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De’VIACurriculum

K-12

De’VIA Curriculum Development TeamLogo Design -- David Call

Table of ContentsWhat is De’VIAIntroduction

De’VIA Curriculum Goals and Teaching Approach/Deafhood Pedagogical PracticesElements of De’VIA History of De’VIA: The Manifesto

De’VIA TodayDe’VIA Categories

De’VIA ThemesMain De’VIA Motifs

Animal MotifsThe Standards

Standards: Grades K-4 Standards: Grades 5-8 Standards: Grades 9-12

Samples of lesson PlansElementary SchoolMiddle SchoolHigh SchoolMore De’VIA Lesson Plan Ideas

ResourcesRubrics/AssessmentArt Critic QuestionsGlossaryBooks, Articles, and Websites

Acknowledgements

What is De’VIA:Deaf View/Image Art, also known as De’VIA, is art that examines and expresses the Deaf experience from a cultural, linguistic, and intersectional point of view. Deaf and Deaf-Blind people created works that reflected the Deaf experience long before the term Deaf View/Image Art was coined in 1989. After De’VIA recognized as a genre of art, scholars began to identify De’VIA themes, symbols and motifs.De’VIA works can be recognized by the way they show the Deaf and Deaf-blind point of view via themes and motifs that represent life amongst Deaf and Deaf-blind people. Just as works about other disenfranchised groups (African-American, Native

Americans,LGBTQ, etc) challenge oppression and celebrate their culture, so too do Deaf and Deaf-blind artists.

Expression in Art (version 2) by Nancy Rourke

IntroductionDuring the summers of 2014 and 2015, dedicated Deaf and Deaf-blind artists, teachers, scholars, and activists came together to work on this Deaf View/Image Art curriculum. Our purpose and motivation was to ensure that all Deaf and Deaf-blind children as well as Hearing children had the opportunity to learn about art, audism, Deaf history, Deaf culture, Deaf Gain and Deafhood and Deaf View/Image Art itself. The curriculum was designed specifically for Deaf and Deaf-blind students and includes a De’VIA kit that contains:

● The link to the De’VIA Curriculum website for lesson plans and ASL videos with explanations of themes and motifs

● the De’VIA 2014 Replica Mural● the 1989 De’VIA manifesto● A coloring book of De’VIA Mural motifs ● A coloring book of De’VIA artworks● The Heart of Deaf Culture: Literary and Artistic Expressions of Deafhood DVD

setA website will be created to put as much information on De’VIA into American Sign Language as possible so that the students can best understand the definition of De’VIA, the history of De’VIA, the categories of Resistance and Affirmation, as well as the themes and motifs. This website will also include the De’VIA coloring books.

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De’VIA Curriculum Goals and Teaching Approach/Deafhood Pedagogical Practices

Curriculum Goals: The founding principle of the De’VIA Curriculum is that Deaf and Deaf-blind children are entitled to learning about their Deaf heritage, language, struggles and victories, identity and rights via visual arts. They will also learn about

traditional elements and principles of art that reinforce national art education standards. This curriculum will also be used with Hearing children as more and more public schools are incorporating De’VIA into their American Sign Language (ASL) programs and other subject area curriculum.The goals of this curriculum is to ensure that Deaf and Deaf-blind students will be introduced to:

● The meaning of Deaf View/Image Art (De’VIA)● The history of De’VIA● De’VIA artists and their works● Motifs and themes in De’VIA works● The 4 Elements of De’VIA ● Ways to create their own De’VIA

In carrying out these goals, teachers will employ and further develop Deafhood pedagogy practices.

Deafhood Pedagogical PracticesThis De’VIA curriculum is also unique because it employs a Deafhood pedagogy. Dr. Paddy Ladd introduced the concept of Deafhood at the beginning of the 21st century. Deafhood includes the belief that it is good to be Deaf and Deaf-blind. Deafhood challenges audism (the belief that it is superior to be Hearing) and celebrates Deaf Gain (the belief that Deaf and Deaf-blind people have much to offer the world). This De’VIA curriculum is to be taught following Deafhood Pedagogical practices. Below is a list of the overlapping stages of Deafhood Pedagogies, followed by a link explaining each of the stages [See slides 10 - 16 for explanations of each stage]The 6 ‘Stages’ of Deafhood Pedagogies1. Developing the ‘cognitive engine.’2. Teaching an appreciation of modalities.3. Creating a safe cultural environment.4. Accelerating language development.5. Identifying Deaf peoples’ ‘place’ in the world.6. Teaching how to live in both Deaf and hearing ‘worlds’http://deafhoodfoundation.org/vlog/wp-content/uploads/2013/10/Fremont-Deaf-Pedagogies-2013COPYRIGHTED.pdf

The 4 Elements of De’VIA

De= Deaf & Deaf-Blind peoples’ expressions of Affirmation,

Resistance, and Liberation

V= View of how Deaf & Deaf-Blind people experience the world

I= Images/Motifs/Symbols of the Deaf & Deaf-Blind experience

A= Art, Artivism, Aesthetics, and Authentic expressions of

the Deaf & Deaf-Blind experience

My Grandparent’s Treasure by Guy Wonder I Will Never Forget by Ellen Mansfield

History of De’VIA: The Manifesto

The Manifesto's IntroductionIn 1971, Betty G. Miller began expressing her Deaf experiences through her paintings and drawings. Since then her work has inspired several Deaf visual artists to create work based on their Deaf experiences. These artists often discussed whether or not

there was a "Deaf Art" -- a genre or school of thought. Starting at Spectrum, Focus on Deaf Artists' summer festivals in 1977 and 1978, there were formal workshops on the question of Deaf Visual Art, and there have been many lectures and workshops since then. Yet, these workshops lasted only an hour or two, and never really came to any formal decision.Deaf Way provided the opportunity for Betty to facilitate a 4-day workshop at Gallaudet University focussing on the question, "What is Deaf Art?" This workshop, "Expression: American Deaf Art", held May 25th to 28th, 1989, was co-facilitated by Paul Johnston. There were 9 visual artists involved: Betty G Miller, Ed.D., painter; Paul Johnston, Ph.D., sculptor; Deborah M. Sonnenstrahl, Ph.D., art historian; Chuck Baird, painter; Guy Wonder, sculptor; Alex Wilhite, painter; Sandi Inches-Vasnick, fiber artist; Nancy Creighton, fiber artist; and Lai-Yok Ho, video artist. (Lai-Yok videotaped the entire 4 days of the workshop.) The purpose of the weekend was:

● to have an in-depth discussion on our experiences as Deaf artists,● debate any common elements of Deaf Art,● develop a visual manifesto,● develop a written manifesto.

The name, De'VIA, evolved out of much discussion on the relative merits of an English or an ASL name. The final name, though a combination of the two, has the natural flow of ASL as the predominant consideration.

The Manifesto (See ASL version of the 1989 Manifesto on the De’VIA Curriculum site)De'VIA represents Deaf artists and perceptions based on their Deaf experiences. It uses formal art elements with the intention of expressing innate cultural or physical Deaf experience. These experiences may include Deaf metaphors, Deaf perspectives, and Deaf insight in relationship with the environment (both the natural world and Deaf cultural environment), spiritual and everyday life.De'VIA can be identified by formal elements such as Deaf artists' possible tendency to use contrasting colors and values, intense colors, contrasting textures. It may also most often include a centralized focus, with exaggeration or emphasis on facial features, especially eyes, mouths, ears, and hands. Currently, Deaf artists tend to work in human scale with these exaggerations, and not exaggerate the space around these elements.There is a difference between Deaf artists and De'VIA. Deaf artists are those who use art in any form, media, or subject matter, and who are held to the same artistic standards as other artists. De'VIA is created when the artist intends to express their Deaf experience through visual art. De'VIA may also be created by deafened or hearing artists, if the intention is to create work that is born of their Deaf experience (a possible example would be a hearing child of Deaf parents). It is clearly possible for Deaf artists not to work in the area of De'VIA.While applied and decorative arts may also use the qualities of De'VIA (high contrast, centralized focus, exaggeration of specific features), this manifesto is specifically written to cover the traditional fields of visual fine arts (painting, sculpture, drawing, photography, printmaking) as well as alternative media when used as fine arts such as fiber arts, ceramics, neon, and collage.

Created in May, 1989, at The Deaf Way.

The signatories were:Dr. Betty G. Miller, painter; Dr. Paul Johnston, sculptor; Dr. Deborah M. Sonnenstrahl, art historian; Chuck Baird, painter; Guy Wonder, sculptor; Alex Wilhite, painter; Sandi Inches Vasnick, fiber artist; Nancy Creighton, fiber artist; and Lai-Yok Ho, video artist.

De’VIA Mural of 1989

De’VIA TodaySince its birth in 1989, the De’VIA movement has grown and blossomed. More and more artists have been joining the De’VIA movement leading to greater numbers of De’VIA motifs and themes. Today, emerging and established artists are contributing to a renaissance in De’VIA, a Second Wave, as they experiment with an increasing variety of mediums, forms, motifs, and messages. With the advent of the digital age, the public is becoming exposed and aware of De’VIA artists and artwork. De’VIA works are becoming increasingly sought after and valued. De’VIA and Deafhood have been spread via social media and has awakened a Deaf collective consciousness. De’VIA artists today are heavily involved in artivism. “The artivist (artist +activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation.” M.K. Asante

De’VIA and Deafhood are vital components of Deaf Cultural Studies and ASL Studies curricula. Every Deaf and Deaf-Blind student should be exposed to this curricula in order to foster personal relevancy, enlightenment, and empowerment.

De’VIA Mural 2013

The Two Categories of De’VIA

Ameslan Prohibited by Betty G. Miller

Resistance - De’VIA works that examine oppression, identity formation, and political struggles.

Art No. 2 by Chuck Baird

Affirmation - works that celebrate and validate being Deaf.

General De’VIA MotifsSee https://devartivistunited.wordpress.com/devia-curr/devia-motifs/

(NEED TO REVIEW list below - remove some - See ASL Explanation of Motifs)

A.G. BellAudiologist

BabiesBand-Aid

BellBlack hole

Broken HandsButtonCandleChains

CheckerboardChildren

ChinClock

CloudsCochlear ImplantCracks

DandelionsDarkness

Deaf PowerDNA

DoctorDollsDoorsDrill

DrumEars

ElectronicsEye Contact

EyesFeathers

FingerspellingFistFlag

Flash LightFlowersGloves

Hammer

HandsHands holding together

Hearing AidsHook

InterpretersJaws

Jigsaw puzzlesKitchenLadderLamp

LeavesLight

Light bulbsLock

MarkerMask

MechanicalMiddle Finger

MirrorMoney

MountainsMouth

Musical InstrumentsNails

NatureNotes

Paper and PenProfit

PuppetRainbow

RootsRopeRosesRulerScore

ScrewsSewingShadow

ShellsSI5S (ASL Writing)

SignSolidarity Fist

SpotlightStandStarsStick

StreamStrings

SunTape

TechnologyThird Eye

TotemTrees

Two WorldsViolinWaterWave

WindowZipper

Animal MotifsAnimals Meaning

Fish IsolationCan communicate under water

SilenceSeparation of two worlds

Peacock Spectrum’s mascotEyes on the feathers

Beauty

Caterpillar/Butterfly EvolutionJourney

Deafhood

Moth Need lights

Bee Deaf Community (i.e. Hives)

Crab Crab Theory

Elephant A.G. BellAudismOralism

Dog BondingFamily’s Pet

Horse Deaf Person

Hamster/guinea pig pet or experimentation

Bird/Crow ASL

Octopus Oralism

ThemesResistance Affirmation

A.G. BellAbuseAudismBullying

Cochlear ImplantColonizationCrab Theory

Dinner Table SyndromeDivision in Two Worlds

EnslavementEugenics

Forced AssimilationGenetics

Identity ConfusionIsolation

Lack of AccessLack of Education

Language DeprivationLonging

MainstreamMilan 1880

NeglectOralismPrison

Stem CellsSubmissionSuppression

Unconscious Audism

AfflictionASL

BelieveCelebrationCollective

CommunityDeaf GainDeaf HerosDeaf LandDeaf PrideDeafhood

EmpowermentEyescape

EyethFamily

Famous Deaf folksFestival

FreedomGlobal Citizenship

HomeHope

MulticultureParade

Self-AcceptanceSocialization

Story SharingTechnologyUnity

Deaf-Same

Andrew Foster by Uzi Buzgalo Homage to Thomas Gallaudet

Hearing Impaired: Wrong Way/ Language Deprivation by Hinda KasherDeaf: Right Way by Ann Silver

The National Art Education Association Standardshttp://www.arteducators.org/store/NAEA_Natl_Visual_Standards1.pdf

National Visual Arts Standards for K- 4 grade (Elementary School)

Standard #1 Understanding and applying media, techniques, and processes

Achievement Standard

● Students know the differences between materials, techniques, and processes● Students describe how different materials, techniques, and processes cause different

responses● Students use different media, techniques, and processes to communicate ideas,

experiences, and stories● Students use art materials and tools in a safe and responsible manner

Standard #2 Using knowledge of structures and functions


● Students know the differences among visual characteristics and purposes of art in order to convey ideas

● Students describe how different expressive features and organizational principles cause different responses

● Students use visual structures and functions of art to communicate ideas

Standard #3 Choosing and evaluating a range of subject matter, symbols, and ideas


● Students explore and understand prospective content for works of art● Students select and use subject matter, symbols, and ideas to communicate meaning

Standard #4 Understanding the visual arts in relation to history and cultures


● Students know that the visual arts have both a history and specific relationships to various cultures

● Students identify specific works of art as belonging to particular cultures, times, and places● Students demonstrate how history, culture, and the visual arts can influence each other in

making and studying works of art

Standard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of others


● Students understand there are various purposes for creating works of visual art● Students describe how people's experiences influence the development of specific artworks● Students understand there are different responses to specific artworks

Standard #6 Making connections between visual arts and other disciplines


● Students understand and use similarities and differences between characteristics of the visual arts and other arts disciplines

● Students identify connections between the visual arts and other disciplines in the curriculum

National Visual Arts Standards for 5-8 grade (Middle School)

Standard #1 Understanding and applying media, techniques, and processesAchievement StandardStudents select media, techniques, and processes; analyze what makes them effective or not effective in communicating ideas; and reflect upon the effectiveness of their choicesStudents intentionally take advantage of the qualities and characteristics of art media, techniques, and processes to enhance communication of their experiences and ideas

Standard #2 Using knowledge of structures and functionsAchievement Standard

● Students generalize about the effects of visual structures and functions and reflect upon these effects in their own work

● Students employ organizational structures and analyze what makes them effective or not effective in the communication of ideas

● Students select and use the qualities of structures and functions of art to improve communication of their ideas

Standard #3 Choosing and evaluating a range of subject matter, symbols, and ideasAchievement Standard

● Students integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks

● Students use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks

Standard #4 Understanding the visual arts in relation to history and culturesAchievement Standard

● Students know and compare the characteristics of artworks in various eras and cultures● Students describe and place a variety of art objects in historical and cultural contexts● Students analyze, describe, and demonstrate how factors of time and place (such as

climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art

Standard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersAchievement Standard

● Students compare multiple purposes for creating works of art● Students analyze contemporary and historic meanings in specific artworks through

cultural and aesthetic inquiry● Students describe and compare a variety of individual responses to their own artworks

and to artworks from various eras and cultures


Achievement Standard● Students compare the characteristics of works in two or more art forms that share similar

subject matter, historical periods, or cultural context● Students describe ways in which the principles and subject matter of other disciplines

taught in the school are interrelated with the visual arts

National Visual Arts Standards for 9-12 grade (High School)

Standard #1 Understanding and applying media, techniques, and processes

Achievement StandardProficient:

● Students apply media, techniques, and processes with sufficient skill, confidence, and

sensitivity that their intentions are carried out in their artworks

● Students conceive and create works of visual art that demonstrate an understanding of

how the communication of their ideas relates to the media, techniques, and processes

they use

Advanced:

● Students communicate ideas regularly at a high level of effectiveness in at least one

visual arts medium

● Students initiate, define, and solve challenging visual arts problems independently using

intellectual skills such as analysis, synthesis, and evaluation

Standard #2 Using knowledge of structures and functions


● Students demonstrate the ability to form and defend judgments about the characteristics

and structures to accomplish commercial, personal, communal, or other purposes of art

● Students evaluate the effectiveness of artworks in terms of organizational structures and

functions

● Students create artworks that use organizational principles and functions to solve

specific visual arts problems

Advanced:

● Students demonstrate the ability to compare two or more perspectives about the use of

organizational principles and functions in artwork and to defend personal evaluations of

these perspectives

● Students create multiple solutions to specific visual arts problems that demonstrate

competence in producing effective relationships between structural choices and artistic

functions

Standard #3 Choosing and evaluating a range of subject matter, symbols, and ideas


● Students reflect on how artworks differ visually, spatially, temporally, and functionally,

and describe how these are related to history and culture

● Students apply subjects, symbols, and ideas in their artworks and use the skills gained

to solve problems in daily life

Advanced:

● Students describe the origins of specific images and ideas and explain why they are of

value in their artwork and in the work of others

● Students evaluate and defend the validity of sources for content and the manner in

which subject matter, symbols, and images are used in the students' works and in

significant works by others

Standard #4 Understanding the visual arts in relation to history and cultures


● Students differentiate among a variety of historical and cultural contexts in terms of

characteristics and purposes of works of art

● Students describe the function and explore the meaning of specific art objects within

varied cultures, times, and places

● Students analyze relationships of works of art to one another in terms of history,

aesthetics, and culture, justifying conclusions made in the analysis and using such

conclusions to inform their own art making

Advanced:

● Students analyze and interpret artworks for relationships among form, context,

purposes, and critical models, showing understanding of the work of critics, historians,

aestheticians, and artists

● Students analyze common characteristics of visual arts evident across time and among

cultural/ethnic groups to formulate analyses, evaluations, and interpretations of meaning

Standard #5 Reflecting upon and assessing the characteristics and merits of their work and the

work of others


● Students identify intentions of those creating artworks, explore the implications of

various purposes, and justify their analyses of purposes in particular works

● Students describe meanings of artworks by analyzing how specific works are created

and how they relate to historical and cultural contexts

● Students reflect analytically on various interpretations as a means for understanding and

evaluating works of visual art

Advanced:

● Students correlate responses to works of visual art with various techniques for

communicating meanings, ideas, attitudes, views, and intentions



● Students compare the materials, technologies, media, and processes of the visual arts

with those of other arts disciplines as they are used in creation and types of analysis

● Students compare characteristics of visual arts within a particular historical period or

style with ideas, issues, or themes in the humanities or sciences

Advanced:

● Students synthesize the creative and analytical principles and techniques of the visual

arts and selected other arts disciplines, the humanities, or the sciences

Samples of Lesson Plans

Elementary School

Middle School

High School

Elementary School Lesson Plans

Lesson PlanSusan Dupor’s Use of Value

Unit: Mixed Media

Overview: We will introduce one of the main elements of art--the concept of value and of using value in art work. We will use De’VIA artist Susan Dupor’s paintings to illustrate value with bright and dark colors. The students will choose light and dark motifs such as the moon, a sunrise, or light bulbs. They will then use different ranges of colors from dark to light values to create a collage art work using sample paint chips or colored construction papers. This project will introduce the students to the value of warm and cool colors such as red-purple to orange and blue-green to purple.

Grade Level/Length: Elementary/2-3 class periods

De’VIA Elements:Images/motifs/symbols of the Deaf & Deaf-Blind experienceArt, Artivism, Authentic Aesthetics of the Deaf & Deaf-Blind experience

NAEA - The National Visual Arts Standards:1 - Understanding and applying media, techniques, and processes.3 - Choosing and evaluating a range of subject matter, symbols, and ideas.4 - Understanding the visual arts in relation to history and culture

Learning Objectives: At the completion of the unit, students will 1a. show the differences in the dark and light values through their artwork.1b. describe how bright and dark colors feel different.1c. create a collage using paint chips to communicate ideas, experiences, and/or stories2 a. identify, via their artwork, how different values/colors can be used to convey different

motifs. 3 b. select and use particular motifs (moon/sunrise/light bulb) to communicate meaning4 a. recognize Susan Dupor’s artworks as showing the Deaf experience and being part of

De’VIA4 b. recognize how Susan Dupor’s artworks relate to Deaf history/culture and dark and light

values (authentic aesthetics).

Element of Art: value

Vocabulary (ASL/English):Value - the gradual movement from light to dark.Motifs - ideasWarm colors - red, orange, and yellow

Cool colors - purple, blue, and green

Materials: paint samples, cardstock paper, glue, scissors, pencils

Procedure:-Introduce Artist Susan Dupor and samples of her artwork.-Discuss her artwork using discussion questions (see attached page of questions)-Discuss how her artwork shows the Deaf experience.-Identify and analyze the warm/cool colors and value in her artworks. (which paintings you feel cool or warm? why? how do you tell? How did Susan show the use of value in her painting? etc.)- Demonstrate the use of value with paint chips (tints/shades of green)- Have the students to create value ranges with 10 paint chips- Identify and analyze light and dark motifs (moon, sunrise, light blub)- Have the students decide which motif they want to use in their project.- Have the students choose complementary color construction paper to match with their series of paint chips. (ie. paint chips- warm colors -- then construction paper has to be cool.)- Have the students create their motif using paint chips (to show value of warm/cool colors)

Reflections:- Explain the process you used to create your project.- Why did you choose this motif? What does this motif represent?

Resources:Susan Dupor’s bio and selections of her paintings http://www.rit.edu/ntid/dccs/dada/dada.htm

Susan Dupor’s art websitehttp://www.duporart.com/

Assessment Methods:Informal and formal assessment: (see rubrics under Curriculum Resources )

Differentiation strategies: Have a few piles of exactly 10 paint chips - this will help students in sorting them out.

De’VIA Hand/Fingerpainting and Printmaking

Unit: Printmaking

Overview: Students will study the works of Deaf De’VIA artist, Alexander Martinov. They will mix primary colors together to make secondary colors and do finger painting on a transparent plane then make monoprints out of their painted image.

Grade Level/Length: K-4/2-3 class periods

De’V’IA Elements:Deaf and Deaf-Blind people’s Expressions of resistance, affirmation, and liberation

Images/motifs/symbols of the Deaf/Deaf-Blind Experience

Educational Standards:Standard #1 Students describe how different materials, techniques, and processes cause different responses

Standard #2 Students use visual structures and functions of art to communicate ideas

Standard #3 Students select and use subject matter, symbols, and ideas to communicate meaning

Standard #4 Students know that the visual arts have both a history and specific relationships to various cultures

Learning Objectives:1. Students will identify the three primary and secondary colors. Primary colors=yellow, red, blue Secondary colors=green, orange, purple2. Students will demonstrate how to mix primary colors into secondary colors (Color Math). yellow+blue=green, yellow+red=orange, blue+red=purple3 Students will demonstrate how to print from wet surface onto paper.4. Students will recognize Alexander Martinov’s artwork as expressions of the Deaf experience.5. Students will identify De’VIA motifs in Alexander Martinov’s artwork.6. Students will describe their project.

Element of Art: Color

Principle of Design: Movement

Vocabulary (ASL/English):

Russia, motif, paint, finger painting, printmaking, monoprint, primary colors, secondary colors

Materials:Tempera paint (add drop of dish soap for easy washing off glass), glass or plexiglas, toothy paper,

Procedure:1. Show video and artwork of Martinov2. Demonstration of Monoprint printmaking process3. Students will spontaneously paint on transparent plane (glass or plexiglas. Mirror

is optional) and place paper on the painted surface to get an impression.4. Optional: Teacher videotape the students signing what they will make, then show

them painting on the surface of the other side of the plane.5. Discuss ideas what kind of De’VIA motifs (refer to De’VIA motif list for ideas.

Teachers may want to choose a few examples for students to choose from). Students pre-determine what they would like to fingerpaint on the surface.

6. If there are still paint on the surface, students may make a “ghost print” on a second paper.

7. After print has dried, teacher may determine if want to add more color with other art materials like pastels or paint.

8. Write and/or sign about their monoprint: describe it, make up a story or poem about their monoprint.

Essential Questions/Reflections:What colors can you make from mixing certain primary colors together?Can you explain how to make a monoprint project in several steps?Why did you chose the motif you you did to create your De’VIA art project? How does Alexander Martinov’s artwork show ‘the Deaf experience?’ What motifs does Alexander Martinov’s work include?

Resources:http://www.rit.edu/ntid/dccs/dada/dada.htm

Assessment Methods:Informal assessment: Group discussion, implementation of idea, project matching initial plan, presentation of final project (ASL or/and English)

Formal assessment: (see rubrics under Curriculum Resources)

Differentiation strategies: Finger painting may be done on thick slick paper.

De’VIA Animal Motifs - Shapes Lesson Plan

Unit: Collage

Overview: Students will create a collage project of De’VIA animal motifs. They will choose geometric shapes and free form cutout colored paper to create De’VIA animal motifs. They also will identify different names of shapes to construct an animal. We will look at the examples of using animals in De’VIA artworks and discuss what hidden meanings of animals in their artworks are.

Grade Level/Length: Elementary (Kindergarten - 5th Grade) / 3 class periods

De’VIA Elements:Deaf and Deaf-Blind people’s Expressions of resistance, affirmation and liberationView of how Deaf and Deaf-Blind people experience the worldImages/motifs/symbols of Deaf/Deaf Blind experience

National Educational Standards:

Standard #2 Students use visual structures and functions of art to communicate ideas

Standard #3 Students select and use subject matter, symbols, and ideas to communicate meaning

Standard #4 Students know that the visual arts have both a history and specific relationships to various cultures

Learning Objectives:1. Students will recognize a number of De’VIA animal motifs and their meanings. 2. Students will identify De’VIA animal motifs in various De’VIA artworks.2. Students will choose geometric shapes to create animals.3. Students will construct a paper collage with De’VIA animal motifs.

Element of Art NEEDS TO BE COMPLETED

Vocabulary (ASL/English):Animal motifs

Materials: cardstock colored papers, scissors, glue, pencils, and shape stencils

Procedures:NEEDS TO BE COMPLETED

Essential Questions/Reflections:

What are animal motifs? Why do Deaf artists use animals in their works? Why did you choose the animal you did for your work? What is its motif? Can you identify geometric shapes you used in your artwork?Resources:PowerPoint on Animal Motifs

Assessment Methods:Informal assessment: Observation and discussionFormal assessment: (see rubrics under Curriculum Resources)

Differentiation strategies: Pre-cutting shapes instead of using stencils or use free-form shape tracing.

Ellen Mansfield: Hands Motifs

Unit: Ceramics

Overview: We will introduce the students to Ellen Mansfield, a De’VIA artist, and focus on a basic motif in De’VIA: hands. We will play with clay - create an individual hand totem (upper elementary) or hands making the ASL sign for BUTTERFLY (lower elementary). The students will trace their hands on a clay slab and create their own totem/butterflies by using the hand-slabs. They will create textures on their slabs using various marker tips and/or stamps.

Grade Level/Length: Elementary / 3 class periods

De’VIA Elements:Deaf and Deaf-Blind people’s expression of Affirmation, Resistance, and LiberationImages/motifs/symbols of Deaf/Deaf-Blind experience

NAEA - The National Visual Arts Standards:1 - Understanding and applying media, techniques, and processes.4- Understanding the visual arts in relation to history and culture5 - Reflecting upon and assessing the characteristics and merits of their work and the work of others.

Learning Objectives: At the completion of the unit, students will 1a. describe how to work with clay and use clay to communicate ideas1d. use art materials and tools in a safe and responsible manner4 a. recognize how Ellen Mansfield’s mandala relate to Deaf history/culture.5 a. recognize various purposes for creating works of visual art5 b. describe how Ellen Mansfield’s experiences and their experiences as Deaf and

Deaf-Blind people influence art.


Vocabulary (ASL/English):Slab Hand Motif BUTTERFLY motif Texture Shape/Form mandala

Materials: clay slabs, knives, clay tools, glazes, marker tips/stamps (to create textures) etc.

Procedure:1. Introduce Ellen Mansfield’s mandala artworks. Discuss what hands in her mandalas

represent and the motif of hands in De’VIA artworks. [Note: Ellen Mansfield also has tile work which includes the motif of butterfly].

2. Have the students trace their hands on clay slabs.3. Use the marker tips to create textures on their hand slabs 4. BUTTERFLIES - use both hands to create a BUTTERFLY (sign) handshape - then bake

in the kiln.

5. Totem - create at totem using up to 4 slab hands - have the students to stick their hands upwards - be creative - can be a tree, or whatever. (use wooden stick for support of the totem, if necessary, but remove the stick before baking in the kiln)

6. After firing the hand clay slabs, glazing the totems/butterfly hands.

Reflections:What do hands represent for Deaf people/De’VIA artists? Why are hands in the center of Ellen Mansfield’s mandalas? What does your totem represent? What do butterflies represent? What is texture and what are the various textures used in the totems/butterflies?

Resources:Ellen Mansfield’s Spirituality of De’VIA, 2012www.facebook.com/ellentilestrokestudio

Assessment Methods:Informal Formal assessment:(see rubrics under Curriculum Resources)

Differentiation strategy: Assist students in tracing their hands.

De’VIA Mask-Making Inspired by Paul Johnston

Unit: Sculpture/Mask-making

Source: https://deafroc.files.wordpress.com/2010/03/red_topmask_i_by_paul_johnston.jpg

Overview: Students will examine the masks from different countries and the masks created by De’VIA artist, Paul Johnston. They will design their mask with assorted materials for textural emphasis alongside De’VIA motifs.

Grade Level/Length: K to 4 grades, 4-5 hours

De’VIA Elements:Deaf and Deaf-Blind people’s expressions of resistance, affirmation and liberationImages/motifs/symbols of Deaf/Deaf-Blind experience


Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of others

Learning Objectives: At the completion of the unit, students will 1. recognize that various countries/cultures make and use masks for display, ceremonial, or spiritual purposes.2. discuss how Paul Johnston’s masks show the Deaf experience.3. identify masks as 3-D art forms. 4. produce their own mask utilizing various materials to create motifs and textures.5. explain and describe their own masks.

Element of Art: color, texture

Principle of Design: Unity, Emphasis, Balance

Vocabulary (ASL/English): Ceremony, ritual, rite of passage, mask making, Paris craft

Materials: paper, pencil ,color pencils, rigid plaster wrap (paris craft), petroleum jelly (Vaseline), plastic wrap, acrylic paint, drill (to make holes at the ends of mask), assorted materials: i.e. colored foam sheets, rhinestones, buttons, feathers, comb

Procedure:1. Introduce masks from around the world/from various cultures including masks

created by De’VIA artists. Discuss the use of masks in various the cultures.2. Sketch a plan to create a De’VIA mask employing 1 to 2 common motifs in De’VIA

(refer to Motif list)3. Create a paris craft mask on the students’ face or a mask mold. Put petroleum

jelly (Vaseline) on the students’ face, leaving holes for eyes, nose and mouth. place plastic wrap over students’ hair and if desired around their face. Studentsshould work in partners or as a group. Apply wet paris craft quickly on the students face due to the time limitation--that is, to allow as much drying time as possible (approximately 20 minutes).

4. Drill holes on the edge of the mask for strings to be tied onto.5. Paint the surface of the mask with acrylic paint. Students may paint pictures of

motifs on their mask if desired.6. After the paint is dry, glue assorted materials to the mask that represent the

various motifs.7. After completion, students can explain their mask using ASL or written English.8. Students can also do a short performance using their mask or create a

“ceremony” that represents the meaning of the mask.

Essential Questions/Reflections:Why do various people use masks? Are masks from different countries or cultures made for the same reasons? Explain. What does your mask mean to you? What doyour chosen De’VIA motifs represent?

Resources:You Tube of masks around the world: http://www.youtube.com/watch?v=81za2GhQbuU

PowerPoint of masks around the world:http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&ved=0CC8QFjAD&url=http%3A%2F%2Fwww.schenectady.k12.ny.us%2Fusers%2Ftitle3%2Ffuture%2520grant%2520projects%2FProjects%2FProjects%2FYates%2520-%2520Masks%2FProject%2FSLIDES.PPT&ei=tNawU57QPKW2sAT5n4GYAw&usg=AFQjCNFMet180-z4AH1qecVteBeqsSYkX

Paul Johnstonhttp://www.rit.edu/~w-dada/paddhd/publicDA/main/artists/PaulJohnston/profile.htm

Assessment Methods:

Informal assessment: Participation, collaborative work, studio production, presentation of maskFormal assessment: (see rubrics under Curriculum Resources)

Differentiation strategies: Instead of using Paris Craft, ready-made masks can be used. Or make a paper mask using thick paper or cardboard. Medium sized paper bags are also alternative way to create masks.

De’VIA Wire Hand Sculpture

Unit: Sculpture/Wire

Overview: Students will learn about De’VIA artist Guy Wonder’s wire art and manipulate with various wires to create their own wire sculpture model of a hand.

Grade Level/Length: 4-6

Source: http://www.aslstamp.com/dstuff6-2.html

De’VIA Elements:Image/motifs/symbols of the Deaf/Deaf-Blind experience


Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of others

Learning Objectives:1. Students will create using 3D wire sculpture.2. Students will recognize that lines express emotions (curved, straight, zigzag).3. Students will identify hands as a motif used in Guy Wonder’s work and other

De’VIA works.4. Students will name Guy Wonder as one of the signatories of the 1989 De’VIA

Manifesto.5. Students will describe their wire hand sculpture.

Element of Art: Line

Principle of Design: Balance and Proportion

Vocabulary (ASL/English):

Line, wire, chenille wire, motif

Materials: twisteez (http://www.twisteezwire.com/), chenille (fuzzy wire), copper wire, pony beads, wooden base (approx. 4” x 4”), wire cutter, handshape template on thick board (foam or wood)

Procedure:1. Demonstrate different kinds of lines: straight, curvy, zig-zag, spiral and the mood

they reflects. Calm, energetic, playful etc.2. Show how wire is used to portray lines in a 3-D presentation.3. Introduce Guy Wonder and his artwork. Explain Guy Wonder as one of the Deaf

individuals who signed and helped create the De’VIA Manifesto. Discuss the common motifs found in his artwork.

4. Give students wire to bend following the hand template edges. Use different wires of different colors and texture, inserting pony beads through the wire to fill inside the handshape.

5. Mount the finished wire hand into a wooden base with pre-driven holes on its top center.

6. Have students create a title for their artwork. Have the students then sign or/and write about their wire hand project (using at least two sentences or two main ideas).

Essential Questions/Reflections:Why do you think Guy Wonder likes to use wire as a preferred material for his sculptures? Why did he make wire hands (why is this motif important)? What other wire shapes would you like to make?

Resources: http://www.twisteezwire.com/http://idea3.rit.edu/builder/videoList-Patti/open.asp?path=0310 Guy Wonder 1-NTID Interview.flv

Assessment Methods:Informal and formal assessment: (see rubrics under Curriculum Resources)

Differentiation strategies: NEEDS TO BE COMPLETED

MORE LESSON PLANS

- Rourkeism self-portraits (Nancy Rourke)- Alphabet handshape popsicles (Mindy Moore)- Handshape Art (Bonnie Arnold)- iDeaf Silhouette Project, inspired by John Carlin (1813-1891) - (Tiffany Hoglind)

- materials - keynote or black paper & projector- ASL Art (Mix-Match ASL signs with animals) inspired by Chuck Baird - (Bonnie

Arnold)- materials - foam papers

- Bee Paper Mache project (Emily Blachly)- Read My Lips!! (inspired by John Maucere and Clayton Valli) *pop art style* (also

inspired by Roy Litchstein) - (Tiffany Hoglind)- ASL Action Painting inspired by Jackson Pollock - (David Call)- Light Bulbs Night (inspiration from Van Gogh’s Starry Night) - (Mary Cregan)- Found Objects of Deaf Devices (Louise Nevelson) - (Tiffany Hoglind)- Sun ASL Print - (Barbara Jack)- Deaf Scream! (inspired by The Scream - Edvard Munch) - (Mindy Moore)

- Deaf Parody- Affirmation/Resistance- Liberation

- ASL Hand Molds (fish/butterfly) - (David Call)- De’VIA Motif Relief Tooled Metal Sculpture - (Barbara Jack)

More Ideas

- De’VIA lesson plan challenge (create new De’VIA lesson every month & post on De’VIA curriculum on Google Drive)

- Famous artwork (such as Mona Lisa) modified into De’VIA style (see Nancy Rourke’s Mona Lisa for example)

Middle School Lesson Plans

Creating a De’VIA flag

Arnaud Balard: Deaf Union Flag

Source: http://papillon-signe.fr/le-drapeau-international-sourd-par-arnaud-balard-un-nouveau-monde-s-ouvre/

Unit: Design

Overview: Students will be introduced to French De’VIA artist Arnaud Balard’s artwork. He has also created our Deaf Union Flag. Students will explore how colors have impact on each other side by side. Each student will design a De’VIA flag with careful consideration of use of colors and design. Grade Level/Length: 5-8 grades/ 3 -4 hours

De’VIA Elements:Images/motifs/symbols of the Deaf/Deaf-Blind experience

Art and Artivism Aesthetics of Deaf/Deaf-Blind experience

National Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines

Learning Objectives: At the completion of the unit, students will 1. Identify cool and warm colors (blue, green, purple=cool colors

yellow, orange, red= warm colors)2. recognize that certain colors make neighboring colors appear brighter or darker than

usual.3. discuss Arnaud Balard’s artwork and use of cool and warm colors.

4. recognize Surdism as a Deaf Art movement in France similar to De’VIA in the US.5. design a “De’VIA flag” considering colors and choosing symbols that reflect the Deaf

experience, Deaf history and/or culture.6. explain their De’VIA flag and the meaning behind the colors and symbols.

Element of Art: Color

Principle of Design: Unity, Balance

Vocabulary (ASL/English): Surdism (French), warm colors, cool colors, bright, dull, design, layout

Materials: solid color fabrics, sewing machine, needle, thread

Procedure: 1. Discuss color theory, Warm, Cool colors, complementary colors and analogous colors (neighbor colors). Discuss how colors interact with each other: Do the colors become brighter or duller next to each other. Discuss about Color blindness: some do not see certain colors and the colors become different hues.2. Show and discuss Balard’s colors of his prints. Introduce the word he coined, “Surdism”- Deaf Art movement in France. Then show the Deaf Union flag that he created for World Deaf Federation. 3. Students will sketch their flag design.4. Cut out the colored fabric sheet, pin on to the rectangular flag. Student can learn how to sew the cut fabric either on the sewing machine or do applique (hand sew-more time consuming).5. At the end, they will write or sign about their completed work project.6. Hang flag from ceiling in hallway or a room in school building.

Essential Questions/Reflections: How does Balard’s Union Flag portray Deaf/Deaf-Blind people as global citizens with it’s visual design? How does your De’VIA Flag portray the works of Deaf artists who create art about the Deaf experience? Why did you choose the colors and shapes for your flag?

Resources: 1. Arnaud Balard http://dsdj.gallaudet.edu/index.php?

view=contributor&issue=3&contributor_id=432. Color Theory http://www.tigercolor.com/color-lab/color-theory/color-theory-intro.htm

Assessment Methods:Informal assessment: Following discussion, implementation of idea, and productivity during class.Formal assessment: (see rubrics under Curriculum Resources)

Differentiation strategies: This project can be modified by painting acrylic paint on canvas or linen.Also, poster paper can be used in place of material (cut out colored poster paper and glue these designs on different colored poster paper).

Deaf Icon (will insert finished lesson from home soon)

Unit: Mixed Media

Overview: Byzantine Unit Summary (insert here)... Students will research and choose a Deaf Leader and create an iconic portrait with at least 5 motifs, themes, or symbols to represent ….etc

Grade Level/Length: Middle School or High School/5 class periods (50 minutes)

De’VIA Elements: Homage, MotifsI mages/motifs/symbols of Deaf/Deaf-Blind experience

National Art Education Standards:

Learning Objectives: Students will1. Learn and Discuss about Byzantine art, value of visual icons, and cultural

reflections2. Research and choose a Deaf Leader, select motifs and symbols and create

sketches3. Compare and Contrast between the themes between Byzantine Icons and

De’VIA Homage Paintings 4. Create an iconic portrait of a Deaf Leader utilizing at least 5 motifs/symbols to

reflect that person5. Compose an artist statement describing their artwork and the reflection process

Elements of Art:

Principles of Design:

Vocabulary (ASL/English): Byzantine, Icon, Leader

Materials: Sketchbook, Internet Access, PPT, White paper, Paint, Scissors, GlueGold: Can use metallic paint, metallic markers, metallic paper, or adhesive paper

Procedure:

Essential Questions/Reflection: (insert)

Resources:Byzantine Deaf Icon PPT link -

Byzantine Icon Image Gallery - www.nga.gov/content/ngaweb/features/byzantine/icons.html Byzantine Art lesson - www.pbs.org/weta/faceofrussia/reference/lesson1.html Deaf Leaders links -Samples of student work - www.artsonia.com/museum/gallery.asp?project=821624

Assessment:Research notes/SketchbookRubric (see appendix)Artist Statement (ASL and/or English)

Differentiation Strategies:Adaptive - Provide xerox/tracing paper for students with motor skills difficulties. Help the student transfer an outline of their icon’s faceEnrichment - use a wooden board (masonite, plywood or wood scraps) and experiment with raw egg tempura technique

De’VIA Cartoon Strips

Unit: Drawing/Cartoons

Overview: Show students the comic works of Matt & Kay Daigle and Shawn Richardson. Students will create their own De’VIA comic strip based on a Deaf humorous experience (ex. Deaf Culture etiquette Cafeteria theme). Students will draw into story blocks, and use a digital program to make “bubbles” to print their communication in English.Grade Level: Middle School

De’VIA Elements:Deaf and Deaf-Blind people’s expressions of resistance, affirmation and liberationView of how Deaf and Deaf-Blind people experience the worldImages/motifs/symbols of Deaf/Deaf-Blind experienceArt and Artivism Aesthetics of Deaf/Deaf-Blind experience

National Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines

Learning Objectives: At the completion of the unit, students will1. discuss the humor and Deaf experiences shown in the works of Daigle and Richardson.2. identify the components of a comic strip.3. describe a humorous event that relates to Deaf/Deaf-blind people (theme assigned).4. compose the text and layout the visual elements/characters of their own comic strip.

Element of Art: Lines

Principle of Design: Unity

Vocabulary (ASL/English): comic strip, caricature

Materials: TheComicLife 3 computer program is recommended. Other available tools: Sketchbook Express (free) or Sketchbook Pro ($50). Pencils, colored markers.

Procedure:1. Introduce the comic strip works of Matt and Kay Daigle & Shaun Richardson.2. Students create a humorous story about the “School Cafeteria” {The story must be

appropriate for all readers to look at}.3. Students do sketch drawings of the character(s)4. Students compose the words used in the comic strip..5. For the final sketch after scanning the digital program, the students will draw a complete

comic strip and write in the words in the bubbles.6. Teachers may post these comics on the school website, Facebook or in the school

newsletter/magazine.

Essential Questions/Reflections:Where do you think the cartoonists, Daigle and Richardson, get their ideas for their comic strips? Why do you think people enjoy reading comic strips? Do you think the cartoonists get their message across effectively? How might Deaf and Hearing people react differently to these comics or your comic?

Resources:Shawn Richardson: http://www.convorelay.com/blog/?p=1087534841 http://www.rit.edu/ntid/dccs/dada/dada.htmMatt Daigle: http://www.mattdaigle.com/#all http://www.mdaigletoons.com/

Assessment Methods:Informal assessment: Following directions, implementation of cartoon idea and using computer effectively to create a comic strip.Formal assessment: (see rubrics under Curriculum Resources)

Differentiation strategies: 1. Instead of students drawing, use photographs of students in action narrating the story of

the comic strip.2. If there are no computer programs or photographs, students may use pencil, markers,

coloring tools and rulers to create a De’VIA comic strip.

Chuck Baird: Painting (Monochromatic)

Unit: Painting

Overview: This lesson will focus on values and motifs. Using Chuck Baird’s work, Left and Right, 2000, discuss values in this artwork. Describe how the left hand value in the painting is grayscale, while the other hand is in color. Students will look at three of his artworks, describing the valves and finding motifs that he used in each work.

Grade Level/Length: Middle School/ 5-6 class periods

De’VIA Elements:Deaf and Deaf-Blind people’s expression of resistance, affirmation and liberationImages/motifs/symbols of Deaf experience

NAEA - The National Visual Arts Standards:1 - Understanding and applying media, techniques, and processes.3 - Choosing and evaluating a range of subject matter, symbols, and ideas.

Learning Objectives: At the completion of the unit, students will1. provide examples of values in Chuck Baird’s paintings.2. identify monocromatic techniques in art.3. recognize Chuck Baird as a De’VIA artist and identify De’VIA motifs in his work.4. demonstrate an understanding of color values via their painting project. 5. explain the meaning of the chosen De’VIA motifs in their painting.


Vocabulary (ASL/English):Monochromatic, Motifs, value

Materials: pencils, tempera painting, papers to paint the scale value, paintbrushes

Procedure:1. Introduce to Chuck Baird’s paintings - especially with his Left and Right painting.2. Have the students practice white - black scale chart.3. Then, have them to choose ONE color and introduce them to monochromatic color

theory 4. Discuss what motif means and why the artist (Baird) might have chosen certain symbols

for his art work. 5. Have the students to choose a motif 6. Student will produce a monochromatic tempera painting on canvas panel, using at least five different color values. Resources:Chuck Baird’s Left and Right, 2000Chuck Baird’s work in : http://www.rit.edu/ntid/dccs/dada/dada.htmChuck Baird 35 Plates from DawnSignPress.

Reflections:What are motifs? What does monochromatic mean? Give an example of values in Chuck Baird’s painting. Why did you choose the motif you did for this project? What does this motif represent in your painting?

Assessment Methods:Informal and formal assessment: (see rubrics under Curriculum Resources)

Differentiation Strategies: Stencils of motifs can be used. Students can trace these stencils on canvas.

Self Portrait Painting Lesson Plan

Deafhood Identity (2013) by Nancy Rourke

Unit: Tempera or Acrylic Painting/Abstract Self Portrait

Overview: Students will learn about Nancy Rourke as they create a painting in her style.

Grade Levels/Length: Middle School (Adaptable to High school)

De’VIA Elements:

View of how Deaf & Deaf-Blind people experience the world

Images/Motifs/Symbols of Deaf Experience

Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and cultures

Learning objectives: At the completion of the unit, students will 1. identify Nancy Rourke as a De’VIA artist and identify her style and use of colors. 2. name motifs that Nancy Rourke uses in her paintings and explain what they mean (i.e.

blue tape). 3. Create an abstract expressionist style self-portrait using primary colors and De’VIA

motifs demonstrating an understanding of abstract expressionism.Element of Art: colorVocabulary:

Abstract Expressionism, Primary colors

Materials:Acrylic painting – 8” X 10”Canvas papers, Acrylic paints, brushes, Disposable palette papers or Styrofoam tray, cups for washing brushes, paper towels, pencils, erasers, carbon papers or graphite papers

Tempera painting – papers, tempera paints, brushes, palettes, cups for washing brushes, paper towels. Pencils, erasers, carbon papers or graphite papers

Procedures: 1. Introduce Nancy Rourke and various examples of her work using PowerPoint.2. Discuss about her work – primary colors, expressionism style, and repetitive motifs (ie.

blue tape, ASL signs)3. Show a project sample4. Review the meaning and impact of primary colors (the students had learned primary

color in elementary art)5. Have students to draw on newsprint as sketch6. Trace their sketch on carbon paper or graphite paper and transfer to canvas. 7. Paint the sketch using primary paint colors.

Essential Questions/Reflections:1. What is Abstract expressionism?2. What does blue tape mean as a De’VIA motif?3. How is your self portrait different from Nancy Rourke’s work?

Assessment Methods:Informal assessment: Observation and discussionFormal assessment: (see rubrics under Curriculum Resources)

Differentiation Strategies:

1. Show Rourke’s “Eye Peace” work.2. Provide a copy of “Eye Peace” *3. Have the students to trace on carbon paper or graphite

paper on paper 4. Have them to paint using Tempera paints

*Rourke has given her permission to make a copy of this artwork to trace for educational purposes.

Eye Peace (2013) by Nancy Rourke

Resources:HeART of the Deaf Culture www.heartofdeafculture.wordpress.comRIT Deaf Artists www.rit.edu/ntid/dccs/dada/dada.htm

Nancy Rourke www.nancyrourke.com Interview with Deaf Artist Nancy Rourke http://youtu.be/vYLWtyAyMg0Understanding De’VIA Work by Nancy Rourke http://youtu.be/9RmaBaQHgiwNancy Rourke: Deaf Artists Series by James W. Van Manen

Linoleum Print Self-PortraitUnit: Printmaking/Linoleum Print Grade Levels/Length: Middle School (Adaptable to Middle school)Lesson: Linoleum Print Self PortraitLesson Overview:

Students will learn how to make linoleum (lino) block relief prints. This process will expose students to a tactile, graphic means of expression where they will be required to create an individual vision of themselves.

Resistance by David CallDe’VIA Elements:Deaf & Deaf-Blind expression of resistance, affirmation, and

liberationView of how Deaf & Deaf-Blind experience the world

NAEA - The National Visual Arts Standards:

NEEDS TO BE COMPLETED

Learning objectives: At the completion of the unit, students will NEEDS TO BE COMPLETED

1. linoleum block relief prints2. Create their printmaking by expressing their identity via this self-portrait

Element of Art:Line, Space positive and negative

Principles of Design: Emphasis

Artist:David Call

Vocabulary:Relief PrintmakingReverse ImageProofPulling a PrintBrayerEditionArtist ProofContrast (Black / White)TexturePattern

Documentation (signing)Bench HookPrintmakerPrintmakingPlatePositive AreasNegative AreasPlagiarizeSelf-Portrait

Materials:Battleship Linoleum (unmounted) 6x9 inch, original self-portraits (head and shoulders), speedball gouge handles, speedball gouges #1 - #5, scissors, utility knife, pencil, ball-point pen, carbon paper, glass inking plates (one per color), soft rubber brayers (one per color), masking tape, old newspapers, white drawing paper for printing, folders for student prints, water based block printing ink color black, printing press (you could print without it), and a drying rack (a must), Long straight edge, bench hooks, white mat board, exemplars, mirrors, permanent black markersPaint or inkSoft rubber brayers or small paint rollers or paint brushes.An old cookie tray or piece of plexiglass to roll the ink out on.Linoleum cutters.Piece of linoleum. (You can purchase small pieces of linoleum for printmaking from any art supply store. A special softoleum is available for school use. This material is extra soft and very nice to work with).Paper

Procedures: 1. Explain printmaking

1) The tools used in this lesson are straight knives, V-shaped tools and U-shaped gouges.

2) The basic idea is that you cut away those areas you wish to remain the color of the paper you are printing on. The images can be as simple or as detailed as you wish.

3) It is possible to draw your idea out on paper first, then transfer the image onto the linoleum using carbon paper.

4) Once the design has been carved into the lino, you are ready to print using a small amount of ink which is rolled onto the lino.

5) Paper is placed on the plate and rubbed lightly.6) Repeat until you have an edition of prints.

2. Show David Call’s work, Paddy the Deafhood Revolutionary, and other works.3. Have students to draw their portrait4. The students follow the printmaking process.

Tips:You can make the linoleum easier to cut by warming it up on a hot plate before carving into it. Always cut AWAY from yourself. ALWAYS make sure you are using sharp -- not dull -- tools.

Essential Questions/Reflections:1. Define printmaking.2. What is a brayer?3. What are you expressing about your identity in your self-portrait work?

Assessment Methods:Informal assessment: Observation and discussion


Differentiation Strategies:1. Have the students draw their portrait2. Have them to follow printmaking process with teacher’s guide

Resources:David Call www.eyehandstudio.com

http://dstbeyondtalk.blogspot.com/2012/04/david-call.html

De’VIA Themed Fashion Designs

Unit: Fiber ArtGrade Levels: Middle School (Adaptable to High school)Lesson: Making De’VIA fashionLesson Overview: Teaching goal: Encouraging students to show a creative mindset. Students will create a De’VIA themed fashion design.

designs by Hinda Kasher

De’VIA Elements:Images/Motifs/Symbols of Deaf Experience

NAEA - The National Visual Arts Standards:


Learning objectives: At the completion of the unit, students will

1. create a sketch of a wearable design with attention to shape, color and texture.2. incorporate De’VIA motifs into their designs.3. demonstrate an understanding of the use of the principles of design (pattern, harmony,

emphasis).

Element of Art:Shape, form, color, texture

Principles of Design:Pattern, Harmony, Emphasis

Vocabulary:Fashion, Design, Pattern, Harmony, Emphasis, Motifs

Materials:Sketch books, pencils, erasers, wearable fibers as the students’ choice (i.e. hat, cap, t-shirt, fabric, and etc.)*The students may prepare materials such as fabric markers, dye tie, sewing tools.

Procedures: 1. Discuss principles of design and fashion 2. Discuss De’VIA Motifs3. Brainstorm ideas for De’VIA themed fashion4. Have the students sketch their fashion projects5. create a wearable design from materials based on their sketches6. host a fashion show!

ReflectionsNEEDS TO BE COMPLETED

ResourcesNEEDS TO BE COMPLETED

Assessement methods (see rubrics under Curriculum Resources)Differentiation strategies NEEDS TO BE COMPLETED

‘Designing a Deaf Space

Grade Level: 5th grade through 12th grade Time Length: One week- Elementary (45 minutes), Middle School (55 minutes), and High School (1 hour-40 minutes) De’VIA Elements:Deaf and Deaf-Blind people’s expression of resistance, affirmation and liberationView of how Deaf & Deaf-Blind people experience the worldImages/Motifs/Symbols of Deaf Experience

NAEA- The National Visual Arts Standards: (later) Learning Objectives:1. Student will create their bedroom design.2. Student willPrinciples and Elements of Art: http://hubpages.com/hub/Interior-Design-Elements7 Elements of Interior Design- Scale, Line, Space, Form, Texture, Color, Light Vocabulary: (ASL/English)

Materials: T-Square, Grid Paper, Tracing Paper, 9 x 12 Drawing Paper, Pencil, Drafting Tools, Cardboard,

Procedure:1. Resources:Interior Design Textbookvan Gogh – ‘The Yellow Bedroom’ ArtworkColor – book for the home (Title of book???)Web resources

● Elements of Design for Interior Design: http://www.slideshare.net/sumiran46muz/elements-of-interior-design-44136635

● Draw and furnish a room. Better Homes and Garden ● Note: Free Shockwave Player is required.● Draw the bedroom, including the furniture she/he has at home.

http://www.designaroom.net/ ● Color Wheel Experiment with colors match.● http://www.colormatters.com/colortheory.html ● Learn more about using colour theory in

design:http://www.ecolourprint.co.uk/blog/the-colour-wheel-using-colour-theory-in-design

● Print your own Graph Paper (PDF). ● Art history and architectural history in order to learn what design rules, http://www.art-

and-archaeology.com/timelines/worldres.html and● http://witcombe.sbc.edu/ARTHLinks.html ● http://www.dezignare.com/library.html ● The Americans with Disabilities Act of 1990 (known as ADA) was passed in order to

create guidelines for making buildings accessible to all people. See this site for a comprehensive list of ADA terms and guidelines.

● http://www.access-board.gov/adaag/html/adaag.htm ● Blueprint Symbols Glossary: www.the-house-plans-guide.com/blueprint-

symbols.html

Another detail to consider in floor plans is the kitchen where families often gather together regularly. For ideas, check out sites like Better Homes & Gardens at http://www.bhg.com/bhg/. Reflections: English Writing/ASL on Film

Students will write about their bedroom designs are a reflection of their inner lives and why they feel or what they experience in their pasts or currently wish. Assessment Methods:Differentiation Strategies:

Digital Handscapes Inspired by Scott Upton

Unit: Digital Art

Overview: Students will examine the digital art created by De’VIA artist, Scott Upton. They will create a landscape with handshapes that represents part of the scene. Handshapes can portray creatures, plants, rocks, sky or water using the Adobe Photoshop software.

Grade Level/Length: 5-8 grades/ 3 to 4 hours

De’VIA Elements:Deaf & Deaf-Blind expression of resistance, affirmation, and

liberationImage/motifs/symbols of Deaf Experience

Art and Artivism Aesthetics of Deaf Experience

Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functions

Standard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines

Learning Objectives:NEEDS TO BE COMPLETED

Element of Art: Space

Principle of Design: Movement, Balance, Emphasis

Vocabulary (ASL/English): Landscape

Materials: Adobe Photoshop

Procedure: 1. Show pictures of digital art created by Upton. Students will discuss the handshapes that

he has transformed from to represent part of the landscape.2. Students will brainstorm and sketch ideas for their personal landscape with handshapes.

They will create at least two different handshapes.3. Teacher will demonstrate how to use the Adobe Photoshop tool then the students will do

some practice with their “Handscape” on the computer to become familiar with the tool. 4. Students will create three layers (background, middle ground, foreground) for their digital

art. They will create objects, “lasso” the object and paste onto the layers. Composition should be taken in careful consideration as they layout their Handscape art project.

5. In English or/and ASL interpret the Handscape art in the form of poetry/storytelling.

Resources: Scott Upton: /www.rit.edu/ntid/dccs/dada/dada.htm

Essential Questions/Reflections:Why do you think the artist decided to transform objects in the landscape into hands? Do you think the artist choose certain transformed objects as the emphasis of the artwork? Was it easy or challenging for you to change the objects to hands? Explain your answer.

Assessment Methods:

Informal assessment:Participating in discussion, Use of computer software


Differentiation:

If no Adobe Software available, students can use any digital painting program to create a Handscape.If no computer with art program is available, students can draw the picture with drawing and painting tool on paper.

High School Lesson Plans

De’VIA Expressionism

Unit: DrawingGrade Levels: 9 - 12Lesson: De’VIA drawing expressionismLesson Overview: Students will study the artist, Betty G. Miller and her artworks. Students will be assigned to draw a project expressing resistance.

De’VIA Elements: Deaf & Deaf-Blind expression of

resistance, affirmation, and liberation

View of how Deaf & Deaf-Blind experience the worldImages/motifs/symbols of the Deaf & Deaf-Blind experienceArt, Artivism, Authentic Aesthetics of the Deaf & Deaf-Blind experience Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersLearning objectives: At the completion of the unit, the students will be able to::1. explain the themes of Expression of Affirmation, Resistance, and Liberation2. identify what particular motifs in De’VIA works represent (Hands, puppet, speech, ear, teeth, chair)3. show an understanding of values and lines in their work.4. demonstrate their drawing skill. Element of Arts: Line, Shape, ValuePrinciples of Design: EmphasisVocabulary:De’VIA Movement: Resistance, Movement Expressionism, Elements and Principles Art: Line, Shape, ValueMaterials: Pencils 3H– 6B, drawing papers, kneaded erasers, blending stumpProcedures: 1. Introduce artist Betty G Miller and her work in PowerPoint2. Discuss about resistance and various motifs.3. Demonstrate drawing technique4. Review value drawing (light and shade)5. Students create their project

Resources: http://www.dipity.com/purpleswirlarts/Betty-G-Miller-Deaf-Artist/

http://www.rit.edu/ntid/dccs/dada/dada.htm

Essential Questions/Reflection:What is resistance?What do these motifs mean: Hands, puppet, speech, ear, teeth, chair?

Assessment Methods:Informal assessment Observation and discussionFormal assessment (see rubrics under Curriculum Resources)

Differentiation: NEEDS TO BE COMPLETED

Tony McGregor Inspired De’VIA Carving

Wood burned mixed media

gord by T. McGregor ( 2006)

Unit: Ceramics – Coil Vessel, Carving

Unit: Ceramics--Coli Vessel, CarvingLesson Overview: This project can be adapted to Ceramics instead of wood burned gourd. Students will learn Native American art.Grade Levels:/Length High School (Adaptable to Middle school)




Learning objectives: Students will be able to:

1. identify Tony McGregor and his work2. recognize his motifs – hands, animals, maple leaf and the turquoise3. demonstrate coil building techniques4. demonstrate carving techniques5. demonstrate underglaze techniques6. Create their own motifs with attention to proportion and form

Element of Art:Form

Principles of Design:Pattern, Proportion

Artist:Tony McGregor

Vocabulary:Form, patterns, proportion, motifs, symbols, coil, carving, underglaze

Materials:Red Earthen clay Cone 04-06, slip*, brushes, serrated scrapers, Kemper Rubber Finishing Tools, Mini Ribbon Tool Set, Amaco or Speedball ceramic underglaze, glazes, sponges

*slip - liquid mixture of clay and water for clay pieces are to be joined together

Procedures: 1. Introduce the artist, Tony McGregor using PowerPoint presentations2. Discuss McGregor’s motifs3. Show a project sample or McGregor’s reproduction4. Show samples of Southwest Native American motifs5. Demonstrate coil building6. Demonstrate Scoring and slipping7. Demonstrate carving8. The students plan their carving and choose motifs 9. The students create their sgraffito vessel using various techniques

Essential Questions/Reflections:1. What is coil building?2. What are pattern and proportion?3. Why did you choose the motifs you did?

Resources:Image and more information http://www.deafculturecentre.ca/Public/VisualArts/ItemDetails.aspx?ID=187&aID=125&mID=19



Differentiation Strategies:1. Provide copies of motif templates (teacher’s choice)2. Have the students to pick one from motif templates3. Make coil building vessel with teacher’s guide4. Let vessel to bone dry and fire them at cone 045. Have the students to draw pattern repeatedly using pencil6. Apply glazes7. Fire at cone 06

Surreal De’VIA Digital Art

Unit: Digital Art/ Graphic DesignGrade Levels: High School (Adaptable to Middle school)Lesson Overview: Digital Imaging - The Manipulation of an Image - Using the Computer as a Tool in Art Making.This project is good for the students who learned adobe Photoshop techniques, how to edit a digital image, and how to use filters in a program to alter their image.


Skating On Thin Ice by Tony Fowler (2012)

Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of others

Learning objectives: At the completion of the unit, students will:

1. recognized about a conceptual surrealistic digital artist, Tony M Fowler and his style of work.

2. identify Surreal Art (i.e., Rene Magritte, Salvador Dali)3. explain the ear motif and what it represents4. demonstrate use of the computer as a tool to alter and manipulate personal images to

create an individual surreal environment.5. Create the a surrealism graphic design artwork with ear(s) with attention to balance and

space.Element of Arts:Space

Principles of Design:Emphasis, Balance

Artist:Tony FowlerVocabulary:Conceptual, surrealism, positive and negative space Materials:Computer, Adobe Photoshop Elements 11 or newer OR Adobe Photoshop CS 6 or newer, 16GB USB driver

Procedures: 1. Introduce Tony M Fowler and his works using PowerPoints2. Discuss about his surreal artwork and motif (ear(s))3. Students create their surreal digital art/ graphic design.

Note: The student can discuss about idea with the teacher individually before he/she starts working on the project.

Reflections NEEDS TO BE COMPLETED

Resources:RIT Deaf Artists www.rit.edu/ntid/dccs/dada/dada.htmForce Ten Studio Tony Fowler http://forcetenstudio.com/

Assessement methods (see rubrics under Curriculum Resources)

Differentiation strategies NEEDS TO BE COMPLETED

De’VIA Prints: Bloch and Call

Unit: PrintmakingGrade Levels: High SchoolLesson: Linoleum printsLesson Overview: Students and teacher discuss the idea of printmaking and what artists have created their work. Show examples of prints from De’VIA artists (i.e. David Bloch and David Call). . Emphasize the idea of multiple and repeated patterns.

De’VIA Elements:Deaf & Deaf-Blind expression of resistance, affirmation, andliberationView of how Deaf & Deaf-Blind experience the worldImages/motifs/symbols of the Deaf & Deaf-Blind experienceArt, Artivism, Authentic Aesthetics of the Deaf & Deaf-Blind experience

Crying Hands (1988) by David Bloch Deafhood Unleashed (2011) by David Call


1. compare David Bloch and David Call’s style of work2. explain how the artworks communicate social, political views related to the Deaf

experience3. Utilize the elements and principles of design in creating a strong design4. Demonstrate skill in carving the block5. Show appreciation and awareness of the work of Bloch and Call

Element of Arts:Line, texture

Principles of Design:Emphasis, pattern

Artists:David BlochDavid Call

Vocabulary:Relief PrintmakingReverse ImageProofPulling a PrintBrayerEditionArtist ProofContrast (Black / White)TexturePattern DocumentationBench HookPrintmakerPrintmakingPlatePositive AreasNegative AreasPlagiarizeSelf-PortraitEmphasis

Materials:Linoleum, Linoleum Cutters, Inking Plates, Newsprint, Drawing Pencils, Magic Rub Erasers or Kneaded Rubber Erasers, Black Block Printing Inks, Brayers., Wooden spoons, Good Drawing Paper, Rulers

Procedures: 1. Introduce artists, David Bloch and David Call using PowerPoint presentations2. Show two printmaking work from Bloch and Call3. Discuss about critical view of social, political and experiences4. Have the students draw drafts5. Follow printmaking process

Essential Questions/Reflections:1. What is the difference between a print and a reproduction?2. When making a printing plate with letters and/or numbers, what must you do?3. Suppose you created an edition of 15 prints. How would you professionally label the 7th

print made?

Resources:David Bloch

http://library.rit.edu/depts/archives/deafhistory/bloch.htm http://library.rit.edu/depts/archives/deafhistory/bloch-epilogue.htm http://www.deafvideo.tv/23521 http://daily.swarthmore.edu/2007/10/28/testimonies-of-deaf-holocaust-survivors

David Call www.eyehandstudio.com

DSDJ :: Deaf Studies Digital Journalhttp://dsdj.gallaudet.edu/index.php?issue=5&section_id=5&entry_id=209



Differentiation Strategies:1. Provide copies of motif templates (i.e. hands, eye)2. Have the students to pick one from motif templates3. Have them to follow printmaking process with teacher’s guide

De’VIA Fashion: Fiber ArtUnit: Fiber ArtGrade Levels: High School (Adaptable to Middle school)Lesson: Making De’VIA themed fashionLesson Overview: Teaching goal: Encouraging students to show a creative mindset. Students will create a De’VIA themed fashion design.

De’VIA Elements:Images/Motifs/Symbols of Deaf ExperienceNAEA - The National Visual Arts Standards:NEEDS TO BE COMPLETED

Element of Art:Shape, form, color, texture


Designed by Hinda KasherLearning objectives: At the completion of the unit, students will

1. create a sketch of a wearable design with attention to shape, color and texture.2. incorporate De’VIA motifs into their designs.3. demonstrate an understanding of the use of the principles of design (pattern, harmony,

emphasis).

Vocabulary:Fashion, Design, Pattern, Harmony, Emphasis, Motifs

Materials:Sketch books, pencils, erasers, wearable fibers as the students’ choice (i.e. hat, cap, t-shirt, fabric, and etc.)*The students may prepare materials such as fabric markers, dye tie, sewing tools.

Procedures: 1. Discuss principles of design and fashion2. Discuss De’VIA Motifs3. Brainstorm ideas for De’VIA themed fashion4. Have the students sketch their fashion projects5. create a wearable design from materials based on their sketches6. host a fashion show!

ReflectionsNEEDS TO BE COMPLETED

ResourcesNEEDS TO BE COMPLETED Assessement methods (see rubrics under Curriculum Resources)

Differentiation strategiesNEEDS TO BE COMPLETED

De’VIA Fashion: Jewelry

Unit: JewelryGrade Levels: High schoolLesson: Making De’VIA themed Jewelry out of Polymer ClayLesson Overview: Teaching goal: Encouraging students to show a creative mindset. Students will create a De’VIA themed Jewelry design. They will pick one to create a necklace, set of earrings, bracelet or brooch.

At the completion of the jewelry, students may sell their works for fundraising.

De’VIA Elements:Images/Motifs/Symbols of Deaf ExperienceNAEA - The National Visual Arts Standards: NEEDS TO BE COMPLETEDElement of Art:Shape, form, color



1. identify the design principles of various jewlery. 2. explain the meaning behind De’VIA motifs.3. incorporate De’VIA motifs into their design (showing an understanding of how principles

of design work).Vocabulary:Jewelry, Design, Pattern, Harmony, Emphasis, Motifs

Materials:Sketch books, pencils, erasers, Polymer clay, Polymer clay making tools, Toaster Oven, Clear nail polish, Jewelry findings

Procedures: 1. Give a number of examples of Jewelry which demonstrate different principles of design.2. Show a number of De’VIA artworks and have students identify motifs and discuss their

meaning.3. Explain to students how to sketch and represent jewelry designs on paper.4. Demonstrate Polymer clay making and procedures5. Have the students carry out their designs using polymer clay making 6. Critique each other’s designs following design principles

ReflectionsNEEDS TO BE COMPLETED ResourcesNEEDS TO BE COMPLETED Assessement methods (see rubrics under Curriculum Resources)

Differentiation strategiesNEEDS TO BE COMPLETED

De’VIA Surreal PhotographyUnit: PhotographyGrade Levels: 9 - 12Lesson: De’VIA Surreal Photography

Source: http://www.bartholick.com

Lesson Overview: Students will study surrealism of photographer Robin Bartholick and artist Salvador Dalí. Students will be assigned a digital camera and Adobe Photoshop with the task of creating a surreal work expressing the Deaf experience of affirmation or resistance. De’VIA Elements:Deaf & Deaf-Blind expression of resistance, affirmation, andliberationView of how Deaf & Deaf-Blind experience the worldImages/motifs/symbols of the Deaf & Deaf-Blind experienceArt, Artivism, Authentic Aesthetics of the Deaf & Deaf-Blind experience

Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and cultures Standard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines

Learning objectives:At the completion of the unit, students will1. explain the meaning of surrealism.2. recognize the hallmarks of surrealism in a number of works by Salvador Dali and Robin Bartholick. explain De’VIA motifs in artwork.3. use digital camera and Photoshop techniques to create a work.4. use digital camera and Photoshop techniques to create a work.Develop critical thinking skillsElement of Art: Space, Color

Principles of Design: Emphasis, Balance

Photoshop Techniques:

Photoshop tools, layers, mask layers, adjustment layers, and blending mode for layers Vocabulary:De’VIA Movement: Affirmation, Resistance, and Liberation and Images/Motifs/SymbolsCamera: exposure triangle (ISO, Shutter Speed Aperture), Viewpoint (angles) Emphasis, Balance

Materials: DLR Digital Camera, Photography Lighting equipment, Computer, Adobe Photoshop

Procedures: 1. Introduce Surrealism of a photographer Robin Bartholick and artist Salvador Dalí and

discuss surrealism and the works of these two individuals2. Discuss the categories of De’VIA artworks (affirmation, resistance, liberation)3. Highlight the motifs in these works4. after choosing a motif or motifs, students share concepts of their project5. Students set up the scene to photograph using the camera.6. Students will practice manipulating images using Adobe Photoshop tools, layers7. Students evaluate and analyze their own projects sharing them with others via

discussion, vlog, or writing.

Resources: Robin Bartholick and Salvador Dalí URL links

Essential Questions/Reflection:What is Affirmation, Resistance, and Liberation? (which does your work illustrate?)What is surrealism? (how does your work fit with surrealism?)Explain the motifs in your work.



Triptych or Quadtych Sign in Motion

Unit: PaintingLesson: Triptych or Quadtych Sign in MotionGrade Levels: 9 - 12De’VIA Elements: Deaf & Deaf-Blind expression of resistance, affirmation, and liiberationImages/motifs/symbols of the Deaf & Deaf-Blind experience

Motifs: hands, eye, water,mouth, checkerboard, ear, puppet

Betty G Miller By Hinda

KasherEducational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersElement of Art: Color, Line (Strokes), Value, texture

Principles of Design: Emphasis, Balance, Pattern, Rhythm, Unity, Movement

Art Movements: Post-Impressionism, Fauvism, Expressionism, Surrealism, De’VIA Learning objectives: At the completion of the unit, students will1. communicate their ideas via their Triptych or Quadtych Sign in Motion design2. describe the characteristics of triptyches and quadtychs.3. describe the meanings Kasher communicates in her artwork, the “story” being told, and why it is valuable for Deaf people.4. analyze how Kasher split up her images and various elements of art in her work.5. compare the various art movements6. explain and evaluate their own work via discussion or writing.

Vocabulary:Color, Line (Strokes), Value, texture, Emphasis, Balance, Pattern, Rhythm, Unity, MovementPost-Impressionism, Fauvism, Expressionism, Surrealism, Affirmation, Resistance and Liberation

Materials: 3 or 4 canvas (less 8 inches wide and height), Brushes,

Procedures: 1. Analyze Hinda Kasher’s work: meaning, form and composition. 2. Explain various art movements

3. Discuss the challenges in showing signs on canvas and have students choose the sign they wish to use for this project.

4. Create a draft of a portrait and composition sketch 5. Discuss and give feedback about the drafts6. Paint on canvas, keeping in mind information related to art elements and movements.7. Create a biography (signed or written) of the portrait they used or a work of ASL Poetry

about the subject of /sign used in the artwork

Resource: http://hindakasherstudio.wix.com/hindakasherstudio

Essential Questions/Reflection:NEEDS TO BE COMPLETED



De’VIA “My Life” Collage

Communication Conflict Fabric/QuiltApprox size H19 x W19 in.

Unit: Mixed Media

Overview: Students will examine the De’VIA quilts by Theresa Coughlin. Discuss themes of “Affirmative” and “Resistance”categories seen in De’VIA works. Students will recreate a moment in his/her collage representing a special point in his or her life.

Grade Level/Length: 9-12 grades (suitable for elementary and middle school grades)/ 4 hours


Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines


Element of Art: Texture

Principle of Design: Harmony, Variety

Vocabulary (ASL/English): NEEDS TO BE COMPLETED

Materials: Heavy paper board (ex. Railroad board, cardboard, mat board), white glue, decoupage glue, magazines, photographs, fabrics, strings, paints, small found objects

Procedures: 1. Students will analyze Coughlan’s quilts and discuss what themes and motifs she

incorporates in her work. Identify the common motifs she uses. Discuss themes of “Affirmative” and “Resistance” in De’VIA art

2. Students create an visual imagery of a Deaf experience they have and sketch their idea.3. On heavy paper, draw the image with a pencil. Then cover the surface with a wide range

of materials (mostly fabric) with glue. Paint in areas that are bare with desired colors.4. Write and/sign a summary about the art creation. Edit as needed and share art with it’s

art statement.Resources: http://www.rit.edu/ntid/dccs/dada/dada.htm

Essential Questions/Reflections:NEEDS TO BE COMPLETED

Assessment Methods:NEEDS TO BE COMPLETED

Informal assessment: participating in group discussions, sharing ideas, comprehension of “Affirmative” and “Resistance” art in De’VIA. Development and effort of student artwork.


Differentiation: Use colored construction papers in place of fabric for collages.Use heavily textured materials in place of fabric ex. Bubble wrap, aluminum foil, sand paper instead of fabric.

De’VIA Perspective Drawing- James CastleUnit: Drawing

Overview: Students will explore the works of James Castle and learn how to do one and two point perspective drawing. For their project, they will do a perspective drawing with several De’VIA motifsGrade Level/Length: 9-12 grades/ 5 hours

De’VIA Elements:Images/motifs/symbols of the Deaf & Deaf-Blind experienceArt, Artivism, Authentic Aesthetics of the Deaf & Deaf-Blind experience


Standard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines


Element of Art: line, space, value

Principle of Design: Balance

Vocabulary (ASL/English): One-Point Perspective, Two-Point Perspective, horizon, vanishing point, vanishing lines, plane, parallel, foreground, middle ground, background

Materials: rulers, pencil, eraser, kneaded erasers( good for charcoal) black charcoal pencils, found or recycled papers ex) inside of cereal box flattened out. Fixative

Procedure: 1. Students will be introduced to the works of James Castle, a self-taught Deaf Idaho artist,

from the first half of the Twentieth Century. He used found objects and fire soot to create his art. Examine if his work has some De’VIA characteristics. (James Castle drew many “totems” in his perspective drawings.. can the students locate the totems?)

2. Introduce/review how to do one and two point drawings. Practice drawing either perspective outdoors or in an interior of a building structure. Discuss background, middle ground and foreground.

3. Choose at least three different De’VIA motifs (refer to the motif list) and prepare a final perspective drawing either one or two point perspective. Students will choose used paper or cardboard (ex. Recycled cereal box) and draw with charcoal pencils or sticks.

4. Interpret the final drawing in ASL and/or English in one paragraph or session.

Resources:

http://jamescastle.com/

Essential Questions/Reflections:How do you think James Castle was able to draw perspective without any formal training and make his art on his own?Explain why you chose certain the De’VIA motifs for your perspective drawing. What is your interpretation of your perspective drawing?

Assessment Methods:

Informal assessment: Following directions, ability of doing one and two point perspective with a ruler.


Differentiation: To simplify this project, students can do perspective drawings of cubes instead of landscapes and add motif objects surrounding them.

De’VIA Ceramic Busts

Thad C. Martin, Articulatus (Read My Lips), 1994, ceramic, 34x78x48

Unit: Ceramic

Overview: Students will examine ceramic work creations by Thad Martin. They will create their own ceramic portrait bust in De’VIA style by exaggerating the facial features.Grade Level/Length: 9-12 grades (suitable for elementary and middle school grades) 2 weeks ( two weeks in between for clay drying time).


Educational Standards:Standard #1 Understanding and applying media, techniques, and processesStandard #2 Using knowledge of structures and functionsStandard #3 Choosing and evaluating a range of subject matter, symbols, and ideasStandard #4 Understanding the visual arts in relation to history and culturesStandard #5 Reflecting upon and assessing the characteristics and merits of their work and the work of othersStandard #6 Making connections between visual arts and other disciplines


Element of Art: Texture, Form

Principle of Design: Emphasis

Vocabulary (ASL/English): ceramic, bust, bisque, armature, kiln, firing, slab, scoring, slip

Materials: clay, clay tools, 4”x 6” PVA pipe attached to wooden base, newspaper, glaze

Procedure: 1. Students will be introduced to Thad Martin’s ceramic bust. Discuss how his artwork has

exaggerated face features and show the Deaf experience. 2. Students will sketch ideas for their ceramic bust.3. Students will have their own armature structure with PVA and base board, and will do

the slab techniques. Wrap it around the PVA tube with newspaper then the clay slab. Then add features and details onto the clay head (should show shape of head, neck and shoulders).

4. When clay is leather hard, cut the head into two parts and remove from the newspaper, PVA armature structure, join the two parts together with slip and clay.

5. Allow clay to become entirely dry before firing in kiln.6. Glaze the desired color and re-fire for the last time.7. Write/Sign their interpretations of the meaning of their De’VIA bust.

Resources: http://www.deafart.org/Biographies/Thad_C__Martin/thad_c__martin.htmhttp://www.deafart.org/Artworks/Selected_Touring_Works/selected_touring_works.html

Essential Questions/Reflections:1. How does Thad Martin’s ceramic bust reflect the Deaf experience? Do you think

it is an Affirmative or Resistance piece of De’VIA art? Explain why.2. How did you express your Deaf experience in your artwork? Did you exaggerate

the facial features of your bust?

Assessment Methods:

Informal assessment: Group discussion, daily participation , careful craftsmanship work, clear and direct signed or written artist statement about artwork.

Formal assessment:(see rubrics under Curriculum Resources)

Differentiation: This project can be modified by using paper mache on newspaper armature or a plastic mask.

More De’VIA Lesson Plan IdeasASL Sculptures (David Call)Grade Level: Middle School/High SchoolUnit: Mixed MediaOverview: We will be creating sculptures based on ASL signs. To accomplish ASL sculptures, we will focus heavily on signs for concrete objects. For some sculptures such as one representing an EAGLE (X on nose), we would need to focus on classifier signs which describe Talons (Bended 3 handshapes) and paint Eagle on L-mount.

Abstract ASL Action Painting (David Call)Grade Level: Elementary, Middle School, and High SchoolUnit: Painting **MESSY and AWESOME**Overview: This project focuses on Action Painting (uses Jackson Pollock’s approach of action painting) Each sign has own color. For example, student comes up with “STROLLING FOREST SEE BIRD” Each sign has own color, STROLLING - orange, FOREST - purple, SEE - black, BIRD - blue. Students will work on their plan beforehand. (see the attachment of worksheet) Then they will sign with paint on their hands on canvas.

Mixed Media

1. De’VIA Jenga Blocks2. Tactile Portrait

3. Title Stroke Mirror “Rising ASL”, “Garden of ASL”

Community Art

1. Mosaic mural

2. De’VIA Grafitti Art

3. De’VIA playing cards

4. Hand paper chain of Deaf Culture

5. Perform Charade about a specific De’VIA painting

6. ABC story related to De’VIA

Sculpture

1. Paper Mache2. Aluminum/plaster/clay handshape/signs3. Wire4. “spirituality of De’VIA” Mandela5. bookmaking

Mixed Media

1. “Tactile Portrait”- choose object that describes your personality. i.e. sunflower, seed, rice, mirror

2. First, take a picture of yourself. Print in poster size to help you set all of object on the photo print, glue, then frame it and tell your story.

3. Sumukhwa Korean Ink Brush Painting - De’VIA animal motifs. Use ASL stamps for signature in red instead of Korean writing.

DEAF SPACE - interior design-Elementary Drawing-Secondary 3D Model

Painting

1. High School- Political Art (Resistance/Affirmative). Sample of artwork: ASL Standard , Stand for Truth2.”Eyes and a Hand”- Sample: Diversity/eye expression/colorful3. “What is Deaf Ed” Choose a Deaf experience and create a masterpiece with symbolism signing to describe your experience. Use colors to emphasize the story.4. Modigliani Signs - examine the portrait paintings of Modigliani and the handshapes often included. Create a self-portrait incorporating a sign.

Drawing

- Figure in Motion (charcoal,vine,pastel)

- Focus on facial expression, body language and hands.

- Choose a motif to draw from life looking at first hand.

- Exercise- Still Life drawing. Go outside of classroom to find a circle or triangle anywhere and do at least 20 or more drawings for 10 minutes.

Photography:

- ABC shots story

- Take pictures of ASL poets or conversation between two or more signing people.

- Play camera to capture effects of hands/eyes/space/body with emphasis. Ex. Close up shots, or in action

- iDeaf Portraits- Silhouette portraits (ASL in action) created with itunes. Inspired by John Carlihn (Deaf silhouette artist). Deaf Artists of America by Sonnehstrahl. Include the image of Alice Cogswell - the only visual record of her. Create a portrait using ASL signs, or the student’s name sign. Adaptation: transparency tracing & tempura paint

Integrated Arts:

- Learn about Thousand Hands Dance (Chinese Deaf Dance Troupe), watch their performance. Create an original choreography and document on film. Collaborative group art. Work together to create a stage, background, and costumes. Have older students participate in iMovie editing.

- Navajo Sand Painting, Native American Art, and Native American Deaf Culture. Learn about Native American Signs, Native American writing, the history of Gallaudet, Navajo

Sand art, and Deaf experiences expressed by Native Americans. Sensory activities using sand, ASL, De’VIA motifs.

Art Critic Questions for artwork discussions(From Smithsonian Institute American Art Museum - Education program)

http://americanart.si.edu/education/pdf/becoming_an_art_critic_activity.pdf

Who or what do you see in this artwork?- What is going on in this picture? What more can you find?- What is the largest thing you see in this picture?- What is the smallest thing you see in this picture?- Who are these people in the artwork? Are they similar or different from you?

What colors are in the artwork?- What can you tell me about the colors in this artwork? What color do you see the most?- What kind of mood or feelings do the color give the artwork?- Do you like the colors that are in the artwork?- If you were the artist, would you have used different colors?

Where do you think this scene is taking place?- What season is it?- What time of day?- What kind of weather?- Is the scene outside? Inside?

Why do you think this artist made this artwork?- How does this artwork make you feel?- How do you think the artist feels about this person or thing in the painting?

When do you think this artwork was made?- Does this scene look like it could be taking place today? Why or why not?

- If there are people, are their clothes similar or different from what you are wearing? Why or why not?- Is the scenery similar or different from where you are?- What does the scenery and the clothing or objects tell us about when this artwork was made?

How do you think this artist made this artwork?- What types of materials did the artist use? Paint? Clay? Wood?- How long do you think it took to make?- How big do you think the artwork is?

Assessment/Rubrics

Informal Assessment:

GOALS 1 - minimal 2 - basic 3 - meets expectations

4 - exceeds mastery

total

Follow Directions -

Participation -

Work Habits -

Formal Assessment:

GOALS 1 - minimal 2 - basic 3 - meets expectations

4 - exceeds mastery

total

Skills and Techniques

Craftsmanship -

Creativity implementations of project -

Books, Articles, WebsitesBooksDurr, P. (2006). De'VIA: Investigating Deaf Visual Art. Deaf Studies Today! , Orem, UT: Utah Valley State College, Volume 2, 167-187.Lane, H., Hoffmeister, R., & Bahan, B. (1996). Deaf culture: The arts. A journey into the deaf world (pp. 138-143). San Diego, CA: DawnSign Press.Schertz, B., & Lane, H. (1999). Elements of a culture: Visions by Deaf artists. Visual Anthropology Review: Journal of the Society for Visual Anthropology, 15(2), 29-36. Sonnenstrahl, Deborah (2002). Deaf Artists in America: Colonial to Contemporary, San Diego, CA: DawnSignPress.See also books on individual De’VIA artists.WebsitesChristie, K and P. Durr (2013) The Heart of Deaf Culture: Literary and Artistic Expressions of Deafhood. RIT. https://www.ntid.rit.edu/educational-materials/?controller=product&product_id=34

Deaf Art/Deaf Artists http://www.rit.edu/ntid/dccs/dada/dada.htm

Deaf Art http://www.deafart.org/

Glossary

Value: one of the seven elements of art. Value is about an artworks lightness or darkness of color. It is important to use a great deal of variety of light and dark (tints and shade).


AcknowledgementsCurriculum Development Team

Lesson Plan DevelopersEmily Blachly K-8 Art Teacher Kendall Demonstration Elementary School

Susan Dupor K-12 Art Teacher Wisconsin School for the Deaf

Takako Kerns K-12 Art Teacher Kansas School for the Deaf

Christine Parrotte 9-12 Art Teacher Model Secondary School for the Deaf

Materials DevelopersGino Caci

David Call

Karen Christie

Patti Durr

Kyle Hoffer

Tullos Horn

Hinda Kasher

Ellen Mansfield

Michelle Mansfield-Hom

Laurie Monahan

Randy Pituk

Nancy Rourke

Art Fundraising Ideas

● Submit students’ artwork to any school/ community organization events such as a Parent/Teacher Organization.

For example at Indiana School for the Deaf (ISD), the PTCO (Parent, Teacher, Counselor and Organization) hosts an annual Literary Gala and a silent auction to fundraise money for academic funds such as art supplies, field trip to art museum, artist in residency expenses, etc.

● Contact art museum(s) to see if they could offer to sell students’ artwork or participate in their annual contest to enter the fundraise.

For example at ISD students paint with their hands on the paper then print it on silk scarf and sell it at the museum shop.

● Create a blank cards box with students’ artworks on the front ( 6-8 assorted cards).

● Ceramic tile with handshapes, fingerspelling alphabet, and motifs.

VERY POPULAR and FAST PROFITS! See Alphabet/handshapes ceramic Tile lesson plan. Both the Deaf and hearing community will love it!

Submitted by Mr. Zwicker,Indiana School for the Deaf

deviacurr.files.wordpress.com · web viewintroduce the word he coined, “surdism”- deaf art...

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