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and radiate symmetrically (ruler) template, varietyfrom the center point.

November - December Target: 5.3.H: Determine the

Criteria: number and location

Art Infused Lesson 2b:of lines of symmetryin triangles and

RadialSymmetry quadrilaterals.

November - December Target: Creates an AEL 1.1 concepts: 5.3.C: Identify, Art: Tessellations and rotationalequilateral triangle design radial balance describe, and pattern radial balance, symmetry are found in nature

rotational symmetry,Art Infused lesson 2c: with radial symmetry to use AEL 1.1.2 principles classify triangles tessellation and human-made objects and can

Patterns with in tessellations. of design: Uses by angle measure be produced using geometricprinciples of balance and number of Math: shapes organized around a

Tessellations Criteria: Creates shapes that and repetition. congruent sides. axis, pattern, central axis.tessellation, equilateral,

organize around a center axis AEL 1.2 skills and isolateralusing a three-sided shape techniques: designequal on all sides.

13

ARTS IMPACT INSTITUT..E ESSe PLAN - Core Program Year 2 Art-InfusedVISUAL ARTS LESSON - Informed Drawing through ObservationArts-Infused Disciplines: Visual Art/Science Arts-Infused Concept: Observational ProcessArtist-Mentor: M_aria Grade Gr~.k\lel~ird - Fifth Grade

Example:

Enduring UnderstandingsObservation of shapes, measured proportion, contour, range of tonal value, and variation in linequality that creates texture and detail can inform an accurate and descriptive drawing.

Target: Draws the shapes which make UP the form of the animal.Criteria: Observes, identifies and describes light overlapping ellipses which depict thebasic shapes of an animal's form.

Target: Draws the proportions of an animal.Criteria: Observes and compares the sizes of animal's body parts and draws light markswhich map the height and length of an animal.

Target: Draws the contour of the animal.Criteria: Observes and approximates the basic outside eQge of the animal's form,

Target: Uses a variety of lines to describe details of the animal.Criteria: Uses lines to indicate texture in the drawing; changes line direction to show howskin or fur follows the shape of the body.

Target: Uses a range of tonal values to describe details of the animal.Criteria: Draws lioht, medium and dark tones to emphasize the dimensions of the animal'sbody or to provide dramatic shading to its form; uses darker lines to define structure andemphasize characteristic features.

Target: Evaluates work of peers.Criteria: Uses supportive evidence and criteria.

Teaching and Learning Strategies

1. Introduces drawin9 as an art media and discusses common attitudes towarddrawing. Addresses the concept of realism in art and the acquisition of skills needed todraw realistically as a goal for this exercise, not a goal for all drawing,Student: Reflects on ideas and times when drawing realistically is most valued and why an artistmight select to/not to draw realistically.

Arts impact Core IIArt-Infused Summer Institute - Visual Arts - Informed Drawing Through Observation

2. Introduces examples of animal drawings from the museum collection. Prompts:What are the qualities ofa realistic drawing? What is the artist able to tell you about thesubject animal through his/her drawing?Student: Observes drawings. Lists specific characteristics of realistic drawing. (describessubject, references recognizable characteristics, conveys dimension.)

3. Introduces drawing tools. Demonstrates on paper the use and capacity of each tool.Prompts: Tools transform what you observe while looking--your ability to direct these tools isliterally your ability to steer the perceptions a person has when they see your drawing.Student: Examines and manipulates drawing tools for distinct characteristics and capacities.

4. Leads warm-up draWing exercise using a variety of mark making approaches and variespressure with tools.Student: Lightens up and bears down on tool. Makes a variety of lengths, directions, andqualities of line with drawing tools.

5. Shape: Introduces observation of elephant photos (though in science it would befirst-hand observation whenever possible) and the drawing of shapes. Prompt: Myelephant's trunk will be nearly touching this side ofthe page andits tail the other side. We cantell viewers about our observation ofthe elephant's size just by the way we fill the page with itswhole body.Student: Observes and draws shapes seen in animal. Spans the page with the animal.Embedded Assessment: Criteria-based self-assessment

7. Contour: Leads class in observing the contour of the elephant. Demonstrates draWing acontour of the elephant. Prompt: Ifyou were to run your hand along the edge ofhis truntywhat would that motion look like in the air? Class acts out the bumpiness of the line with theirhands. Prompts: Draw the contour to reflect your observation ofall the outside edges oftheelephant. Here are questions to ask yourselfas you draw: Have I been careful to observe anddocument as much as I can about the shape, proportions and contour ofthis animal? This is myguide for the rest ofmy draWing and my chance to correct what doesn't resemble myanimal.Continue to reference your original source, the photograph in this case, notjust your shapedrawings.Student: Observes and draws the animal's contour.Embedded Assessment: Criteria-based self-assessment

8. Value: Demonstrates the range of tonal values, displays and defines a value scale,demonstrates the addition of tone to drawing through the use of smudging, erasing andshading. Shows before and after drawings.Student: Observes and comments on the changes in drawing examples.

Arts Impact Core IIArt-InfusedSummer Institute - Visual Arts - Informed Drawing Through Observation

9. Detail: Demonstrates the addition of lines and changes in pressure, direction,character of line, etc. and displays the changes by showing additional before and afterdrawings.Student: Observes and comments on the changes in drawing examples.

10. Initiates a focused drawing (observational) period for the class in which they are todraw the details and visual characteristics they observe in the animal using tone andline. Prompts: Ask yourselfif this could be any elephant or animal or is it the specific one youare looking at right now? How can you tell? What does your drawing tell me about this animal?Is he old or strong or dusty or hairy? Make each line or smudge you add tell me more aboutwhat you observe in your animal-no filler. Self-assess as you draw because it helps gUide yourprogress. I observed that my elephant had wrinkles all around his ankles and ears that foldedlike a leafoflettuce andhis tail had long hairs on the end. I show that to the viewer in mydrawing.Student: Draws the animal's details using line and tone. Adds as many detailed characteristicsas possible.Embedded Assessment: Criteria-based self-assessment (Students complete a self-assessmentchecklist card which includes a space for them to write how one animal characteristic inspiredone drawing technique. Students can continue to add details to their drawings if they find thattheir writing describes something that their drawing does not reflect.)

11. Directs the students to put their drawings next to their reflection cards up on thewall for group reflection and critique.Student: Assembles, observes.

12. Teacher: Leads Critique and peer-review.Student: Discusses the evidence of observation in their drawings, the effective use of line andtone to describe their animals and uses criteria to comment on the completed drawings.Embedded Assessment: Criteria-based peer reflection

Arts Impact Core II Art-InfusedSummer Institute - Visual Arts - Informed Drawing Through Observation

Vocabulary Materials and Community WA Essential Learnings & FrameworksResource

Essential LearningsA£L 1.1.2 prindples oforganization: whole picture planeAEL 1.2 skills and techniques: drawing, erasing, using tort/lionA£L 21 artiSticprocess: gathers information, develops Ideas,organizes elements, reflects for a purpose, refines work, presentswork to othersA£L 3.2 for apurpose: representation

El. 2.1.2 conducts simple investigationsEl. 2.2.1 understands that observations and measurement are

used by sdentists to desO'ibe the woridEl. 2.2.5 understands that Increased comprehension of svstem

leads to new inqUiry

Arts State FrameworksKlndergarlen-Grade 5: applies arts concepts, vocabulary, sklllsand techniques through a creative process

3-5: scientific inquiry: 5elects observab6e or measurableliables related to the i~tivequestion far a simple field

"nvestigation; describes whether measurements aM/ortions of phenomena are scientific facts; descnbes how

results of scientific Inquiry may change our uodesstanding of thetural world

SCience State FrameworksK-2: sdentific inqUiry: Makes obsefvations and records

~Ildd:eris';tU'::s or properties; makes observations andrements about natural phenomena; tells now sdentffic

nquiry results In facts, evidenre, unexpected findings,ldeas, andanations

Museum Artworks:TAM: Robert: Helm, Efrd, 2000

Dr. Silvester Gardiner (1708~1786)1probably In2John Singleton Copley2006.125;

SAM:Message, 1943Morris Graves83.209;

Claude Monet, 1890Theodore Robinson2005.163Printed Resources/Internet: John StuartCurry, Elephants, Rembrandt, Elephant,Franz Marc, Elephant, 907

Art Materials: Conte crayons (black),erasers, HB drawing pendIs, value scaledone with Conte crayon on the lessonpaper, thick white drawing paper, 18 c24 in. and smaller sizes of same paperfor wann-ups, small pieces of chamoisleather, paper tortillon

Arts Infused;Visual Art andMl!tb:g=tional

VIsual Art: contour,form, line direction,line quality, marl<maklng, proportion,representational,shape, tone, value

Arts Impact Core IfArt-Infused Summer Institute - Visual Arts -informed Drawmg Through Obselvation

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Comments: How were specific criteria satisfied?Student Name:

What evidence can be seen?What skill or technique did you use?

Total Points: What do you KNOW now?7 What can ou DO now?

Overall: How did one animal characteristic inspire one drawing technique?

Contour:approximatesthe basicoutside edge ofthe animal'sformLinear Detail:changes linedirection alongsha e of bodLinear Detail:indicatestextureValue: usesdarker lines todefine structureand emphasizefeaturesValue: drawslight, mediumand dark tones

Arts Impact Core IIArt-InfusedSummer Institute - Visual Arts - Informed Drawing Through Observation

ARTS IM,PACT FAMlI-Y EIT.=.E.R:.:.- _

VISUAL ARTS LESSON - Igformed Drawing through..Observation

Dear Family:

Today your child participated in a visual arts lesson integrated with science: scientific and artisticobservation to collect and record data. We drew a realistic or representational draWing fromobservation. We used drawing techniques to depict an animal using Conte crayon and erasers.

• We observed the basic shapes of the animars body, drew a rough sketch of those shapes toguide our drawing and then approximate the contour of the animal.

• We observed the height and length of the animal and compared his limbs and other bodyparts so that we could plan to draw aUf animal with those same proportions.

• We observed the bumps and angles of the body so that our drawing included linear detail thatrepresented texture and line direction.

• We added values (light, medium and dark) to our draWing which helped describe more fullywhat we saw when we observed the animal.

At home you could try drawing the animals you have nearby, pets sleeping, or squirrels in the yard,ducks in the park. The ones that hold still are a good place to start. Use the process of first observing,then drawing a guide sketch of shapes, measuring and comparing for proportion, draWing a contourand then bUilding detail with line and value to ensure a great drawing, full of observed details and thetrue character of the animal!

Enduring Understanding

Observation of shapes, measured proportion, contour, range of tonal value,and variation in line quality that creates texture and detail

can inform an accurate and descriptive drawing.

Arts Impact Core Il Art-Infused Summer institute - Visual Arts -Informed Drawing Through ObselVation

parallel andperpendicular lines. Label a right angle. Make oblique lines which intersect and label acuteand obtuse angles.Student: Identifies, draws, and labels parallel, perpendicular and intersecting lines; right, acute, andobtuse angles.Embedded Assessment: Criteria-based teacher checklist

2. Introduces Wayne Thiebaud's Diagonal City. Prompts: What do you see? What materials didthe artist use to make his art? (graphite pencil and paper) There are different types oflines that worktogether in this drawing? What line relationships are there? (parallel; perpendicular, and intersectingline) Where do you see angles? What kinds ofangles do you see? Where do you see different areas oftone (light-to dark) What point of view do we see here?Student: Identifies parallel and perpendicular lines; identifies rIght, acute, and obtuse angles.

3. Introduces maps and aerial photographs showing a bird's eye viewpoint. Demonstratescreating a border and mapping streets and using lines and angles to show intersections.Using right, acute, and obtuse angles can show an intersection ofstreets as seen from above. We wantto imagine a city or a neighborhood. Pretend you're in a helicopter or flying above your city like a bird.We want to show howpeople in your city or neighborhood are going to get around using streets. Weneedgood traffic flow: no collisions. You need to get from pointA to point 8 in the qUickestpossibleways. (diagonal/oblique lines) Make the streets for your City Street Plan. You couldshow a larger streetby creating parallel lines for streams oftraffic moving in two directions. Discuss why cities use one-waystreets as well. I have lined up the edge ofmy ruler with the edge ofmypaper and drawn a light lineparallel to all four edges. Notice how I am using my 2H pencil which is the very lightest, to draw in mystreetsystem. Once I have established the flow oftraffic I am starting to show the tops ofbUilding~trees and other features as seen from abovejust like looking ata map. Remember that a bird's eyeview is different than a side view ofbUildings and trees.Student: Analyzes using a bird's eye viewpoint, observes demonstration.

4. Guides students as they create a bird's eye view of a city showing streets and roads usingparallel and perpendicular lines, right, acute and obtuse angles. Prompts: We're going to lay downsome perpendicular line~ some parallel line~ and intersecting lines to create three kinds ofangles:right, acute and obtuse. Once you have your streets mapped in notice the shapes ofyour city blocksbetween the streets: ifyour streets are straight, you have polygons. How about triangles? Can youclassify them-are they right, acute, obtuse? Keep building your street system until you reach theedges ofyour border. You may want to include some open spaces, negative space. As you draw yourlines don't forget to use tools-the straightedge/ruler, and template tools for creating curved lines andother shapes/figures. Self-check to make sure that your lines are precise, straight and even.Student: Makes a city street plan.Embedded Assessment: Criteria-based teacher checklist; criteria-based self-assessment

5. Demonstrates and guides students in adding areas of tone or line pattern to furtherdefine the components of their city. Prompts: Note that you have four different drawing pencils:2H which we started with is the hardest and 68 is the softest and darkest, the others are in between.Experiment! Think about how you can fill an area with a tone ofgray and another with a lighter ordarker tone ofgray in order to lend definition to your map. Work to control the pressure and directionofyour pencil; you may want all ofyour roads to be the same tone ofgray. Addpatterns oflines:repeating, straight, curved, orzigzag to define areas like rooftops or tree tops.Student: Create bUilding entry design.Embedded Assessment: Criteria-based teacher checklist

Fifth Grade-VisualArt and Math-Mapping Angles from Above

6. Facilitates criteria·based reflection. Displays city maps on the board. Prompts: Draw andlabel a portion ofthe streets seen in a peers map that show acute/ right and obtuse angles. Draw andcompare the properties/attributes ofpolygons you see in the negative space between streets in themaps. Descnbe the challenges ofusing the tools What kind ofrealizations did you have about mappingfrom above instead of looking at city features from the ground?Student: Participates in critiqueEmbedded Assessment: Criteria-based class critique; criteria-based peer critique

BEFORE next VISUAL ART lesson:Math Centers

1. Create a map of neighborhood using parallel and perpendicular lines.

2, Highlight (With pens) and classify polygons and triangles found on old city maps,

Independent Practice: Hand draw it! Draw it on paper! A "cute" angle--Iess than 90 0• An

obtuse angle--more than 90 0• A right angle--exactly 90 0

•

Vocabula Materials and Communi Resource WA Essential Learnin 5 & FrameworksArts:negative spacetonepoint of view

Arts Infused:diagonalgeometric shapehorizontalinters€ctingparallel linepatternperpendicular linevertical

l"lath:acute angleoblique lineobtuse angleri ht an Ie

Museum Artworks:Maps, site plans, aerial photographsDiagonal Otyby Wayne Thiebaud (available (orcheckout lhroug Tacoma Public Schools, part of theTak.e 5 Art Print Set)Google Earthmodel train setsblocks

Art MaterIals:Geometry Searc/'i Journals

2H, 26 and '1B, 6B graphite pencilsrulersshape templateswhite vinyl erasers or art gum erasers6 x 9 In. OR 9 x 12 in. white drawing paper

AEL J.1 concepts: geometric shape, vertical,horizontal line, tone, pattern, anglesAEl 1.1.2 pn'ndples of organ/zalion: balanceAEl 1.2 skills and techniques: draftingAEL 4.2 connections belY.>een arts and other contentareas: geometry: angles

MA TH GLE: J.3.1 Understandpropemes ofangles

Math State Fram eworksGrade 4: 1.3.1 Explains parallel and perpendicularlines and gives examples to demonstrate themGrade 5: 1.3.1 Describes a 2-dimenslonal shapeand or figure using properties Includulg number ofSides, vertiCes, and types of angles.Grade 5: 1.3.2 Draws, describes, and/or labelsangles, quadrilaterals, parallel and/or D€rpendlcularlines

Aftl7 Grade-Visual Art and Math-Mapping Angles from Above

ARTS IMPACT-AB.TA..INFUSED INS rl (UIE.=.-==.::~~P::....:LA=.:.N=-(YR2"AEM..IllU

LESSON fiLE: Mapping Angles from Above

ASSESSMENTVVORKSHEEI

Criteria-based Reflection Questions: (Note examples of student reflections.)Self-Reflection: hat kind ofrealizations did you have about mapping from above instead oflooking at city features from the ground?

Peer to Peer: Draw and label a portion of the streets seen in a peers map that show acute,right and obtuse angles. Draw and compare the properties/attributes ofpolygons yOll see.

Thoughts about Learning:Which prompts best communicated concepts? Which lesson dynamics helped or hindered learning?

Lesson Logistics:Which classroom management techniques supported learning?Teacher: Date: _

Disciplines MATH VISUAL MATH VISUAL ART VISUAL ART TotalART AND 8

MATH

Conceot LINESIANGLES LINE LINE CRAFTSMANSHIP TONE PATTERNStudent ldentifjes Draws Makes Makes Makes Makes lines that Uses Uses

equidistant equidistant right acute, obtuse are straight and distinct repeatedlines and Jines lines to angles angles angles even light, sequences

that intersect to create for for for dark of linesmake right, streets and streets streets streets andacute, or a map and and and medIum

obtuse angles border building bUilding bUilding valuesshaDes shaDes shaDes

1.2.3.4.5.6.7. I

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FIfth Grade-Visual Art and Math-Mapping Angles from Above

AR.TS IMPACT-ARTS-II1E.USED LEARNING FAMILY ETHR _

Y'jSUAL ART AND MATH LESSON - Mapping Angles from Above

Dear Family:

Today your child participated in a math and art lesson. We deSIgned and made city street plans.

• We looked at Wayne Thiebaud's Diagonal City. We found places where the artist used parallellines, perpendicular lines, and oblique (diagonal) lines that intersect. We analyzed thedrawing and found three kinds of angles used by the artist: right angles (making an 'L', 90degrees), acute angles (those smaller than 90 degrees that seem sharp and pointed), andobtuse angles (angles larger than 90 degree right angles).

• We reviewed how to draw parallel, perpendicular, and oblique lines and leamed how tointersect those lines to make right, acute, and obtuse angles.

• We thought about our city streets plan and the kinds of streets we wanted to create for our city.We drew parallel, perpendicular, and oblique lines. We talked about the open space (negativespace) in areas in between our lines drawn for streets. Some of our negative space was shapedlike triangles, or other straight-sided polygon shapes/figures,

• We used a straightedge and templates to makes lines that are straight and even,We also added tones and patterns of lines to define city elements.

• We included three kinds of angles in our draWing: right angles, acute angles, and obtuse.

You could point out the types of lines and angles in your own home. You could inspect your home andpretend you were architects and wanted to remodel by changing the angle of a wall.

Enduring Understanding

Streets seen from above can be intersections of lines that create right, aCl:Jte, and obtuse angles.

Fifth Grade-Visual Aft and Math-Mapping Angles from Above

ARTS IMPACTSLASSROOM LESSONSCHOOL: EATONVILLE ELEM GRADE: 4 ARTS DISCIPLINE: VISUAL

Radial Symmetry in DrawingTeacher: Renee Ricketts Artist-Mentor: Maria E/ger

Problem to Solve: How can the organization of lines create radial balance and symmetry in acomposition?Understanding: Lines and elements radiating from a central point based on a circle can create abalanced and radially symmetrical composition.

Evidence of Student LearningRadially symmetrical draWing

Brief Description of Task!ProjectStudents create a radially symmetrical drawing on paper.

Target Learning and Assessment StrategiesKnowledge and skills: The student:Target: Creates designs that originate symmetrically from the center point of a circle.

Criteria: Draws repeating shapes. lines. or dots that build on the preceding layer and radiate symmetrically fromthe center point.

Target: Uses markers to color radiating design, keeping true to the rules of symmetry in use of color.Criteria: Uses the same color in each section of each set of matching shapes. lines and patterns.

Target: Uses color to create contrast.Criteria: Uses a variety of color to balance white space equally.

nstructional Strategies for the Teacher and Student1. Teacher: Introduces, defines, and discusses images of radial symmetry evident in everyday life. Shows images ofeveryday objects such a snowflakes, flowers, bicycle wheels, spider webs, etc. Prompts: What can you see in these images that causethem to be similar? What do they have in common? Discusses definition, properties, and qualities of radial symmetry. Prompt: Whatother everyday objects can you think ofthat are radially symmetrical?

Student: Observes, compares, and discusses radial symmetry.

2. Teacher: Introduces, defines, and discusses images of radial symmetry evident in art examples, including IndianRangoli designs. Prompts: How do these images hold true to our definition ofradial symmetry? How do you think you mightgoabout creating your own composition that would be radially symmetrical?

Student: Observes and discusses evidence of radial symmetry in art example.

3. Teacher: Demonstrates creating radiating designs by adding shapes, lines, and patterns beginning at the center ofthe circle. Prompts: What could you add to your circle that might create a radiating design? Where might you begin to add to yourdrawing? What would you need to do to ensure that your design has radial symmetry?

Student: Observes process of creating radiating designs.Embedded Assessment: Criteria-based self-assessment; Teacher checklist

4. Teacher: Distributes practice worksheet to generate ideas for seed design.Student: Uses worksheet to create radially symmetrical design.

5. Teacher: Demonstrates process of selecting, refining, and duplicating one section of design into a wedge shape.Models self-assessment. Prompts: How can 1 create a balance ofdesign and white space in my composition?

Student: Observes and offers suggestions.

6. Teacher: Instructs students to create designs in each section of the practice wedge. Demonstrates creating a balance ofwhite space and color.

Student: Chooses design to refine. Copies design onto wedge shape with refinements.

7. Teacher: Instructs students to choose, refine, and duplicate wedge shape onto circle. Models on overhead.Student: Duplicates wedge shape design into each section of circle, creating a radially balanced design.

8. Teacher: Monitors and advises students during the process of addition to designs to circle. Instructs students who arecorrectly creating radial designs to begin working with fine-tipped markers. Distributes markers as students are ready. Prompts: Howcan we add color to your composition so that it continues to have radial symmetry?

Student: Uses markers to color shapes, lines and patterns within circles. Uses the same color in each section on each set ofmatching shapes, lines, and patterns. Completes radial symmetry composition using markers.Embedded Assessment: Criteria-based self-assessment; Teacher checklist

Vocabulary• balanced• composition• diameter• opposing• pattern• radial• repetition• symmetry• template• variety

selected ResourcesDance/TheaterResources/VisualArt CulturalPartner Reference:Michael Gregory, Egg and CrossClassroom Materials:Rulers, pencils, electric pencilsharpener, fine-tipped coloredmarkers, drawing paper, circletemplate with 8 points aroundperimeter of the circle, practiceworksheet with points or dots

Student Applications of LearningStudents see radial symmetry andpattern in nature and in theconstructed world.Essential LearningsAEL 1.1.2 Principles oforganization:balance, repetition, patternAEL 1.2 Skills and techniques:drawing, use of tools (ruler)AEL 1.3 Art styles from differentcultures

r~~~~o!v~E~~CID~}~~~~~~~u~ LESSON'.adial Symmetry in Drawing

Target Learning and Assessment StrategiesKnowledge and skills: The student:Knowledge and skills: The student:Target: Creates designs that originate symmetrically from the center point of a circle.

Criteria: Draws repeating shapes, lines, or dots that build on the preceding layer and radiate symmetrically fromthe center point.

Target: Uses markers to color radiating design, keeping true to the rules of symmetry in use of color.Criteria: Uses the same color in each section of each set of matching shapes, lines and patterns.

Target: Uses color to create contrast.Criteria: Uses a variety of color to balance white space equally.

PERSONAL ASSESSMENTS CHECKLISTStudent Draws repeating shapes, lines,

and dots beginning fromcenter point

Uses same color in each sectionof each set of matching shapes,

lines, and patterns

Uses a variety ofcoior to balance

white spacee uall

Total Points3

ASSESSMENTS CHECKLISTStudent Draws repeating shapes, lines, Uses same color in each section Uses a variety of Total Points

and dots beginning from of each set of matching shapes, color to balance 3center point lines, and patterns white space

equally1.2.3.4.5.6.7.8.9.10.11.12.13.14.15.16.17.18.19.20.21.22.23.24.TotalPercentaqe "" ;Mean ·.··.0 ,:. ',. ... ............•.. : . .' ....:;..:.... ···c·'. :. "".' ..< .•....••; •.....•.

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Teacher Comments:

L===~~=~~~~~~======-======'I

ARTS IMPACT

Dear Family:

Today your child participated in an art lesson about radial symmetry in drawing.

1. We found examples of radial symmetry in everyday life, such as snowflakes, bicyclewheels, and spider webs, and in works of art.

2. We created a radially symmetrical drawing by selecting, refining and duplicating designsin each wedge shape.

3. We added color to our design to continue the radial symmetry and create contrast with thewhite space in our drawing.

At home you could find examples of radial designs in nature and within your home.

UNDERSTANDINGLines and elements radiating from a central point based on a circle can create a balancedand radially

symmetrical composition.

SEQUENCEAND PROMPTS FOREXTENDED INSTRUCTIONAL STRA TEGIES: Step-by-Step

Example:

A.BIS...IMPACT I ST.I:UJIU,ESSON PLAN - Core Program year 2 Art-InfusedVISUAL ARTS LESSON - Radial SymmetryArts~lnfused Disciplines: Visual Art/Math

Enduring UnderstandingsRepeating lines and elements radiating from a central point based on a cirde can create radialsymmetry in art.

Target: Recognizes and creates designs with radial symmetry,Criteria: Draws approximate repeating shapes, lines or dots using identical techniques thatoriginate and repeat from a center point (circumcenter).

Target: Includes a wide variety of embossed design techniques.Criteria: Uses both the front and back of the metal circle and applies raised and indentedshapes, lines and dots.

Target: Maintains craftsmanship towards the design as a whole.Criteria: Handles materials gently and uses tools without damaging the copper by folding,creasing, puncturing or flattening the surface.

Teaching and Learning Strategies

1. Introduces and defines radial symmetry, Discusses the radial symmetry evident in theworld around us. Prompt: Where do we see something in nature which radiates evenly from thecenter? Shows images of objects such as snowflakes, spider webs, flowers. Prompt: Where dowe see something in everyday lIfe which radiates evenly from the center? Shows images ofbicycle wheels or kaleidoscopes, pinwheels, Lists the properties and qualities of radial symmetryto create a definition on the board. Lists all examples generated by the students on the board.Student: Observes and discusses radial symmetry. Suggests examples.Embedded Assessment Criteria-based teacher checklist

2. Introduces the selected resources (contemporary painting; Native American hat) whichshow evidence of radial/rotational symmetry. Asks for aesthetic responses to the effectradial symmetry has within the artwork. Prompts: In what way does the artist arrange theelements of this piece to elicit our attention and reflection? Where does the artist repeat anelement? How does the radial symmetry change our experience of the artist's expression?Student: Discusses evidence of radial symmetry in art examples. Provides aesthetic responsesto art.Embedded Assessment: Criteria-based teacher checklist

Arts Impact Core II Art-Infused Summer Instttute - Visual Arts -Radial Symmetry6-29

3. Discusses the tradition of radial symmetry in the art of many cultures throughouthistory and the beliefs which are connected to those art forms. Displays Rangoli, Mandala,Hex, Millefiori, Tapa, Quilt, Arabic and Gothic design examples.Student: Observes the traditional uses of radial symmetry in art and discusses the range ofpurposes and beliefs.

4. Introduces the copper material and the tradition of repousse. Prompts: Repous92means to 'push back'in French. This method often includes both embossing and indenting ametal sutface from both sides to create a slightlyprojecting reliefsutface. What do you see inthe center ofthis gold repousse example? Show the Hellenistic Phiale. Prompts: We do notknow the specific artist, only that it was created around300 BC Art historians have found thatit is meant to represent the navel ofthe universe. All around the navel are symmetricallyarranged bees and acorns. What do you think that might mean? (plenty offood) How does thisradially symmetrical arrangement express to, or tell, the viewer more about the way Hellenisticartists saw the world?Student: Discusses the radial design and qualities of the repousse technique.

Demonstrates the varied uses of stylus tool, addition oflayers and the reversal of the copper to include both embossing and indenting in the finisheddesign. Prompts: I am making sure to include a variety ofdesign elements that I invent likedots and tiny sha~esandstars. I com lete a whole la -er of the same one element before I 0

onto m next ideI am not sure that I can draw the exact same bee each time so I am not

going to try to do anything too complicated for this design. I have some raised details and somepushed in details for greater interest. Shows before and after design examples. l'v1odels self­assessment and subsequent refinement of design to meet criteria. Models journal entry toreflect on their design and document potential personal meaning.Student: Observes demonstration; suggests ideas for elements to add and what to avoid.Embedded Assessment: Criteria-based self-assessment; journal reflection

6. Teacher: Demonstrates and encourages use of all tools and experimentationbeforehand on scrap pieces to establish the pressure needed. Leads class inexperimentation on scrap copper pieces with a stylus tool.Student: Observes and discusses process, experiments on scrap copper.

7. Teacher: Distributes materials and guides class through the process of tracing theedges of the template to create clear pie-shaped sections which meet at the center point.Directs students to create a center/navel/seed design.Student: Organizes materials and traces even sections onto the copper circle. Creates a centerdesign to begin the artwork.Embedded Assessment: Criteria-based self assessment; teacher checklist; journal reflection

8. Teacher: Initiates a quiet, contemplative design process for the class with music toencourage focus. Advises students during the process of doing their repousse designs,brainstorming ways to edit or enhance faint marks or stray non-symmetrical elements so thatthey will meet criteria.

Arts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry6-29

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TRANSFORMATION DEFINI IONS

transformation (geometric): A change in position/location of a figure. Types of transformationsinclude translation (slide), reflection (flip), rotation (turn), (or combinations of these).

translation/slide: A transformation of a figure by sliding without turning or flipping in any direction,Example:

reflection or reflection on a line: A transformation of a figure by flipping the figure over a line,creating a mirror image.

Examples:

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Arts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry6-29

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Arts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry6-29

ARTS IMPACT FA~t:~R _

VISUAL ARTS LESSON - RadiaJ Symmetry

Dear Family:

Today your child participated in a visual arts lesson integrated with math. We studied radialsymmetry in visual art and math.

• We looked at a Native American hat and a contemporary painting and found the ways theartists used radial symmetry and how it adds visual interest. We also looked at radial symmetryin visual art examples from around the world and the different meanings associated with thosedesigns.

• We each made a copper Repoussage. This is a piece of art produced by a metal workingprocess known as Repousse. Repousse means to 'push back' in French. This method oftenincludes both embossing and indenting a metal surface from both sides to create a slightlyprojecting relief surface.

• We incorporated a radial symmetry design repeating shapes, lines and dots in different sectionsof the design around a central point.

• We practiced artistic craftsmanship. We used the copper material carefully so that we wouldnot damage it as we worked with it.

At home, you could look for examples of radial symmetry in nature and in the objects around you.

Enduring Understanding

Repeating lines and elements radiating from a central point based on a circlecan create radial symmetry in art.

A/ts Impact Core II Art-Infused Summer Institute - Visual Arts -Radial Symmetry6-29

r------------------------------------------,ARTS IMPACT LESSON PLANNING FORMAT

ArtsDisci line:GradeLevel::

Visual Art

4/5 Title:Author:

Patterns with Tessellations.. ---- ------,---------,-------1

Bobby Nuttle with Meredith Essex at Southwood ES, Enumclaw SchoolDistrict

Enduring Understanding:

Examples:

Tessellations and rotational symmetry are found in nature and humanmade objects and can be produced using geometric shapes organizedaround a central axis.

Relates and repeats shapes in a grid.

Ta et:

Target Learnings and Assessment Criteria

f-T_a_r---""'-e_t_: -+-_R_ec_o_r_d_s_ra_d_i_al_symmetry us~n~g..<....Lp-,,-att=.:..er:...;.n_b,,-l-,,-o-.:.;ck..:.:s;....' ----------------iCriteria: Arranges wooden blocks in a--=s:.J:p...:.o_ke-"--..;.;li;k..:..e~o~rLa:..:.n.:.::iz::..;;a.;.:,ti...:.o__=n.:...-. ------------1

Ta et: Records attern on attern a er.Criteria: Relates and re eats sha es in a rid with colored encils.

f----------t---Targ et: -t-=I:..=d...:.e.:..:.n.:;.tifi;..:.le=.;s:--.a:;.:n..:..;d;.....;...;re::....::c...:.o.:...-rd::....::s;....r---=-a'-'-d.;.=ia'-'-l...::.s.L..m~m..:..;e:...:..t'--L-i...;.;n...;.;n--=a...:.tu.:;;;r:....:..e;....a;....n..:..;d"'---'-'--i n:--.h..:..;U:...;.m.;..:.a.:;;;n..:...-..:..;n..:..;1a:.;..::d--=e'--.:s::....::u-=b"L·e:..:..ctsc.=.;:.'~----!

f----- C_r_it_e_r_ia_:--+-_M_a_kes drawings of spoke-Iik.e organizati9n in plants and in mach!_ne_s_. -----i

Creates an e uilateral trian Ie desi n with radial mme to use in tessellations.Criteria:

Ta et~

Criteria:

Creates shapes that organize around a center axis using a three~sided shape equalon all sides.Creates tessellation desi n on another surface to create rotational s mmetTransfers designs with pencil, aligns it in a rotational symmetry in a patternor anized around an axis, fillin u the a er.

Instructional Strategies

1. Identifies rotational symmetry by observing pictures of nature and machines. Identifies tessellationsin artwork. Prompts: What do you notice about this type of symmetry? What is the type oforganization found here in nature, machines, and art? Where is the axis? Where do we see shapesinterlockin or fittin tQgether: where do we see lines of s mmet ?2. Models tessellations using pattern blocks and assists students as they develop tessellations.Prompts: Use pattern blocks using slides and rotations to create fines of symmetry. EmbeddedAssessment: Teacher Checklist3. Reviews the idea of tessellations and models the tracing of a design using radial symmetry.Prompts: We will be transferring drawings to a sheet. Remember to create an axis upon which all thesha es will radiate. Embedded Assessment: Teacher Checklist4. Models how to trace seconda d~sign using the tessellat!,_n.-L------'--L-----=--...:.....:.....:.....;;..--=-.----:...::......:......:........;"------:.....:..-_-"

I equilateral graph paper.5. Facilitates students as they practice on paper. Guides students as they produce the final product by

Itracing the design on equilateral graph paper onto overlaid copier paper. Prompt: Tape the paper tothe qraph paper so it doesn't slide around. Embedded Assessment: Teacher ChecklistVocabulary Resources: Classroom, Visual WAEssential

Historical Art or Arts or Performing LearningsPerformance Arts Materials

• axis • Islamic art • pattern blocks AEL 1.1 concepts:• pattern • The Conqueror at • pattern paper • Identifies radial• radial balance the Gate of a City • colored pencils or balance in 2 and 3 D• rotational symmetry • Victor Maldonado, markers objects• tessellation Ross Road, (optional) • Identifies and uses• equilateral Tacoma Art • equilateral principles of balance• isolateral Museum triangle graph and repetition

• Harry Bertonia, paperSmall Bush, • template of anTacoma Art equilateralMuseum triangle divided

• pictures of into isolateralmachines triangles

Scheduled Study • white copier AEL 1.2 skills andVisit: February 15, paper (18 x 11'') techniques:2006 • design

AEL 1.3 Describes theattributes of artworksuse by specific cultures• IslamicAEL makes connectionsbetween the arts andother content areas

• math I

I

2

Arts Discipline: IIGrade 4/5 Title: Patterns with Tessellations

Level: Author: Bobby Nuttle with Meredith Essex at Southwood ES, EnumclawSchool District

Students Rotational Pattern Rotational TessellationI

Drawing TotalSymmetry symmetry Points

Arranges Relates Makes Create Transfers5

wooden and drawings of shapes that designs withblocks in a repeats spoke-like organize pencil, aligns itspoke-like shapes in a organization around a in a rotational

organization grid with in plants center axis symmetry in acolored and in using a patternpencils machines three-sided organized

Ishape equal around an axis,on all sides filling up the

paper.l.2.3.4.5.6.7.8.9.10.ll.12.13.14.15.16.17.18.19.20.21.22.23.24.25.TotalPercentage

3

Were there any students especiallychallenged by concepts in thelesson; what instructional strategieshel ed these students?Were there lesson dynamics thathel ed or hindered learnin ?What classroom managementtechniques supported studentlearnin ?Other comments:Family Communication: Key Thoughts in Communication to Family: Student learned to

recognize and make patterns and tessellations (patterns that fitto ether. The created a stam ed rint as a tessellation.

4