes and meanings of art.
32
33. LESSONS IN THE VOICE UNIT:
• Brainwave Expressionism (BWX): By looking at active and passive brainwaves, students
consider how those waves or lines look different, depending on conditions. Students study
expressionist artists and begin to use color and line expressively, ways in which to assert
voice.
Everyone knows a single line may convey an emotion.
Piet Mondrian
• Shout: Students use prints and stencils as a way to make a mark, using their fingers and
hands. Students also consider the line, shape, color, and repetition in patterns as expressive.
Get in touch with the natural, inner rhythms and pattern of
life within oneself.
Charles Guignon On Being Authentic
• Initial Media Choices: Learning about the environment artists live in, students consider how
a media may be representative of an artist’s surroundings, which becomes a basis for
aesthetic preferences. Students choose media, using two-dimensional or three-dimensional
processes in a monogram.
• Wabi-Sabi Mobiles: Having established syncretic meaning for internal rhythm, outward
expressions, and as a sense of place, students apply syncretic meaning to symbols that are
common to their people. Considering how other peoples have used small objects, students
build mobiles with their own small objects.
RESOURCES AND MATERIALS:
• Brainwave Expressionism: Pencils, crayons, sketching and painting paper, watercolor paint
and brushes, writing paper
Book: Children of Many Lands by Reich.
Other resources: Printouts of EEG’s and Power Point of lesson
• Shout: Drawing and painting media and implements. Collage materials and various adhesives
Images and samples of patterns. Shepard Fairey YouTube video:
http://www.youtube.com/watch?v=Z53XuUhLmuY&feature=related
• Initial Media Choices: Drawing and painting media and implements. Assemblage materials
and various adhesives. Samples and images of Northwest Indian sculpture and Navajo
textiles and pottery
• Wabi-Sabi Mobiles: Clay, clay working tools, glaze, and kiln
Book: Wabi Sabi by Reibstein and Young
For all lessons:
Screen with a laptop, projector, and Internet use for exemplars and as image reference
33
34. Teacher models and student work samples
ASSESSMENT:
Rubrics, written or oral self-reflections, critique guides
Guided discussions, small group discussions, and one-on-one discussions
Word Wall vocabulary
Summative Assessment questions for Voice Unit:
Give an example of alternative self-portraiture.
What part of your personality can you match to a type of line?
Which media or material best represents a part of your character?
Could someone tell you made your artwork without your name on it?
34
35. BOSTON UNIVERSITY
PROGRAMS IN EDUCATION
LESSON PLAN
Art Education Department
TEACHER’S NAME Joan Schlough LESSON ORDER Presented 1st in 1st unit
SCHOOL Koenig Elementary GRADE 3/4 LENGTH OF LESSON 2, 60 min. periods
UNIT Voice TITLE OF LESSON Brainwave Expressionism (BWX)
RELATIONSHIP TO THE LEGACY CURRICULUM: (BWX)
On a small scale we make our own ripples in our inner ponds. Renee Sandell in her article Form
+ Theme + Context wrote that during “the transformation process of creative expression,
students generate artistic ideas that they elaborate, refine and finally shape into meaningful visual
imagery and structures.” EEG’s of actual brainwaves appear as jagged periodic waves generated
by our active brains and change to low bumps or flat lines by our passive brains. Students will
consider their internal rhythms, or peace within, assigning syncretic meaning to their lines.
Everyone knows that a single line may convey an emotion.
Figure 1: Piet Mondrian
RELATIONSHIP TO LIFE:
This painting is alternative self-portraiture, using the idea of a brainwave to represent one’s
internal rhythm; students conceptualize how a wave (or a line) can be expressive and how some
colors express emotions. Students decide if a wavy line expresses the idea that someone is joyful
or nervous and make determinations if the color red might mean love, anger, or just that someone
really likes strawberries.
I. PROBLEM/ACTIVITY:
Students look at actual brainwaves and forms of alternative self-portraits, and paintings by
abstract expressionists. Students practice watercolor techniques, paint an expressive alternative-
self portrait, write an artist statement, and participate in a critique.
II. GOALS:
KNOW…
• that art is a basic way of communicating about the world (Performance Standard A.4.6).
• creating or looking at art can bring out different feelings (Performance Standards I.4.1-7).
• their own ideas about the purposes and meanings of art (Performance Standard J.4.5).
UNDERSTAND…
• ideas and meanings of other artwork (Performance Standards E.4.1, E.4.5 and G.4.1-4).
• and apply the role of art criticism and aesthetic knowledge (Performance Standard J.4.7).
• connections art makes to other subjects and life (Performance Standards K.4.1-3).
35
36. BE ABLE TO…
• develop basic skills to produce quality art, following procedures, and looking at visual art.
(Performance Standards C.4.1-10).
• use basic language of art and problem-solving strategies (Performance Standards D.4.5-6).
• communicate their own ideas and meanings (Performance Standards E.4.1, E.4.5, G.4.1-4).
• show differences among colors…and other qualities of objects in their artwork (Performance
Standard H.4.3).
• develop conceptual thought processes, and learn to use metaphors to arrive at original ideas
(Performance Standards L.4.1-7).
III. OBJECTIVES:
1. Once students practiced the activity of blending watercolors on 2” x 6” swatches, they will
demonstrate the technique of blended watercolors in their final 24” X 32” brainwave portraits.
(Bloom-Application)
2. Using brainwaves as a starting point, or an alternative idea approved by the teacher, students
will generate the idea developing it into compositions through the use of five thumbnail sketches.
(Bloom-Synthesis and Create)
3. Having participated in class discussion about alternative self-portraiture, learned how other
artists presented in class have accomplished alternative self-portraiture, students will orally
critique their own portrait and the portraits of their peers, clearly defending how portraiture was
achieved through brainwave imagery. (Bloom-Evaluation)
IV. RESOURCES AND MATERIALS:
Resources:
• Examples of actual brainwaves as shown by EEG’s
• PowerPoint about the lesson
Book: Children of Many Lands by Hanns Reich
Artist exemplars of alternative self-portraiture:
Figure 2: Coosje’s Thinking by Figure 3: Untitled #14 by Gina Tamburri, who Figure 4: Broom by
36
37. Oldenburg and van Bruggen paints microscopic imagery Gaston Chaissac
Artist exemplars of expressionist painting:
Figure 5: Painting with Figure 6: Wheatfield with Crows by Vincent Van Gogh Figure 7: The Ballad of the Jealous
Three Spots by Wassily Lover of Lone Tree Valley by Thomas
Kandinsky Hart Benton
Examples of student BWX’s with written paragraphs:
I am happy. Brown means I am sad I’m happy and I like to jump I made a colorful desert of blue. Neutrals
because my grandpa might die. All everywhere. Orange, blue, purple, brown, greens, reds, blacks, yellow, orange,
colors mean I like to play. yellow, and grey are happy colors. and violet. I made it a rainbow cause I like
Red, black, green, brown, yellow, seeing a rainbow in my house. I tried making
pink are sad colors. I’m so happy at cactus, sand, clouds, and the wind pushing the
school. sand.
Figure 8: Colors by Janice Figure 9: Happy Jumpy by Nakayla Figure 10: Desert of Blue by Dylan
Teacher models for swatches and BWX:
Figure 11: swatch with transparency Figure 12: swatch with dry brush
37
38. Figure 13: BWX using white crayon resist Figure 14: BWX without crayon resist
Materials:
1-watercolor paper 22x30”
watercolor paint
3-watercolor papers 2x6”
water to paint and rinse
1-#2 sable round brush
1#10 sable filbert brush
1-1/2” brush
pencil
sketch paper and paper for writing
Artist quotes:
Figure 1: Mitchell, D. (with Haroun, L.). (2007). Finding your visual voice. Re: Mondrian
quote. Cincinnati, OH: North Light Books.
Figure 15: Oliver, M. (1986). Dream Work. [line from the poem Wild geese]. New York, NY:
Atlantic Monthly Press.
Artist exemplars:
Figure 2: Oldenburg, C. & van Bruggen, C. (1983). Cross Section of a Toothbrush with Paste,
in a Cup, on a Sink: Portrait of Coosje's Thinking. [Image of sculpture]. Haus Esters,
Krefeld, Germany.
Figure 3: Tamburri, G. (ca. 2000). Untitled No. 14 [Image of painting]. Scanned from
Pittsburgh Tribune-Review.
Figure 4: Chaissac, G. (ca. 1953). Broom [Image of painting]. Louis Carré & Cie Gallery, Paris,
France.
Figure 5: Kandinsky, W. (1914) Painting with Three Spots [Image of painting]. Collection
Thyssen-Bornemisza, Madrid, Spain.
Figure 6: Van Gogh, V. (1890). Wheatfield with Crows [Image of painting]. Van Gogh
Museum, Amsterdam, Holland.
Figure 7: Benton, T. H. (1934). The Ballad of the Jealous Lover of Lone Tree Valley [Image of
painting]. Spencer Museum of Art, Lawrence, Kansas.
Student samples: Teacher models:
Figure 8: Colors by Janice Figure 11: swatch with transparency
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39. Figure 9: Happy Jumpy by Nakayla Figure 12: swatch with dry brush
Figure 10: Desert of Blue by Dylan Figure 13: BWX using white crayon resist
Figure 16: Navajo Hip Hop by Nakayla Figure 14: BWX without crayon resist
V. MOTIVATION
TOPIC QUESTIONS:
• How much does/should a title or an artist statement tell us about the artwork? This is one of
the last pictures that Van Gogh painted before he died. Does this give you a different idea
about crows in a wheat field?
You only have to let the soft animal of your body love what it loves.
Figure 15: From Wild Geese by Mary Oliver
• What does Mary Oliver mean…do you think Nakayla knew, when she thought of her blanket
and music to paint her BWX?
ASSOCIATION QUESTIONS:
• Why do you think Nakayla chose the lines and colors in her painting?
Figure 16: Navajo Hip Hop by Nakayla
• How is the movement in Thomas Hart Benton’s painting telling the story? How could
someone’s thinking be a toothbrush with toothpaste on it? Do you think their choices have
something to do with their lives?
• Can you make a painting like Kandinsky’s with only line and color, and maybe a few shapes
and still show your personality or characteristics?
• If you looked at a part of your skin or hair, under a microscope do you think you could paint
a painting like Tamburri’s? Would you choose the same colors? Would your colors be tints,
shades, or neutrals?
VISUALIZATION QUESTION:
• What lines would you draw for this child (have student demonstrate a line for a picture of a
child from the book, Children of Many Lands)?
• What if some one’s heart is beating fast? What colors or shapes would best show a fast
heartbeat?
• Can you think of other physical things about you that you could show in a line or a color?
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40. TRANSITION QUESTIONS:
• What if you were to tell an exciting story, acting out that story with a line, would that line
have a certain quality? Like the story has ups and downs, would the line go up and down?
• Do you think you could use line and color as symbols to express your feelings or your
personality?
• Who can explain to how our brainwaves explain something about us?
• What do sharp, tall brainwaves mean as opposed to short, wavy brainwaves?
• If you were sleepy, what kind of line do you think best shows your tiredness?
VI. PROCEDURES
Day One
Body:
Instructional Input (10 min.)
• Read task analysis of work flow for Day One written on the board.
• Show examples of actual brainwaves as shown by EEG’s.
• Show PowerPoint with examples self-portraiture alternatives by artists and examples of
expressionist paintings.
Modeling and Demonstration (10 min.)
• Demonstrate wet-on-wet technique.
• Demonstrate painting with transparency.
• Demonstrate dry brush.
• Demonstrate drawing thumbnail sketches.
• Distribution: Line up by tables, when called, to collect materials on the counter or in the back
of the classroom. Return to sink, or counter, independently for more supplies, when needed.
Checking for Understanding (40 min.)
• Students use 1 of the 2 x 6” papers to practice wet-on-wet.
• Students use 1 of the 2 x 6” papers to practice transparency.
• Students use 1 of the 2 x 6” papers to practice dry brush.
Clean-up: Put paintings on drying rack, return paints and brushes according to procedures, wash
and dry tables.
Closure for Day One: Review water color technique terms, matching swatches of types.
Day Two
Instructional Input (5 min.)
• Read task analysis of work flow for Day Two written on the board.
• Opening reflection on 1st day progress. Point out how many of them blended their colors and
tried other techniques, too, like dry-brush.
• Review watercolor techniques within teacher and student BWX samples
Modeling and Demonstration (10 min.)
• Demonstrate making thumbnail sketches.
• Demonstrate transferring idea from thumbnail sketch to BWX with and without crayon resist.
• Demonstrate using watercolor techniques in BWX.
Checking for Understanding (45 min.)
40
41. • Students make 5 thumbnail sketches of different compositions.
• Students use composition idea and watercolor skills to paint BWX.
• Students write artists’ statements about symbolism of colors and lines.
Clean-up: Put paintings on drying rack, return paints and brushes according to our procedures,
wash and dry tables according to our procedures.
Closure for Day Two: Teachers and students hold oral critique and reveal why their images are
alternative self-portraiture, how the paintings relate to themselves.
VII. EVALUATIONS
Assessment tools:
Watercolor technique swatches: Using the swatches as pre-painting exercises, the teacher
observes the three techniques and then students proceed to the next exercise.
Five thumbnail sketches will then be required showing the development of idea(s), students will
choose one of the five to use as a basis for their final painting. Only observation of completion of
the five sketches is made, opposed to making any observation based on the quality. Students will
complete a rubric.
Oral defense or written paragraph:
Allowing students freedom to defend their work in writing or orally, privately or
publicly, eases initial discomfort with perceived inadequacies. Nakayla was retained in 3rd
grade. Her second BWX journey brought a new comfort writing and leadership during
the critique. She became confident giving positive, specific, and helpful comments.
Critique log (written test available as a modification):
Teacher assigns one student to tally other students’ comments. Students will be required
to make at least one comment on their own work and one comment on a peer’s work.
The students’ comments on their own work must convey how the image relates to
themselves. The quality of the comment given to the peer should be helpful and specific.
The information may be conveyed in a written paragraph as a modification.
Critique:
Have students look at other formal elements, such as composition and movement.
How many of you feel your painting looks calm but you are not calm?
How did your colors relate to your personality?
Share how the different lines are something about your character. Are they strong?
Have students read artists’ statements about symbolism of colors and lines.
Transition to next lesson, which uses repetition in pattern, by pointing these principles
out in the BWX’s.
Rubric for BWX (see next page):
41
42. Brainwave Expressionism
Check the boxes if you…
A completed…
1 watercolor swatch showing wet-on-wet watercolor technique.
1 watercolor swatch showing dry brush technique.
1 watercolor swatch showing transparency.
completed 5 thumbnail sketches, showing ideas of how to use different
lines in your painting.
wrote a paragraph about how the color and lines express things about your
emotions, personality, or character.
participated in the critique. Making one or more positive or at least helpful
comments.
have a final painting that is expressive and in watercolor, showing at least
two of the techniques listed above.
B I completed steps above and the swatches and thumbnails sketches helped me
learn watercolor techniques but I could still use a little practice painting with
watercolors.
C I completed most of the steps shown above but I could still use a more
practice painting with watercolors and sharing during critiques.
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43. BOSTON UNIVERSITY
PROGRAMS IN EDUCATION
LESSON PLAN
Art Education Department
TEACHER’S NAME Joan Schlough LESSON ORDER Presented 2nd in 1st unit
SCHOOL Koenig Elementary GRADE 3/4 LENGTH OF LESSON 3, 60 min. periods
UNIT Voice TITLE OF LESSON Shout
RELATIONSHIP TO THE LEGACY CURRICULUM: (Shout)
Students use prints and stencils as a way to make their mark, using their fingers and hands.
Students also consider the line, shape, color, and repetition in patterns as expressive.
Conceptually, students thought about Brainwaves an inner rhythm. This is the first lesson
students begin to think of their voice as an outward expression, not just representative of inner
feelings.
Get in touch with the natural, inner rhythms
and pattern of life within oneself.
Figure 1: Charles Guignon On Being Authentic
RELATIONSHIP TO LIFE:
Alternative self-portraiture encourages students to apply syncretic meaning to their aesthetic
decisions. The important application is not that a pattern is or is not strong, shy, brave, funny,
complicated, etc.; it is whether or not students become able defending their assertions and
effectively communicate with others.
I. PROBLEM/ACTIVITY:
Students make a two-dimensional, mixed-media, and mixed-technique artwork, using pattern to
visually represent their shout. Formal elements, as with line and color in the BWX lesson, may
be used expressively. Students build upon their inner exploration, using those lines and colors in
the patterns to represent their visual shout.
II. GOALS:
KNOW…
• that art is a basic way of communicating about the world (Performance Standard A.4.6).
• creating or looking at art can bring out different feelings (Performance Standards I.4.1-7).
• their own ideas about the purposes and meanings of art (Performance Standard J.4.5).
UNDERSTAND…
• expressive qualities of art changes from culture to culture (Performance Standard B.4.2).
43
44. • that their choices are shaped by their own culture (Performance Standard B.4.5).
• ideas and meanings of other artwork (Performance Standards E.4.1, E.4.5 and G.4.1-4).
• and apply the role of art criticism and aesthetic knowledge (Performance Standard J.4.7).
BE ABLE TO…
• develop basic skills to produce quality art, following procedures, and looking at visual art.
(Performance Standards C.4.1-10).
• use basic language of art and problem-solving strategies (Performance Standards D.4.5-6).
• communicate their own ideas and meanings (Performance Standards E.4.1, E.4.5, G.4.1-4).
• show differences among colors…and other qualities of objects in their artwork (Performance
Standard H.4.3).
• develop conceptual thought processes, and learn to use metaphors to arrive at original ideas
(Performance Standards L.4.1-7).
III. OBJECTIVES:
1. Once students have been shown a model of the Shout artwork, having had previous experience
using the techniques, and reviewing techniques through a YouTube video and teacher
demonstrations, students combine stenciling, printing, and painting in their own artwork,
availing help from the teacher when needed. (Bloom-Comprehension, Application, and Create)
2. Responding to their own process, students will list the steps in their process, identifying the
techniques by name and self-assessing the strengths and weakness, and defending how their
patterns expressed something about them in written form or through guided and one-on-one
discussions with the teacher. (Bloom-Comprehension and Analysis)
3. Through participation in class discussion, students will contribute their own thoughts and
questions as to the relevance and importance regarding the teacher model and exemplars,
responding at least once to teacher prompts and replying at least once to other student comments.
(Bloom-Synthesis and Evaluation)
IV. RESOURCES AND MATERIALS:
Resources:
• Art vocabulary for Word Wall: pattern, print, stencil, repetition, simulated texture, overlap
• Shepard Fairey YouTube video showing stencil layering:
• http://www.youtube.com/watch?v=Z53XuUhLmuY
• Hawaiian Kapa cloth and other visual aids with patterns: Native American pottery, Kente
Cloth, and Ndebele houses.
• Images of artwork with repetition and pattern: Elsworth Kelly, Paul Strand, Stuart Davis,
Frank Stella, and Barnett Newman.
Handout: Aboriginal Art. ArtaFacts 9(3).
Books: Ndebele Painted Houses by Margaret Courtney-Clarke
Kente Cloth Patterns to Color by Nancy Hall
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45. Teacher model:
Figure 2: Teacher model of the Shout process and Shout
Artist exemplars showing aspects of lesson:
Figure 3: Arthur Dove, Fog Horns. Using Figure 4: Prehistoric woman. Hands and dotted Figure 5: Robert Rauschenberg, Small
visual representation of sound. horse. Using hand as stencil. Rebus, 1956. Using multiple techniques in
a 2-D “combine.”
Materials for teacher to use with students:
lamps
tape
lightbox
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46. juice: cranberry, blueberry, pomegranate, or grape
Other good staining liquids are non-alcoholic wine, tea, and coffee.
squirters and sprayers: spray bottle, baster, condiment or glue bottle, or pipette
Sprayers, basters, or other squirters are an option for students physically unable to spit, or
with an aversion to spitting, or to completely substitute for spitting.
spray paint
magazines and other types of paper, material, and collage possibilities
Some materials for the collage component are difficult to cut, precutting the components,
scissors with springs, or using materials that do not need to be cut, such as, paint
swatches, stickers, and stamps, are other options.
Knockdown Texture
primer
Materials for each student:
16 x 28 ½” or 19 x 33” Bristol, Strathmore 300 series paper or other surface for Shout.
Students may make suggestions and bring items but other surfaces available in the art
room are reclaimed cupboard doors, recycled plastic containers, and cardboard boxes.
sketch paper
writing paper
stiff paper for stenciling
pencils and erasers
tempera or acrylic paint
brushes
glue
scissors
magazines, and other collage paper, materials, and items for collage possibilities student brings
Artist quotes:
Figure 1: Guignon, C. (2004). On being authentic. Milton Park, United Kingdom: Routledge.
Teacher models:
Figure 2: Teacher model of Shout
Artist exemplars:
Figure 3: Dove, A. (1929). Fog Horns. [Image of painting]. Colorado Springs Fine Art Center.
Figure 4: Prehistoric woman. (ca. 25,000 B.C.).Hand stencil and dotted horse. [Image of
painting]. Re: hand stenciling. [Image of painting]. Pech Merle, Cabrerets, France.
Figure 5: Rauschenberg, R. (1956). Small Rebus. [Image of combine]. MOCA, LA, CA.
V. MOTIVATION:
TOPIC QUESTION:
• What do you think it means to create oneself as a work of art?
ASSOCIATION QUESTIONS:
• Looking at Dove’s painting, do the colors remind you of looking out at Lake Michigan
sometimes?
46
47. • What is making the sound in Arthur Dove’s painting…hint you hear it all the time?
• Can you explain how the cavewoman made the hand shapes and dots on the horse?
• If caves, textiles, and pottery had not have been painted with prints and patterns, what else
could archeologists have learned from the artwork?
• What do you think Rauschenberg means, when he said that a painting is more like the real
world if it's made out the real world…what stuff can you identify in his Small Rebus…how is
his rebus like the rebus that you made last year?
VISUALIZATION QUESTIONS:
• Since you may not use stamps, what might you include in your Shout…if you did use a
stamp, how much more would it be?
• What color would the sound of a fire alarm be…why?
• What type of shape would the sound of a little bird make…an elephant…a snake?
• If you made a picture of an onomatopoeia two years ago, how will this Shout artwork be
similar?
TRANSITION QUESTIONS:
• How will the pattern in your shout bubble express your feelings or your personality?
• Do you think any of this artwork is like a self-portrait?
• What lines or colors from your BWX should you think about using for your shout bubble?
• Why would it make sense for a student to include a ticket from a football game somewhere in
the Shout artwork?
• What students in your class might make their Shout on their skateboard decks?
• What item could you use to make a pattern in your shout bubble?
VI. PROCEDURES
Day One
Body:
Instructional Input (20 min.)
• Read task analysis of work flow for Day One written on board.
• Show images of Shout progression and Shout teacher model.
• Review prior learning about color and line having syncretic meaning. Explain how the
pattern in the shout bubble of the teacher model reflects the teacher’s character and
personality.
• Show examples of how other artists have used components of this lesson: visual sound,
stenciling and printing with ones hands, and layering techniques.
• Show part of Shepard Fairey YouTube Video.
• Show examples of patterns and repetition.
o Save some images to discuss Day Two.
Modeling and Demonstration (10 min.)
• Demonstrate tracing profile of head and silhouette of hands with a student helper. Warn
students about the hot PAR on the lamp.
• Demonstrate making a shout bubble.
47
48. • Demonstrate making stencils used to spray, squirt or spit inside shapes or around the outside
by taping paper to window or using lightbox.
• Demonstrate making stencils for spraying outside of the shapes as well as inside shapes.
• Demonstrate how to use Knockdown Texture.
• Demonstrate taking notes about process.
• Show students how to work on different parts of their Shout, while waiting to use community
resources and materials.
o Only model and demonstrate a little bit of each of the above step, to conserve time
and save parts of the work for Day Two demonstrations.
o Knockdown Texture takes about three hours to dry.
• Demonstrate clean up.
• Distribution: Line up by tables, when called upon, to collect materials on the counter or in the
back of the classroom. Return to counter, independently for more supplies, when needed.
Call on students in pairs to take turns tracing silhouettes.
Checking for Understanding (30 min.)
• Students use sketching paper to plan composition.
• Students use stiff paper to create stencils.
• Students use another paper or surface for Shout.
• Students combine the steps of the process, using workflow checklist to remember
components, and recording their steps as they are working.
o If applying the Knockdown Texture a good strategy is to do so at the end of the
period.
Clean-up: Put media and artwork away according to our procedures.
Closure for Day One: Teacher asks a vocabulary questions, students find the term on the Word
Wall, and then line up for dismissal.
Day Two
Body:
Instructional Input (10 min.)
• Read task analysis of work flow for Day Two written on board.
• Ask remaining guided questions and discuss additional samples of images with patterns.
• Read through checklist students use to remember components of process.
Modeling and Demonstration (15 min.)
• Repeat modeling and demonstration steps from Day One, adding to the work on the sample
started on Day One.
• Demonstrate blocking in profile, hands, and bubble with paint. Talk aloud about how more
than one outline can be used to make shapes look dynamic.
• Demonstrate spitting, spraying, printing, collaging, and painting, building surface with
layers.
• Demonstrate choosing different stencils than the time before to add the next layers.
• Show how to switch colors for spitting, spraying, printing, collaging, and painting, building
surface with layers.
• Demonstrate adding additional layers of prints and/or collage elements.
48