Art and Science Connected An Evening for Educators at The Springville Museum of Art
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Art & Science Connected Contents
Carel Brest van Kempen bio (speaker) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
Artists & Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii Design a Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Astronomy and Art: Faces (Phases) of the Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
What Can You See in the Dark? Light & Physics & Value Drawings . . . . . . . . . . . . . . . . . 13 Basic Color Theory, Experiments with Color Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Let It Snow: The science and beauty of snowflakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3-Dimensional Forms From Platonic Solids – Art and Solid Geometry . . . . . . . . . . . . . 29 Rainbows, Prisms And Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 The Sights and Sounds of Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 The Science of Proportion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Who Needs Sagebrush? Utah Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 I’m Being Eaten By a _______? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Shaping Utah’s Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 The Science and Art of Invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Pirates, Seascapes, and the Aesthetic Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Creating Your Own Biosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Ideas for Art & Science Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Symmetry in Nature: Bug Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Camouflaged Butterflies and Natural Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 You have two sides to your brain – now use it! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Right Brain /Left Brain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Bone Up on Science with ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Becoming an Art Scientist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 iii
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Art & Science Connected Carel Brest van Kempen
With over 20 years as an artist, naturalist and author, Carel Brest van Kempen’s artistic mission has always been to deepen awareness of the natural world and how it functions. His work has been exhibited worldwide in such venues as The Smithsonian, The American Museum of Natural History, The British Museum and The National Museum of Taiwan. He has been named one of 100 “Most Honored Artists of Utah” by the Springville Art Museum (2002) and one of 14 “Master Signature Members” of the Society of Animal Artists (2008). He has illustrated over a dozen books, including Dinosaurs of Utah (1998), Biology of the Gila Monsters and Beaded Lizards (2005), Biology of the Boas and Pythons (2007), Urban Herpetology (2008), and Conservation of Mesoamerican Amphibians and Reptiles (2010) and authored the popular coffee-table book, Rigor Vitae: Life Unyielding (2006). In addition to painting, he actively writes and blogs about natural history and conservation themes and serves on the board of Science Art-Nature, a Stanford-based non-profit devoted to “raising the prominence of Science Art and the benefits of combining the accuracy of science with the evocative power of art.” For more information and to see more art, go to smofa.org and http://www.cpbrestvankempen.com/
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Art & Science Connected Artists & Artworks Wulf Erich Barsch, In the Valley of the Sun and the Moon (2000)
Springville Musuem of Art images
Osral B. Allred, Front Hook-up (1984) Wulf Erich Barsch, Towards Thebes (1985)
Carlos Andreson, Curtain Time (1940)
Carlos Andreson, A Break from Plowing (1930) Carlos Andreson, Abstract II (1955)
Phillip Henry Barkdull, Seagulls on Utah Lake or The Gulls (1930)
Floyd E. Breinholt, Box Canyon (1967)
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Carel Brest van Kempen, Crash-Barrier Waltzer
Black-billed Magpie Carel Brest van Kempen, Lizard Relay: Jaguarundi with Green Iguanas and
Silvia L. Davis Guest (1994) and The Colt (1995)
Mabel Pearl Frazer, Sunrise, North Rim Grand Canyon (1928) Alvin L. Gittins, Card Players (1959)
Carel Brest van Kempen, Riparian Rashomon
Ranch S. Kimball, Entrance to Zion’s (1934)
Carel Brest van Kempen, Barn Owl Portrait
Catherine Kuzminski, Kimono Teapot (1990)
Royden Card, Desert II (1978)
Royden Card, Red Rock II
Robert Marshall, Snow Canyon (1984)
Jeanne L-L Clarke, Entertaining Favorite Ladies II
Michael Mogus, Century’s End (1977)
Upper right, (Isaac) Loren Covington, Angel’s Landing, Zions (1925)
Cyrus E. Dallin, Pinnacles: Cathedral of the Pines (1920)
Lewis A. Ramsey, Towers of the Virgin, Zion Canyon (Three Patriarchs) (1931) viii
Lee Greene Richards, Autumn Stream (1930)
Mary Ann Free Smith, Grey Squares (1995)
Artworks & Images from other sources
Edith Taylor Roberson, The Dance (2003)
Arlene Braithwaite, Ode to Sagebrush: A Hidden Picture (2003)
Sven Birger Sandzen Moonrise in the Canyon, Moab, Utah (1928)
Arlene Braithwaite, Lunar Projections (2003)
Plate XIX of “Studies among the Snow Crystals ... “ by Wilson Bentley
Trevor Jack Thomas Southey, New Bloom: Portrait of Olive Patterson of Alpine (1977)
Plate XIV of “Studies among the Snow Crystals ... “ by Wilson Bentley
Nathaniel Irving Spens, Embarkation from Scotland (1867)
Anthony Arrigo, Full Wolf Moon Rising
da Vinci Inventions, Crossbow and Catapult da Vinci Toothed Gears
Frederick Judd Waugh, The Open Sea (1900)
da Vinci Helicopter and Wing
Jerry B. Yazzie, Coke at the Fair (1990)
Leonardo da Vinci, Self-Portrait in Red Chalk ca. 1510-1515 ix
Diagram of a human female skeleton
Will E. Floyd, Sun & Shade
Taj Mahal, Agra, India.
Will E. Floyd, I Might Smile
Baron Caterpiller by WohinAuswandern 11Nov 2009 Christmas Beetle (Anoplognathus viriditarsus)
Will E. Floyd, Winter Sage
A last quarter crescent moon above Earth’s horizon Primary rainbow and a secondary rainbow
Leaf Tailed Gecko (Uroplatus phantasticus) by gripso banana prune
Rainbow at Jasper National Park, Alberta, Canada, by Wing-Chi Poon
Owl butterfly at the London Butterfly House in Syon Park, by wwarby
Rainbow in Germany, by Dr. Joachim Opitz, 2005
A Fibonacci spiral that approximates the golden spiral, using Fibonacci sequence
Golden Spiral in Bromeliad by Grupo Firenze, 28 May 2008
Godfried Schalcken, Self-portrait (1694)
JMW Turner, Snow Storm - Steam-Boat off a Harbour’s Mouth exhibited 1842
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Art & Science Connected Design a Number your checkbook or figure out how many miles per gallon you were getting?
Elementary Visual Art & Math Lesson By Joseph Germaine
OBJECTIVE: Students will demonstrate an understanding of and engagement with the writing and reading of numerals (the symbols we use to write down numerical values) by choosing a favorite number and creating a redesigned version of that number suitable for framing and exhibition.
This is a very successful kindergarten and first grade project that ties personal visual creativity with mathematics. No one gets to invent what the symbol of the quantity (1) looks like. It is a done deal, and our jobs as budding Math students is to memorize someone else’s symbol and then regurgitate on call. Most students are empowered by learning this seminal symbolism from the grownup world. However, there is no ownership available in this process. Some students want terribly to “draw the numbers my own way.” All students will be empowered, intrigued, and engaged if they are encouraged to decorate their favorite number in their own personal way. This may help lay groundwork for the actual reality that mathematics is not just about numbers but is a quantitative vocabulary that discusses all things in and out of the world we know. Once a student (at any age) realizes this simple truth they are no longer mere victims of Math but have the option of becoming players. Most of us stop doing math when we no longer have a class curriculum that requires it. Why? Because we think that mathematics is about numbers and not about us or the world we live in. I can prove this: I built a deck in my backyard last summer. After drawing it I realized that to actually build it I would have to translate my drawing into the quantitative vocabulary of math. I also had to use numbers when I went to the lumberyard. It is a good thing that I learned at an early age that mathematics was about me. What is the most complicated math problem in your real everyday life? How many years of math instruction did it take you to figure out how to balance
This is an ART and MATH lesson for the primary grades, but I have successfully used this lesson with older students.
The Big ‘9’ by Nino, 4th grade “Nine is my favorite number because it is 3X3” 1
STATE CORE LINKS: USOE Rainbow Chart: Kindergarten, “Elements of Art,” Shapes: created by a lines that encloses an area. First Grade, “Research/Create,” Study and observe the use of shapes in illustrating a number.
one finished.) (When you are finished it is time to see if your artwork is finished also.) 4. Cover the whole space, with no white paper showing through the scribble lines. 5. Don’t rub your hand over the place you just colored (always color away from your hand, not into it).
MATERIALS: Pencil, paper, ballpoint pens (black and colored), colored pencil or crayon
PROCESS: In visual art, we would call this a “shape” design lesson. In math, this lesson is about familiarity and personal ownership of numerical symbols. Students first choose a number, their favorite number. Remind students to choose it based on what it looks like, not on its quantitative value. Good luck! Depending on the age group, students can choose a one-digit number or a more complex multi-digit number. Have the students fold a sheet of copy paper into four windows and design four brief ideas for the project. If you only have one idea to choose from, it is not only your best idea but it is also your worst idea. The number should be rendered as a large and hollow shape. Help students “see” the basic geometric shapes that combine to make hollow number shapes. Art is a kind of thinking, so let the students think.
Once they have chosen their best design, students will transfer the idea onto a sheet of “good” paper like sulfite white or cardstock. They should draw the image lightly with a pencil remembering to fill the whole space with a large image. The border is optional, but I would highly recommend it, especially for exhibition. Students will create design textures for inside the number shape and perhaps some kind of texture, design, pattern, or image for the background. For this project we will use black and colored ballpoint pens. Help students with the idea of carefully coloring and shading the project with the pens. Hints for “neat” shading and coloring: 1. Shade from light to dark. 2. Use short strokes, all the same direction (no scribbling). 3. Work slowly and carefully (In art, the first one finished is not the winner, it is the best
Quatro means ‘4’ by Hannah 4th grade I like 4 because I am in the fourth grade. I thought it was spelled with a “C” but it is spelled with a “Q”.
This assignment can also be done with textures and patterns and designs inside the number shape. Some numbers, such as the number “8,” lend themselves to other imagery. Let students explore the visual stimulation of simple numbers.
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SOURCES: “Big Board Books Colors, ABC, Numbers,” by Roger Priddy. “Jo’s Big Question,” by Barbara Parks (a children’s book of beautifully illustrated letters and numbers). “The Giraffe Numbers Book,” by Gene Yates.
EXTENSIONS and VARIATIONS: This project can be done with other media beside ballpoint pens. Try watercolor and marker pens. This work can also be constructed as a paper cut, once the basic design has been developed. If you are an adventurous soul, try ceramic clay sculptures of “My Favorite Number.” Of course, this project can be done with literacy symbols that someone else invented and we just memorize them and their predetermined sound and meaning. Make this a personal monogram project.
One Plus Three Equals Four by Kennadi, fourth grade “I know this looks like ‘13’ but it is really a secret way to write what grade I’m in.”
Columbus Sailed the Ocean Blue by Mailyn, fifth grade “In fifth grade we study about explorers and this is an important number.” Right, My Teddy Bear Eight It, by Sabrina, 5th grade “You probably think this is a teddy bear. It is not. It is my favorite number. It is the number eight. I like it because it is the most round of all the numbers. Even zero because zeros only have one round hole in it.” 3
The Eyeball Mask, by Devi, 3rd grade. “If you turn the eight on it’s side it looks like something else but it is still eight. This is my favorite number because I ATE it. That is a joke!”
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Art & Science Connected Astronomy and Art: Faces (Phases) of the Moon Elementary Visual Art & Science Lesson by Joseph Germaine
the “Lunar Cycle”?” If you introduce you lesson with compelling questions that the students buy into, you will have their attention because it is their questions you are answering.
OBJECTIVE Students will demonstrate an understand of the traditional view of the moon in native cultures and the significance of the Lunar Calendar by researching in Native American and Hawaiian lore and mythology the names and meaning of “moon phases” and then creating an original work of art interpreting a phase of the moon.
It can be tricky trying to explain the phases of the moon to elementary students. Likewise, it is difficult for the students to understand. If you take it one small step at a time it is accessible. Help children understand the cyclic nature of the moon, which is divided into 4 basic parts: new moon (where you see no moon at all), first quarter (only
STATE CORE LINKS USOE Visual Arts Standard 4, (contextualizing): The student will interpret and apply visual arts in relation to cultures, history and all learning. Objective 1, Compare the arts of different cultures to explore their similarities and diversities. USOE 3rd Grade Science Core— Standard 1: Students will understand that the shape of Earth and the moon are spherical and that Earth rotates on its axis to produce the appearance of the sun and moon moving through the sky.
PROCESS Find some audio/visual resources to show students something about the phases of the moon. See images on CD and “sources” for bibliography of media. Try your local library for some excellent resources. Provo Library, Orem Library, and SLC Library all have appropriate media for this lesson. Remember that you can purchase used books on line very inexpensively. Students should be aware of the astronomical reasons for the phases of the moon. Start your explanation by asking pointed questions like, “Why can you see the moon during the day sometimes?” “Where does the moon go when you can’t see it?” “Why can we even see the moon at all?” What causes the moon to change its shape?” How many days does it take to complete
A last quarter crescent moon above Earth’s horizon as seen from the International Space Station. NASA, International Space Station Imagery, 5 September 2010, Public domain http://en.wikipedia.org/wiki/File:Expedition_24_Crescent_ Moon.jpg
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Kane by Laila, 4th grade “The Kane Moon is the 27th phase out of 30 for Hawaiians. It was the sign for prayer for a good harvest.” half of the moon can be seen), third quarter: (only half of the moon can be seen), and full moon: (the entire moon can be seen). Your moon phase lesson should discuss the earth and moon orbits. The moon orbit around the earth is about 28 days and is the basis of lunar calendars. Explain how the positions of the earth, sun, and moon affects the phases of the moon and which part of the moon reflects sun light so we can see it. Explain that the moon can be seen both day and night, and why sometimes we can’t see it at all.
Keep it fun and interesting for the students. Remember that students will understand the phases As the moon makes its monthly journey around the earth, the side of the moon refecting the sunlight is viewed from different angles. The line drawn through each image of the moon shows what part of it is visable from the northern hemisphere.
Waxing Gibbous
First quarter
Waxing cresent Full
New Waning Gibbous
Waning cresent
Third quarter 6
Phases of the Moon Original graphic by Mark Schneider (modified Nov 5, 2010) gov, so public domain http://kids.niehs.nih. gov/lunar/home.htm One website pointed out that a graphic such as this is most useful after the students have gotten the basic idea, so use a demonstration first.
of the moon better (and enjoy the lesson more) if you use a variety of teaching tools such as handson experiments using flashlights and playground balls, having students act out the orbits, diagrams, and pictures, as well as verbal explanations.
ASSESSMENT: For a self-assessment process, have students write a short statement describing the visual choices they made in their moon rendering. For older students, have them write a short story that includes a description of their moon motif.
SOURCES: As a source for names and descriptions of moon phases I will include a short list on Native American and Hawaiian names, but I highly recommend that you and your students engage in some research. The information will fit your needs better and be more significant if you find your own answers. For names and images of other than full moons, I recommend two websites listed below: “Farmers Almanac” and “Hawaiian Moon Calendar.” FULL MOON NAMES: In Hawaii there are four full moons (of course there aren’t really, but the Hawaiians planted, harvested, fished, and built by the moon. It is very hot and humid during the day. Night work was preferable and a big
Ole Pau by Kevin, 5th grade “This is the 23rd phase in Hawaii. It was a little less than a half moon and was the end of no working or planting or fishing. This was a time to tidy up and have some relaxation without getting in trouble.”
Once the “science” of moon phases has been discussed and understood, it is time to invest ourselves in our own interpretation. Share one or more cultural approaches to the moon phases, their names and meanings. Let students choose a culture and or a phase to render as a personal art project. We like to do this as a pen and ink project and then choose color medium like watercolor, colored pencils, or colored ballpoints. We try to avoid marker pens only because we can’t mix the colors, and they only have one intensity. The moon illustration should have something to do with its name and meaning. Make it personal by asking, “What do you think a “Hunter’s Moon” or a “Hoku Moon” would look like? What ever the answer is, it is correct because the question was, “What do you think?”
The Blood Moon by Ryan, 5th grade “Sometimes the Blood Moon is called the Hunters Moon. It is the first full moon after the Harvest Moon. Some Indians say it red because there was a lot of smoke in the sky at night.” 7
“full” moon was important. The four full moons were: Hua, which means egg because it was not quite full; Akua, which means Goddess as well as corpse, devil, and idol; Hoku, which actually means star because it was the fullest moon and made it hard to navigate by the stars; Mahealani, the last night of “full” moon, the 16th phase of the lunar cycle, and a very good night for planting and fishing. In Native American lore as well as early pioneer folk lore there were several names of the full moon based on which season (the seasonal change in the tropics is so minimal that these monthly distinctions were not emphasized unless you were a Kahuna Mahina, (Moon Priest) and had sacrificial duties to perform. This is only a list of some of the full moon names: January: Old Moon, Wolf Moon. February: Snow Moon, Hunger Moon, Opening Buds Moon. March: Maple sugar Moon, Worm Moon, Sap Moon, Crow Moon, Crust Moon. April: Frog Moon, Pink Moon, Planter’s Moon, Grass Moon, Moon of the Red Grass Appearing. May: Flower Moon, Budding Moon, Milk Moon. June: Strawberry Moon, Rose Moon, Flower Moon. July: Blood Moon, Buck Moon, Thunder Moon, Hay Moon. August: Moon of the Green Corn, Sturgeon Moon, Corn Moon. September: Harvest Moon, Fruit Moon. October: Hunter’s Moon, Moon of Falling Leaves, Harvest Moon. November: Beaver Moon, Frost Moon. December: Cold Moon, Long Night Moon. What is a Blue Moon?
The Painter’s Moon, by Danica, 3rd grade “I thought this was the painter’s moon and I love to paint but when I read it again it was called the “Planter’s” moon. It’s OK because I like to plant flowers too.”
VIDEO: “Astronomy 1” by Libraryvideo.com. This is for older students and includes lessons on ancient astronomy, lunar phases, and the rotation of the Moon. “MAHINA: Days and Nights of Hawai’i”, VHS tape. AUDIO CD: “Phases Of the Moon: Traditional Chinese Music”, various artists.
AUDIO TAPE (CD): “Native American Star Tales”, by Lynn Moroney. This book includes Native American folk tales and sky lore. This three-audio tape set includes “The Feather Moon” and “Tales of the Sun and Moon” along with
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seasonal lore revealing how Native Americans viewed the universe around them. There is a plethora of music and stories about the moon. Use them as background ambience while students quietly work on their projects. BOOKS: “The Girl Who Married the Moon: Tales From Native North America”, (fiction) by Joseph Bruchac. “Native Americans Today: Resources and Activities for Educators”, by Arlene B. Hirschfelder. “Full Moons” Indian Legends of the Seasons”, by Lillian Budd. “Faces of the Moon”, by Bob Crelin and Leslie Evans. “Phases of the Moon (Patterns in Nature series)”, by Gillia M. Olson. “Exploring the Sky: Projects for Beginning Astronomers”, by Richard Moeschi. “Hawaiian Tide & Moon Charts 2010 Wall Calendar”, by Hi Tide Hawaiian Resources Co. “Goodnight Hawaiian Moon”, (fiction) by Dr. Carolan and Joanna F. Carolan. “Photographic Atlas of the Moon”, by S.M. Chong, Albert Lim and P.S. Ang.
The Worm Moon, by Isaac, 2nd grade “The Worm Moon is full and in March and the worms start to crawl out of the dirt. I like worms.”
The Fish Moon, by Ronnie, 2nd grade “The real name is Akua. I was a full and good to go fishing. I am a Hawaiian. I like fish. I like to see the moon.”
Akua, the Fishing Moon, Lane, 5th grade “Akua means God, Goddess and Corpse and Devil and Idol in Hawaiian. Sometimes it meant “Sacred Ones”. This is the second full moon in Hawaii and is almost the perfect full round shape. This was a good night to go fishing because you could see the fish. Offerings were made on this night because the Hawaiians believed that the Gods and Goddesses walked around with the people.”
The Butterfly Moon, by Missy, 1st grade “I love butterflies.”
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WEBSITES: www.instanthawaii.com/cgi-bin/Hawaii?...moon Hawaiian Moon Phases & Names. www.hawaiianmoons.com/ Hawaiian Moon Names www.angelfire.com/sports/hunthishmaui/moon. html Hawaiian Moon Calendar http://www.imiloahawaii.org/57/ Hawaiian Moon Calendar
jects out of clay and glaze. These are wall hangings and not intended to wear.
www.farmersalmanac.com/full-moon-names/ Full Moon Names and Meaning home.hiwaay.net/-krool/Astro/moon/moonnames. html Moon names for many tribes and other lunar cultures. If some of the media is OLD and OUT OF PRINT I apologize, but please realize that I am old and out print myself. EXTENSIONS/VARIATIONS: A fun and educational project related to moon astronomy is to study the various cultural myths about the moon and then draw or paint a response to the story.
SOURCES A good source of secondary info on the moon. http://jrscience.wcp.muohio.edu/lab/MoonLab. html Another possible source: http://www.tutorvista.com/physics/solar-system-earth-moon Your school library should also have materials
Artworks Wulf Erich Barsch, In the Valley of the Sun and the Moon (2000) SMA, on CD Arlene Braithwaite, Meteor Shower, on CD From smofa.org Albert Lambourne, Moonlight—Silver Lake, Cottonwood Canyon (1880) John B. Fairbanks, Moonlight on the Marshes in Springville (1906) Fred Hunger, Morning-White, Shadows and Monoliths (1974) John Francis Murphy, New England Landscape Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah (1928)
Mythological characters associated with “Moon Stories”: African: Mawu, Aztec: Coyolxauhqui, Hindu: Soma, Roman: Diana, Greek: Artemis, Maori: Rona, Inuit: Anningan, Japanese: TsukiYomi, Mayan: Ix_Chel, Mamaluran: Iae, Chinese: Heng-o, Sumerian: Sin. Of course there are many more. Do some research and thrill yourself. It will happen.
Another great extension of the Moon Project is to keep a Moon Journal. This is simply a log of your observations. Keep track of time (try to make observations at the same time each night), weather and sky conditions (note any interesting stars) and describe the phase of the moon. A Moon Calendar is helpful. Scientists make illustrations to go with their writing, so that would be a good addition to your journal. Since very few Elementary students can stay up very late, try doing this as a rotating group project. A Moon Project that my 4th 5th and 6th grade students look forward to each year is the Sun, Moon, and Star Ceramic Mask project. They design a mask based on one of those celestial ob-
Advanced Variations: Use colored media or photography to depict the moon. Have students review information on the phases of the moon and then choose one to interpret in an artwork.
Photographs Search for “moon” on this flickr site—he has some wonderful photographs http://www.flickr.com/photos/seldom_seen/ A site with “Astronomy Picture of the Day” http://antwrp.gsfc.nasa.gov/apod/astropix.html Use an image search for “photographs moon.”
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Anthony Arrigo, Full Wolf Moon Rising October 26, 2010 6:50:06 AM MDT Used by permission http://www.adventuresinastrophotography. com/images/the-moon/Full-Wolf-Moon-Rising-20080121-1280.jpg
Wulf Erich Barsch, In the Valley of the Sun and the Moon (2000) Oil on canvas 71-1/2” x 54” ©Springville Museum of Art
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Art & Science Connected What Can You See in the Dark? Light & Physics & Value Drawings Elementary Visual Art & Science Lesson by Joseph Germaine
OBJECTIVE Students will demonstrate an understanding that light generally travels in a straight line and of how light illuminates and casts shadows by creating an original pen and ink drawing of “What Can You See In The Dark?” UTAH STATE CORE LINKS USOE Rainbow Chart: Fourth Grade, “Elements of Art,” Light side/dark side and Cast Shadow.
mine where the light source would be and how it would cast shadows and highlights. As students begin to focus on their ideas of what can be seen in the dark, have them address questions such as, “From where is the light coming?” “How does it fall on the objects?” “What is the intensity (near and far) of the light?” “Are there cast shadows?” “Are there shadows in the dark?” Have students use accurate shading techniques to render their ideas. The light source can be included in the drawing.
MATERIALS Ballpoint pens or pencil and paper and a good imagination. You can use the black and white photographs included in the packet as well as the artworks for discussing how shadows fall and what the effects of directional light are on people and objects. The photographs and artworks are listed under sources. If your classroom can be darkened, you can have students demonstrate with a flashlight or spotlight.
PROCESS Use a strong light, either a spotlight or a strong flashlight to demonstrate how the light creates both light and dark sides of the objects and positive and negative cast shadows of light and dark. Discuss with the students the parts of the shading and the cast shadows. Use some black and white photos to see how the shadows look in twodimensions. Use group “brainstorming” sessions to discuss sources of illumination at night or in darkened rooms such as lights, fires, lamps, stars, moon, decorative lights, headlights, house lights, flashlights, and so on. Have students imagine a completely dark place or a night scene and deter-
Carlos Andreson, Curtain Time (1940) SMA
SOURCES Drawing Light and Shade: Understanding Chiaroscuro (The Art of Drawing) by Giovanni Civardi. Light, Shade and Shadow (Dover Books on Art Instruction), by Lucy Cavendish. Light and Shadow In Drawing, by Parramon’s editorial Team. Light: Shadows, Mirrors, and Rainbows (Amazing Science), by Rosinsky, Natalie M, Boyd, and Sheree. There are all kinds of web sites and youtube videos on shading. Here are a good web site
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and a video on shading a sphere: http://www. artinstructionblog.com/ drawing-lesson-how-toshade-pencil-drawings-bymiranda-aschenbrenner http://www.youtube.com/watch?v=_ WufjjmGvxg&feature=related
Artworks & Photographs: Carlos Andreson, Curtain Time and Encore Rembrandt, Night Watch Godfried Schalcken, Self-Portrait Will Floyd, I Might Smile, Sun & Shade, and Winter Sage Robert Nickelson, Lucia by Candlelight
Will Floyd, Sun & Shade used by permission
Student examples follow
EXTENSIONS/VARIATIONS: This project can be done in color using pen and ink and watercolor, or value rendering with colored pencil. There is no color in moon and starlight except the color of the moon’s reflection.
The Street Light, by Ronnie, 2nd grade. “I can see a street light in the dark.”
Robert Nickelson, Lucia by Candlelight 14
A Little Candle in the Dark, by Matia, 3rd grade “If everything was dark, and you lit a candle you could see it and around it.”
The Flashlight, by Parker, 5th grade
Sitting Around the Campfire, by Bowdee, 5th grade “When you go camping there aren’t any lights but there is the moon and stars and bright burning campfire to light up the night.”
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Art & Science Connected Basic Color Theory Experiments with Color Mixing Young Elementary Visual Art & Science Lesson by Carrie Wilson OBJECTIVES UTAH STATE SCIENCE CORE Science Benchmark (K-2) Standard 1 The Processes, Communication, and Nature of Science Students will be able to apply scientific processes, communicate scientific ideas effectively, and understand the nature of science. Generating Evidence: Using the processes of scientific investigation (i.e. framing questions, designing investigations, conducting investigations, collecting data, drawing conclusions) Objective 2. Communicating Science: Communicating effectively using science language and reasoning Objective 3. Knowing in Science: Understanding the nature of science
Copies of the Color Wheel Experience Worksheet Pencils Some of the listed artworks (the first two are on the CD) Jeanne L-L Clarke, Entertaining: Favorite Ladies II (1992) (Good example for the primary and secondary colors.) Lee Greene Richards, Autumn Stream (1930) (Good example of complementary color scheme.) Artists: Frank Stella or Mark Rothko (any work) Movement: Color Field / Abstract Expressionist Josef Albers http://www.albersfoundation.org/Home.php (Good examples on how colors influence each other when placed together.)
UTAH STATE VISUAL ARTS RAIMBOW CHART: Kindergarten: Holding a brush, Mixing Colors, Identifying Colors 1st Grade: Identify Primary Colors 2nd Grade: Secondary, Warm, Cool and Neutral Colors Vocabulary: Basic Color, Red, Yellow, and Blue, Color Wheel, Primary Colors, Secondary Colors MATERIALS Index Cards (any size) Watercolors Brushes Bowls for water Newspaper to cover the table or a tarp
Lee Greene Richards, Autumn Stream (1930) SMA 17
Web Resources for information: http://www.colormatters.com/science_faq.html (Great page on color theory and other really cool things about color.) http://www.color-wheel-pro.com/color-theory-basics.html http://en.wikipedia.org/wiki/Color_scheme (Color Schemes) http://www.colourlovers.com/blog/2008/03/24/modern-color-field-artists-using-the-full-spectrum/ (Cool artist images like the work of Jim Lambie, who uses colored tape for his installations.) http://www.engineeringplanet.rutgers.edu/pdf/lessons/engineering/civil_enviromental/2004/lesson5. pdf (Great lesson plan about why we see the color blue in the sky: Check it out!)
Even very young children can have fun mixing colors http://leisurelanelegers.blogspot.com/2008_11_01_ archive.html
Books: The Dot, by Imma S. and James H. Black
ACTIVITY Teacher: Color is fun and all around us! Start the conversation about color simply by asking the students what colors they see in the room and showing where they are by pointing. You can talk about how color makes you feel by holding up something red or blue. Show some of the artists listed and talk about how the color effects how we see the artwork. Demo how to use the watercolors, but not how to mix the primary colors together, use two secondary or complementary colors (colors opposite on the color wheels), so that it will not interfere with their experiment. (Remind them to wash the brush inbetween each color.) 1. Have the students break into small groups to work on the worksheet. They will do the watercolors individually but compare the results with each other. Just have the students staple the index cards to the worksheet.
EXTENSION Give the students another index card and just let them play with the watercolors and hang them up in a grid. Then talk about how the different colors influence or change in relationship to each other.
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ASSESSMENT Did they circle the color they thought it would turn into when mixed? Did they use a brush to paint the watercolors? Can they identify the primary colors? (Example, a tree is green.) 2nd graders: Can they identify the primary, warm, cool, and neutral colors? Other Ideas: Have 2nd graders show the primary mixes and then the secondary mixes.
Name:____________
The Color Wheel Experiment WHAT IS GOING TO HAPPEN?
Yellow
Orange
Green
Red
Blue Purple
=Primary Colors (Red, Yellow, and Blue)
=Secondary Colors (Orange, Green, and Purple) Questions: What is going to happen when I mix colors together? What do you think? Mixing RED and YELLOW together, I will see: (Circle one) Purple Orange Green Mixing BLUE and YELLOW together, I will see: (Circle one) Purple Orange Green
Mixing RED and BLUE together, I will see: (Circle one) Purple Orange Green s After mixing the colors what happened? Circle one Red + Yellow= Purple Orange Green Blue + Yellow= Purple Orange Green Red + Blue= Purple Orange Green Are your results the same as the rest of your group? (Circle one) Yes or No 19
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Art & Science Connected Let It Snow: The science and beauty of snowflakes Elementary Science & Visual Art Lesson by Vicki Gehring OBJECTIVE Students will understand that snowflakes are made up of six-sided crystals and learn to fold paper to make six-sided snowflake shapes.
STATE CORE SCIENCE OBJECTIVES Understanding the process for gaining knowledge, understanding the natural world of learning process and thinking skills
For an excellent description of how snowflakes form, go to http://www.lifeslittlemysteries.com/how-dosnowflakes-form-0438/
Or, go to http://www.its.caltech.edu/~atomic/ snowcrystals/photos/photos.htm If you click on “Designer Snowflakes,” you can see the progress of a snowflake, as it grows.
MATERIALS white copy paper and scissors
LESSON The science of crystals and snowflakes Crystals are solid material in which the atoms are arranged in regular geometric patterns. They start to form by a process called nucleation. Some of the things that cause nucleation or cause crystals to form are, Evaporation An adjustment in PH Lower temperatures The major factor in the formation of snowflakes is lower temperature. Crystal formation is very much like the growth of living things, and scientists are still doing research on how they are created and grow. Ice crystals were thought to be flat, but the research of Yoschinori Furukawa, is beginning to indicate that they may actually be three dimensional. To see actual examples of how snowflakes grow, go to Kenneth Libbrecht’s site at http://www.its. caltech.edu/~atomic/snowcrystals/movies/movies.htm
Ordinary hexagonal dendrite snowflake. Source/credit http://www.lpsi.barc.usda.gov/emusnow/Selected/5994.jpg Captured by the Beltsville Electron Microscopy Unit, part of the USDA. Public domain
Although it is possible that some snowflakes may appear alike, particularly small, simple snowflakes, every complex snowflake is thought to be different because no two snowflakes form under the exact same conditions. The dust particles, the temperature, and other factors are unique to the formation of each snowflake crystal. For example, a few degrees difference in temperature can make the difference between a flowery looking snowflake and a snowflake with spiky points. The only consistent element or characteristic of snowflakes is that they are six-sided crystals. In other words, they have six identical sections.
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An American farmer named Wilson Bentley was one of the first people to photograph snowflakes. He figured out how to attach a camera to a microscope, and, after much experimentation, was able to photograph a snowflake. He eventually made 5,000 photographs of snowflakes and became a photographer fulltime. He became known as “The Snowflake Man.” http://en.wikipedia.org/wiki/Wilson_Bentley
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Plate XIV left, and Plate XIX, above, of “Studies among the Snow Crystals ... “ by Wilson Bentley, “The Snowflake Man.” From Annual Summary of the “Monthly Weather Review” for 1902. http://commons.wikimedia.org/wiki/File:SnowflakesWilsonBentley.jpg public domain 23
The Project: Folding a square piece of paper in the proper way to cut out a shape that will imitate a snowflake crystal. Folding method 1: Step I - Fold a piece of copy paper and cut off to make it square.
Step 2 - Leave the paper in the triangle shape and fold in half again.
Step 3 - Open the second fold. Put the folded edge of the triangle toward you, and using the fold line as a guide, cross one point of the folded edge of the paper at an angle from the fold line to about halfway between the open edges and the fold line. Make a soft fold
Step 4 - Repeat the above process with the other side.
Step 5 - Adjust the folds so the edges and the folds line up with each other. When the alignment is correct, harden the folds. 24
Step 6 - Fold the paper in half again along the guideline fold, which should be on the backside of the other folds.
Step 7 - Cut off all of the angled edges so you have a triangle with even sides. This is the outside edge of the snowflake. The angle cut will determine the shape.
Step 8 - Leaving some connections on the folded edge of the triangle, cut away various parts of the triangle to create the patterns of the paper snowflake. Step 9 - Carefully unfold the snowflake and press the folds flat.
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Folding method 2: Step I - Starting with a square piece of paper—fold in half matching the corners
step 2 - Fold the paper in half again and press folded edge, then re-open.
Step 3 - With the folded edge toward you, fold the bottom edge from the center fold line up to the top edge so the corner is about in the middle of the other section. Step 4 - Repeat this fold with the other side.
Step 5 - From the point fold in half matching the edges to form a cone.
Step 6 - Make a cut that will remove all the different angled open edges. This is very important, as this will determine the outside edge of the snowflake. 26
A
Step 7 - Make the cuts in the sides that will determine the design of the snowflake. Step 8 - Unfold snowflake and press flat.
Note: Two folding methods are offered because some students find one easier than the other. It is important that all folded edges are adjusted so they line up with each other.
The point is the middle of the snowflake, and it must be as sharp a point as possible. If the point is cut off there will be a hole in the middle of the snowflake. The shape of the cuts and their depth determine the finished look of the snowflake. Young students will probably make simple shapes, but older students can make more complex shapes. For example, cuts for A, produced the snowflake A, above right. If the snowflake is cut just a little deeper, B, it becomes a lacier snowflake, see B below left. Even deeper cuts, C, produce the laciest snowflake, C, below right. B
A
C
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B
C
ASSESSMENT Formtive: Students should understand that in order to replicate the crystal quality of a snowflake they must make the edges match up. If the snowflakes are not turning out like the repeated pattern of a six-sided crystal, discuss why they should be called paper designs, but not paper snowflakes
Kenneth Libbrecht’s website has some activities for kids including printable pdf’s of actual snowflake photographs and a page of images of the different types of snowflakes. http://www.its.caltech.edu/~atomic/snowcrystals/kids/kids.htm
Summative: Young students should be given a list of criteria for being “Finished.” For example, 1 snowflake with 6 even sides. At least three design cuts. Paper is neat, with no tears or smudges. Older students can be given additional criteria and asked to self-assess the quality of their finished snowflake. Add whatever criteria meet your teaching strategy.
BOOKS Snowflake Bentley Jacqueline Briggs Martin and Mary Azarian $7.99 paperback at Amazon.com Snowflakes in Photographs, W. A. Bentley (850 photographs of snowflakes) $8.76 paperback
The Little Book of Snowflakes by Kenneth George Libbrecht
Ask the students how the exact folding of the paper is similar to the exact conditions needed to produce a snowflake.
Snow Crystals, W. A. Bentley
EXTENSIONS
Older students can add detail to their snowflakes using a ruler and a pen. Show the class the images of the snowflakes photographed by Wilson Bentley: ask the students to look at the details of the snowflakes. (Many of them have ridges and lines in them.) Students can make their snowflakes look similar to one of the real snowflakes and can then add appropriate details, see example at right. For a lesson on snowflakes and fractals, go to http://www.schools.manatee.k12.fl.us/boehm/ snowflakecurve/snowflake_fractal_lesson_plan. html
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Art & Science Connected 3-Dimensional Forms from Platonic Solids – Art and Solid Geometry Elementary Visual Art & Science Lesson By Joseph Germaine OBJECTIVE Students will demonstrate an understanding of regular three-dimensional polyhedra by building and decorating several polyhedra and decorating them in a personally creative way. STATE CORE LINKS Rainbow Chart: Sixth Grade, “Elements of Art”, Geometric Forms, 5 basic geometric forms having height, width, and depth (sphere, cone, cube, cylinder, & pyramid) and 3-D: Objects that have height, width and depth.
colored ballpoint pens make great decorative medium. After the cardstock is decorated have students carefully cut out the template. Accuracy is important so the various faces will match up for the gluing. Fold the cutout in the appropriate places and have students carefully glue it together. Use rubber bands or masking tape to keep the tabs in place while the glue dries. I usually use white glue but other faster drying glue may work better. Be careful with younger students. Gluing is an art form in itself. Display this work by hanging or on display shelves.
MATERIALS Polyhedra templates (end of lesson), cardstock, scissors, pencil and glue.
PROCESS There are only five geometric solids that can be made using a regular polygon and having the same number of these polygons meet at each corner. The five Platonic solids (or regular polyhedra) are the tetrahedron, cube, octahedron, dodecahedron, and icosahedron.
Before you teach this lesson it is important to make several or all of these forms. There are some delicate strategies especially in gluing that can only be appreciated by the experience of doing. Use the templates included in this lesson to enlarge and copy onto cardstock. Use a regular copy machine to print the templates to the size you want. Show students the finished forms so they can choose which one they want to construct. When the students receive the templates have them design a pattern or a decoration to put on the outside of the form. Marker pens or
The Beautiful Octahedron, by Siale, 5th grade SOURCES “Drawing Stars & Building Polyhedra” by Christopher M. Freeman. If these ideas interest you I recommend an excellent book by Paul A. Calter, “Squaring the Circle: Geometry in Art and Architecture”. This book includes all the topics necessary for a solid foundation in geometry and explores the timeless influ-
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ence of geometry on art and architecture. The book includes an interesting historical perspective and is appropriate for both basic mathematics and cross discipline courses in math and art. It also requires no previous study in mathematics. EXTENSIONS/VARIATIONS: A fun extension to this project is to have students render their polyhedral form with pencil or pen. It is a visual discussion of the idea. These pieces can also be used as Holiday Ornaments by decorating them with thematic designs and by gluing thematic additives such as sequins and glitter.
Decorating the template. Matia, 3rd grade
These forms can be made as slab constructions of ¼ inch ceramic clay.
And, of course there are many other three-dimensional forms that can be made in similar ways. Look up resources of other three-dimensional forms. A few are listed below. http://www.korthalsaltes.com/ paper models of a wide variety of polyhedra
http://britton.disted.camosun.bc.ca/jbpolyhedra. htm a wide variety of activities related to polyhedra A finished Tetrahedron by Bowdee, 5th grade
Some finished solids
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http://www.origami-resource-center.com/modular.html Origami Polyhedra (some simple ones) http://nuwen.net/poly.html Origami Polyhedra (for advanced, especially interested students) http://hektor.umcs.lublin.pl/~mikosmul/origami/balls.html Origami Balls
Great dodecicosidodecahedron Creative Commons License http://www.flickr.com/photos/fdecomite/3829792244/in/photostream/
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PLATONIC SOLIDS: What is a platonic solid? A platonic solid is a “regular” Polyhedron: any one of five solids whose faces are congruent regular polygons and whose polyhedral angles are all congruent. The name of each figure is derived from it number of faces: respectively 4, 6, 8, 12, & 20. The aesthetic beauty and symmetry of the Platonic solids have made them a favorite subject of geometers for thousands of years. They are named for the ancient Greek philosopher Plato, who theorized that the classical elements were constructed from the “regular solids.” A TETRAHEDRON (plural: tetrahedral) is a polyhedron composed of four triangular faces, three of which meet at each vertex. A regular tetrahedron is one in which the four triangles are regular, or “equilateral.”
A CUBE or HEXEHEDRON (plural: hexahedra) is a polyhedron with six faces. A regular hexahedron, with all faces square, is a cube.
An OCTAHEDRON (plural: octahedral) is a polyhedron with eight faces. A regular octahedron is a Platonic solid composed of eight equilateral triangles, four of which meet at each vertex.
A DODECAHEDRON is any Polyhedron with twelve flat faces, but usually a regular dodecahedron is meant: a Platonic solid. It is composed of 12 regular pentagonal faces, with three meeting at each vertex. It has 20 vertices and 30 edges.
An ICOSAHEDRON is a regular polyhedron with 20 identical equilateral triangular faces, 30 edges and 12 vertices. It is one of the five Platonic solids.
Patterns and directions for each of the 5 platonic solids are included on the next pages. 32
Schema Template for a Tetrahedron. Using a photocopier, you can make this any size you need. For the ornament project, I suggest about 2-1/2 to 3 inches per side of small triangle shapes.
opposing plane
1. Crease on fold lines, folding each section up.
2. Apply glue to tab A and attach to the opposing plane. (The opposing plane is always the plane directly to the left or right of the plane with a tab. The opposing plane will not have a tab.) 3. Repeat Step 1 with tabs B and C.
4. If desired, insert string just as you glue the final tab to its opposing plane.
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Schematic Template for OCTAHEDRON and Assembling Instructions: 1. Crease on fold lines, folding each section up.
2. Apply glue to tab A and attach the opposing plane. 3. Repeat Step 1 with tabs B and C.
4. Apply glue to tabs D and E and press down the closing plane. Insert hanging string.
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Schematic Template for CUBE and Assembly Instructions:
1. Apply glue to tabs A and B and attach the opposing plane. 2. Repeat Step 1 with tabs C and D. 3. Apply glue to tabs E, F and G and bring down the closing plane.
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Schematic Template for ICOSAHEDRON and Assembly Instructions:
1. Crease all folds and tabs up.
A
2. Start at A and glue each tab to its opposing plane.
3. Continue around the shape, clockwise, until finished.
Note: Left handers may be more comfortable starting at * and going counter clockwise
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Schematic Template for DODECAHEDRON and Assembly Instructions:
1. Crease all folds and tabs up.
2. Glue each A tab to the opposing plane next to it.
3. Glue each B tab to its opposing plane. 4. Glue the C tabs to their opposing planes, starting on one side of the piece that joins the two halves and working around toward E. Then start at the other side of the join and work towards E. 5. Glue the closing plane, E, to the D tabs.
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Art & Science Connected Rainbows, Prisms and Colors Elementary Visual Arts & Science Lesson by Joseph Germaine OBJECTIVE Students will demonstrate an understanding of light refraction (the phenomena if not the term and physics of it) and rainbow prism colors by creating an original watercolor landscape of a rainbow with the colors in the proper order.
UTAH STATE CORE USOE Rainbow Chart: Fourth Grade, Elements of Art, Color Wheel Theory. Fifth Grade, Elements of Art, Color Wheel Theory, mixing colors. 4th Grade Science: Standard 2: Students will understand that the elements of weather can be observed, measured, and recorded to make predictions and determine simple weather patterns.
again, in the process being further refracted. The reason that rainbows are somewhat rare is that you will only see them when there is rain in front of you and somewhat in the distance, and the sun is behind you and fairly low on the horizon. Obviously, this scientific explanation of refraction and reflection will be difficult to understand initially by primary grade elementary students. We
MATERIALS Pen or pencil for drawing, watercolors for painting, good heavy gage paper. PROCESS Two physical phenomena are at work within a rainbow: refraction and reflection. Refraction occurs each time light passes across a boundary from one substance to another, such as from air into water. As light crosses that boundary, the rays bend at different angles depending on the wavelength (color) of light. This is the familiar prism effect wherein “white” sunlight is broken into a spectrum of different colors from red to blue-violet.
The same thing happens in a rainbow: white sunlight enters a raindrop and is broken into different colors heading in slightly different directions. The light is then reflected (and magnified) off the back of the raindrop and passes back into the air
Rainbow at Jasper National Park, Alberta, Canada, by Wing-Chi Poon Creative Commons Attribution-Share Alike 2.5 Generic license. commons.wikimedia.org/wiki/File:WhereRainbowRises.jpg
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want to explain this in accurate scientific terms, so the teacher must have that depth of background. Let children know that white sunlight divides into all the colors of the color spectrum (color wheel) when it passes through a raindrop at a certain angle and then reflects off the back of the raindrops and is magnified to make the beauty we know as a rainbow. Science has a very difficult time discussing beauty because beauty is too subjective. The discussion of beauty is the purpose of art.
The Flashlight Method: 1. Fold a white piece of paper in half, and cut a little triangle with a pair of scissors. (Experiment to get the right sized hole) 2. Fill a glass container with water. A fishbowl works well. 3. Tape a flashlight on the hole in the piece of paper. 4. Hold the paper up with the flashlight bar. 5. Turn on the flashlight directly at the glass of water. 6. Shazaam! A rainbow appears.
PRISMS: A great demonstration in rainbow building can be done easily with a prism. In optics, a prism is a transparent optical element with flat, polished surfaces that refract light. The exact angles between the surfaces depend on the application. The traditional geometric shape is that of a triangular prism with a triangular base and rectangular sides, and in colloquial use, “prism” usually refers to this type. Some types of optical prisms are not, in fact, in the shape of geometric prisms. Prisms are typically made out of glass, but can be made from any material that is transparent to the wavelengths for which they are designed. A prism can be used to break light up into its constituent spectral colors (the colors of the rainbow). Prisms can also be used to reflect light, or to split light into components with different polarizations. (See image below)
Give a short discussion of the cause of the rainbow colors. It is easy to demonstrate how a rainbow is made. Try to make it happen in your classroom. There are several processes that work well. The Water Glass Method: 1. Fill a glass with water. 2. Place the glass on a table in front of a sunny window. 3. Place a sheet of paper on the floor. White paper works best. 4. Wet the window with hot water by misting it with a spray bottle. 5. Adjust the glass and the paper until you see a rainbow. The Mirror Method: 1. Place a mirror inside a full glass of water. 2. Make sure the room is dark, and has white walls. 3. Shine a flashlight into the water, moving it around until a rainbow can be viewed.
PRISM REFRACTION DIAGRAM: www.school-for-champions.com/science/light_dispersion.htm
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Prisms can be purchased inexpensively from any educational or art supply catalogue. They can be used easily with a flashlight to create a beautiful rainbow projection. Students will be interested. Many people have prisms in their chandeliers and around lampshades. Under the right light these decorative prisms will also create rainbows. The creation of a rainbow in your class is a real attention getter and sets the mood for the creative thinking necessary to make an interesting drawing and watercolor. Identify the colors in the right order: Red, Orange, Yellow, Green, Blue, Indigo, and Violet. The memory device for this is ROY G. BIV. There are songs and stories about Roy, so use them. Show students that the color order is the same as the color wheel. Remember that Indigo is made by mixing blue and violet. To make the rainbow picture be something more than just some colored arches, the whole composition must be interesting and fit together. Have
students look at some calendar art photographs of rainbows. There are a lot on the Internet. Go to Metacrawler. Hit the images mode and type in “Rainbow Photos.” (A few are included in the packet.) Have students draw before they paint. Students should shade in shadows and textures in the drawing. Remember that drawing a circle with a black pen does not make a black circle; it makes a white (color of the paper) circle with a black line around it. Lightly draw in the rainbow arches as gently flowing arches. We want to try to get past the symbolic icon of a rainbow. When it comes time to watercolor, here are a few simple hints to improve the effect of the watercolor technique. 1. Use the tip of the brush and use gentle pressure. Do not scrub with the brush. 2. Do not over use the water. Do not go back to the water each time you paint. 3. If you want to mix colors and you probably will, to get a good indigo (blue violet) do not mix on the paper ,mix the colors in the mixing tray on the back of the watercolor set. ASSESSMENT When students are finished, have them give their artwork meaning by giving it a title. Exhibit this artwork with title and name cards. Have students self-evaluate according to criteria you set with them, based on what specific art skills you have been working on in your class.
SOURCES “Over the Rainbow (Book & Audio CD),” by Judy Collins and Eric Puybaret. This is an excellent story with illustration and music and songs by singer/songwriter Judy Collins. “All the Color of the Rainbow (Rookie Read-About Science),” by Allan Fowler. This is accessible description of the science of rainbows. “The Magic School Bus Makes A Rainbow: A Book About Color,” by Joanna Cole. Video: “Reading Rainbow: Once There Was a Tree: Rainbow Science,” VHS tape. Little Island, Big Rainbow, by Annie, 5th grade “My teacher just got back from Hawaii so I made this for him.”
EXTENTIONS/VARIATIONS By combining the “rainbow project” with a “color wheel” project, you can help students see that all that color theory stuff has a basis in nature and natural reality. While very young students seem
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empowered by making a color wheel, older students approach it more like “just another boring worksheet.” When combined with a landscape watercolor project, I have noticed an increased enthusiasm.
A prism is a polyhedron, which means the cross section will be a polygon (a straight-edged figure with no curves). Prisms come in many shapes, triangular, trapezoidal, square, cube, and pentagonal. After seeing what a prism will do to light students will be more interested in drawing these form three-dimensionally. It is also easy to see through the prism to see what the lines and surfaces on the other side are doing so students get a more accurate vision of three-dimensional forms and therefore, can render the perspective drawing more astutely.
Rainbow in the Sky by Emily, 3rd grade “Once I saw a rainbow in the sky. It didn’t touch the ground.”
Big Island Promise, August, 2010 Photographs of rainbows are easy to find but it helps if you have some of your own to share. Students are appreciative of teachers who “practice what they teach”.
Double Your Pleasure, Utah Valley, 2007
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End Of The Rainbow Road, by Claire, 5th grade “There is always a rainbow at the end of the road.”
The Pretty Rainbow, by Missy, kindergarten “My rainbow has two stripes of purple, I mean violet.” 43
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Art & Science Connected The Sights and Sounds of Geometry Elementary Visual Arts & Math Lesson By Joseph Germaine
OBJECTIVE Students will demonstrate an understanding of “Geometry” by using their knowledge of diameter, radius, circumference, and the use of compass and straight edge to create their own geometrically accurate design to be used as the cover for a compact disk. STATE CORE LINKS USOE Rainbow Chart, 3rd Grade, “Elements of Art”, Geometric Shapes, Circles, squares, rectangles and triangles; mathematical in proportion and “Build Skills/Practice”, practice making geometric forms and geometric shapes with or without a ruler.
USOE Math Learning Outcomes, Grades 3-6 5. Connect mathematical ideas within mathematics, to other disciplines, and to everyday experiences. 6. Represent mathematical ideas in a variety of ways.
elementary student. If you have the “Compass Drawings” video, show it after you have got your students’ interest. A folder of several “Compass Designs” at each work area becomes a great research part of this project. If you don’t have examples, you can find them on line or make them. Keep them simple; the students will make them more complicated without much encouragement. Use photocopied student work as research examples. When students are ready to start designing, show them some simple techniques for using the drawing compass and straight edge, like using a pad under the paper to secure the point of the compass and moving the paper around the compass instead of always moving the compass. Show students that by holding a straight edge with two fingers instead of one it is less apt to teeter-totter. Show students several “compass flower” designs to get them started and then let them experiment. After the students have decided on their
4th Grade, Standard 3: Students will understand attributes and properties of plane geometric objects and spatial relationships.
MATERIALS Drawing compass, straight edge (ruler) and perhaps a right triangle drafting tool. Black pens, colored pens, and pencils or watercolor. Use good paper.
PROCESS Begin this project with a couple of simple geometric designs on the board using a large compass and dry erase pens on a white board. This should get the interest of even the most lackadaisical
The Music Goes Round and Round by Aubrey, 6th grade 45
design, give them a 4-1/2” square piece of paper (or whatever will fit in a CD jewel case) to create their finished design.
Here are some simple examples of “compass designs”
Remember that whenever young students start to use color, they should be reminded of possible color relationships such as complementary, analogous, and monochromatic color schemes. Textural relationships are also an important part of this project.
Matia, 3rd grade, almost finished
This is Matia, 3rd grade, working on her compass design
If you want to make the artwork larger and not worry about the CD design, it’s O.K. Make sure you matt or frame the work before exhibition. If you would like to push the project further, then you should fold a piece of paper and cut it to the appropriate size to fit into a CD jewel case. The compass design can be glued onto the cover. If you have access to iTunes, you can print a play list and cover at the correct size. The creation of a graphic design housed in a plastic CD jewel case is enough of a project. See extensions for suggestions on the music mix.
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This is one the teacher made as an example of art using a compass and straight edge. Always let your students see you making art, and if you have a chance, let them see you make mistakes and model how to fix your mistakes.
This is Treg, kindergarten, and his first compass design. Even very young students with minimal dexterity have a wonderfully creative experience. Remember that success breeds success.
See more examples on the following pages. ASSESSMENT As a proponent of “Self-Assessment,” I recommend all students write a “criteria of success” statement as to why they think their design works or what they like about it.
The Spider Web. This is Treg’s, kindergarten, finished design
SOURCES Video and Book: Compass Drawings: Construction designs using a compass and a ruler (grades 4-6), by Linda Nelson Harst. Navigating Compass Designs, by Barbara Ann Caron. 47
SQUARE: “Square Dance Song” by Disney Playhouse; “Big Square Walking” by Sarah Lee Guthrie; “Square-Cuadrado” by Audio Teachers; “Hopelessly Square” by Neal and Leandra; “Square” by Boom bip & Doseone (hip hop); “You’re So Square” by Elvis Presley. CIRCLE: “Circle” by Harry Chapin; “Circle” by Barbra Streisand; “Circle of Life” from The Lion King, “Full Circle” Miley Cyrus, “Circle” by Solace, “Circle”, by Miles Davis Quintet, “Circle of Friends” by Point of Grace; “The Circle Game” by Tom Rush or Joni Mitchell; “Happiness Runs In a Circular Motion” by Donovan; “Circle, (running ‘round my head)” by Micatone. TRIANGLE: “Triangle” by Rock the Standards; “Triangle” by Patsy Cline; “The Eternal Triangle” by Dizzy Gillespie and Sonny Stitt; “Triangle Walks” by Fever Ray; “Magnolia Triangle” by Stanton Moore; “Triangle” by Linus of Hollywood. “Square Circle Triangle” or “Triangle Circle Square” by The Limousines.
Curly Circles by Bowdee, 5th grader. “The “S” shaped designs were made with the compass and then “hand blended” to make them look like wiggly roads.” EXTENSIONS After creating a compact disc cover, it seems appropriate for students to create their own CD mix of music that relates to Geometry or Math in general or that relates to the design they used for the cover. Encourage children to bring their own music from home. Use the iTunes program found on most computers and all the laptops in Alpine School District. You can purchase tunes to use and share. You can use your own music collection. You can download free music from a number of sites. All of this is legal if you don’t massproduce or try to sell the mixes. Most computers these days have the capacity to burn discs. In my case, I have over 7,000 tunes in my iTunes files, so the kids have a lot to choose from. Obviously, some discretion must be used, and I never have the students use my laptop unattended. *See the Mandala project in the Around the World” Evening for Educators packet for additional ideas.
Here are some musical tunes about numbers and geometric designs:
Asymmetrical Circles and Symmetrical Triangles, by Lane, 5th grade. “Using a compass to make asymmetrical arcs is something I would not have thought, but my friend with the 6th grade brain thought it was a “no brainer.” 48
DIAMETER: “In Diameter” by Medusa Cyclone; “Diameter (instrumental)” by Circus of Pain; “Diameter of a Point” by It Concubia Nocte. RADIUS: “Radius” by Ed Harrison; “Radius” by Tim Halbert; “Radius” by The Humble Bros. CIRCUMFERENCE: “Circumference (it just makes sense)” by Rhythm, Rhyme, Results; “The Color of My Circumference 1” by Mike Ladd & Vijay Iyer. COMPASS: “Compass” by Crosby, Stills and Nash; “Compass” by Marek Hemmann. GEOMETRY: “Geometry” by Karl Roemer; “Polygon” by Mindy Bauer; “Geometry” by The Hipwaders; “Do Re Mi Geometry” by Obie Leff. If you are nervous about the appropriateness of some musical selections, here are some instrumental pieces: “Uncommon Square Dance” by Dave Brubeck, “Circle” by Guitar Music Society, “Triangle” by Sounds From the Ground, “Triangle Tango” by Cirque du Soleil.
You may want to limit your choices to music specifically recorded and produced for children such as the album “Math” by Rock The Standards and “Math Albums 1 & 2” by Rhythm, Rhyme, Results; “Class Dis-missed” by Mr. Duey; “Science” by Teacher and the Rockbots; “The Science Juke Box” by Ellen McHenry; “Solar System Slide” by Dr. Planet; “Human Body 101” by Hip Science; “Here Comes Science” by They Might Be Giants; “Math Songs That I Must Sing” by Karl Roemer; “Catchy Math Jingles” by Mindy Bauer; “Do Re Mi Geometry” by Obie Leff;
Personally, I find much of the music made specifically for children to be shallow and somewhat insipid, and I hesitate in suggesting that my students should limit their aesthetic horizons to a musical idiom and style that is designed primarily to sell to adults who persistently underestimate the depth and sophistication of children’s taste in music and art. I must admit that my own grand daughter really likes Miles Davis, Eric Satie, and Buddy, but she also loves Miley Cyrus and The Wiggles. She is seven years old. It is O.K. to have your own personal tastes and prejudices in music, I suppose, but please be careful about forcing your own aesthetic on your
The Circumferences, by Parker, 5th grade
young students. I promise that it won’t work; otherwise we would all listen exclusively to opera and classical music, which were of course the “Pop” musical idioms of former days. Every generation must invent the sound and tone of their own “Soundtrack.” Every individual gets to create his or her own life’s musical accompaniment—the soundtrack to the “Dance” of life. The purpose of life is not to get an education, so you can get a job, so you can go into debt, so you can afford a retirement home of your own choosing. We do all of that for the real purpose of life, which is to be able to afford to go to the Symphony once a month and the Reparatory Dance Theatre once a year, visit a museum whenever a new exhibition is available (or just to hear that echoic murmur of aesthetically satisfied patrons, to buy a lot of large-format picture books of the great artworks of the world and to visit some of the beautiful and interesting places on this blue planet and…Oh yes! To be able to afford really good art supplies. That is the purpose of life. “Man is that he might have JOY!”… and make art! This music also becomes great sources of circle dance activities. You can dance to the shapes. My young students love the brain dance.
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If you must avoid the actual music for the jewel case project, you can make a faux disc by scribing concentric circles on cardstock with a drawing compass and inserting it into a jewel case.
This example was made using the ellipse tool in Photoshop with additional lines drawn over the circular design. Make a square canvas and under “View,” go to “Show” and “Grid.” The grid is extremely helpful in aligning the shapes. Then just use the paint bucket to add the color.
The Sound of Flowers, by Joe, 4th grade
SECONDARY VERSIONS
Have students make more complicated versions of the compass drawings. These drawings can include shading or texture, or color, or all three.
Or, have the students make computer drawings. These can be straight “compass-type drawings” that are colored or the “drawings” be manipulated to create less standard artworks.
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Art & Science Connected The Science of Proportion dimensions of a plane figure or the two divisions of a line such that the smaller is to the larger as the larger is to the sum of the two, roughly a ratio of 3 to 5.” (see below)
3rd – 6th grade Visual Art & Science Lesson by Vicki Gehring OBJECTIVE Students will become aware that there are consistent proportions in nature that are the foundation of what our brain preserves as pleasing, and these proportions are used in the arts. These proportions are connected to what has become known as the Golden Mean, the Golden Ratio, and/or Sacred Geometry.
Note: Students should understand that although the Golden Mean can be formulated mathematically there are so many variables in nature that nature rarely reflects the exact mathematical equation. The projects in this lesson referenced to the Golden Mean, will be dealing with whole numbers as it is believed were used by the Egyptians and the Greeks, and not phi fractions. MATERIALS 2 or 3 sheets of drawing paper, pencils, rulers, a picture of a Greek columned building or temple (one on the CD or at http://www.schnapp.org/ bosi/images/LowQ/20041011_13.jpg) sample drawings of a tree whose trunk is too large for the leaf area a copy of Trevor Southey’s New Bloom (on CD)
Throughout history, many people have been fascinated by the ratio of the Golden Mean, so much so, that it’s sometimes called the “Divine Proportion.” Historians and scientists have found examples in architecture, art, and in the natural world. Some of these applications were deliberate, as in use by specific artists and architects, but many of the instances of these ratios depend on where the person measuring chooses to measure the specific item (see the example of the Mona Lisa on the next page). We can also find perfect examples of the Golden Mean as expressed in Fibonacci spirals( below), say in nautilus shells, sunflowers,
Core Skills: Ruler skill, drawing correct scale and proportions Lesson information on the Golden Mean (also called the Golden Section and the Golden Ratio): Sacred Geometry, Stephen Skinner, Sterling Publishing Co. Inc. New York
“Harmony is the repetition of the same proportions—The Golden Section is a ratio between two
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branching of plants and pinecones because this is an efficient way of growing. For example, leaves or branches that follow the Fibonacci sequence, gain the most sun exposure because the leaves do not block those just below. The ratio of the Golden Mean also appears in geometric figures such as the pentagon, pentagram, and dodecahedron.
use specific proportions they believed to be most beautiful. http://en.wikipedia.org/wiki/Goldenratio http://www.maa.org/devlin/devlin_06_04.html http://mathworld.wolfram.com/GoldenRatio. html
Depending upon how you measure, the Golden Ratio is apparent in the human body, and you can use this as an introduction to the idea. Lesson: Have a student volunteer to be measured. Measure from the head to the waist and record the measurement. Measure from the waist to the bottom of the feet and record the measurement. Measure the head from the top to the chin. The ideal human proportions are that a person is 8 heads or sections tall. Three of those sections represent the length from the head to the waist and 5 of those sections are taken up from the waist to the feet. With the understanding that the child is not fully-grown see how closely the measurements reflect a 3 to 5 ratio. Have the class figure out if the student matches the perfect ratio when fully grown how tall will he/she be. Discuss the information about the Golden Mean. Draw a square on the board 12 inches x 12 inches. Label the length of one side of the square B. Ask the students, “If the ratio of a golden rectangle is B is to A as A is to ½ of B, how long should the section be to make this a Golden Mean rectangle?” Show Trevor Southey’s etching New Bloom, see on upper right). Measure the length of the print (image area). Measure the section with the figure and the section of the rose. Discuss how the division of this is like the golden rectangle. Then measure the height of the image and the divisions in the section on the right with the rose. Ask the students if these divisions reflect the Golden Mean.
La Gioconda, or Leonardo’s Mona Lisa, mapped with golden rectangles, by Juan ángel Paniagua Sánchez Enlace Creative Commons Attribution-Share Alike 2.0 Generic http://commons.wikimedia.org/wiki/File:Joconde.gif
Many people believe the approximate ratio of the Golden Mean is one that appears to be pleasing to the human eye, and some artists and architects have instinctively used a similar ratio in their work. Ever since the Greeks, certain artists have believed that they should use idealistic representation in their artwork, and have chosen to
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Show the students the drawing of the tree whose proportions are incorrect and have them discuss why the tree doesn’t look real. If possible, look at
What reasons do you have for believing this artist deliberately used the Golden Mean in this artwork? What might you do to find out?
a real tree and talk about the proportions. (Some images are included on the CD) Which part of the tree is larger, the trunk or the branches? Which part of the tree is wider? Look at a small tree and a large tree and discuss the size of the trunks and how the thickness of the trunk is in proportion to the size of the tree. (Although trees differ widely in their natural shapes and proportions, no natural trees look like the tree “symbol” most elementary students draw. This exercise is an attempt to help students realize that trees have trunks that are considerably smaller than the width of their leaf mass, and one pleasing proportion for a broad, leafy tree is to apply the golden ratio.)
Project 1: On one piece of drawing paper have the students draw a tree. (This part may be skipped if the students are in the habit of drawing trees with correct proportions. However, if they draw trees that are more like the one used to show incorrect proportions it will help them to do some selfanalysis.)
On another sheet of drawing paper have the students draw a rectangle 9 inches high and, 6 inches wide. Then draw a horizontal line three inches from the bottom. They will then draw a tree inside this rectangle using the bottom section for the trunk and the top section for the branches and leaves. Discuss how these proportions reflect the natural tree growth. Then compare the two tree drawings and discuss which they find visually pleasing.
John Hafen, Tree on Main Street SMA
Project 2: On another sheet of drawing paper have the students draw two side-by-side rectangles each 5 inches high and three inches wide. In one rectangle draw a horizontal line 2 inches from the top. In the other draw a horizontal line across the middle. Then show the picture of the Greek building and have the students draw a simple representation of that style building in each rectangle using the top section for the roof area and the bottom section for the columns.
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EXTENSION for Secondary Show the class examples of the Golden Ratio and Fibonacci numbers in nature, such as the slide show from the website above. Explain that artists have both deliberately and instinctively used this ratio as the basis for compositions. Give the students copies of images of artworks that they can draw on. Have the students see if the artworks exhibit the Golden Ratio, Fibonacci Numbers, or the Golden Spiral. Have students examine some of their own favorite past artworks. Do any of them come close to using the Golden Ratio? You may choose to explain that although the Golden Mean has a big following, many of its applications depend on the person looking for that specific ratio. (See http://www.maa.org/devlin/devlin_06_04.html)
Greek Temple http://hillbuzz.files.wordpress.com/2008/08/giant-temple.jpg
Discuss which drawing more closely reflects the proportions used by the Greeks. Which proportions look more pleasing? Which proportions are connected to the Golden Mean? Have the students figure out the Golden Mean divisions of the 6-inch square. Project 3: (optional) Have the students draw a Golden Mean rectangle, divide it into Golden Mean sections and do a drawing of their own choice using those divisions. (Refer them back to the “New Bloom” poster.
Have students sketch an example of a naturally occurring example of the Golden Ratio. Next, have students use the sketch in a larger artwork. Have them make a sketch of the projected artwork and then examine the sketch for its proportions. Students should check to see whether there are places in the planned artwork that could benefit from application of the Golden Ratio or just from a different one than they used. For example, where is the point of interest in the
ASSESSMENT
You may want to just give students a check or points for completing the drawings correctly, or you can give a grade of 1-3 for how well they followed directions, demonstrating their understanding of the Golden Mean.
If students completed Project 3, assess the student drawings for correct application of the Golden Mean. You may choose to give them other criteria that relate to art skills and techniques you have been working on in class. Be sure to provide the criteria before the students begin their drawings. Have students self-assess how well they met the criteria. 54
Sunflower head displaying florets in spirals of 34 and 55 around the outside Helianthus flower, Bannerghatta Bangalore, by L. Shyamal, 2006 Creative Commons Attribution-Share Alike 2.0 Generic http://en.wikipedia.org/wiki/File:Helianthus_whorl.jpg
artwork? What are the proportions of the major elements to each other and to the whole? They should also consider the proportions of colors they are planning on using. When the students have changed the sketches several times to improve the proportions of the drawings, they may complete the artwork.
Have the students self-assess using the following or a similar self-rating sheet.
SOURCES Golden Ratio, Golden Rectangle http://en.wikipedia.org/wiki/Golden_ratio
Lots of math you won’t need, but wonderful images of shells, showing the spiral sequences http://www.spirasolaris.ca/sbb4d2c.html
“Fibonacci in Nature” has examples of the Fibonacci sequence in plants, animals, and humans. http://jwilson.coe.uga.edu/emat6680/parveen/ fib_nature.htm “Fibonacci Numbers in Nature” has examples of the Fibonacci sequence in plants http://britton.disted.camosun.bc.ca/fibslide/jbfibslide.htm
Proportion and the Golden Mean Name ______________________________________________________ Period ___________________ ______ I completed a sketch of an example of the Golden Ratio. My sketch is Great
Okay
Not as good as it could be
_______ I completed a planning sketch of my artwork.
_______ I changed my sketch to improve the proportions at least twice. _______ I completed the artwork. My artwork is
Great
The best part of my artwork is
Okay
Not as good as it could be
One thing I would do differently another time is _______ I turned in a copy of my initial sketch, my planning sketches, my finished artwork, and this self-evaluation. 55
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Art & Science Connected Who Needs Sagebrush? Utah Environments 4th Grade Visual Art & Science Lesson by Louise Nickelson OBJECTIVES By studying sagebrush habitat, students will come to understand that a habitat is an ecological or environmental area with a group of organisms that depend on each other, and the group, as a whole, to provide life. Students will create artworks that demonstrate their understanding of the interdependence of life in a habitat. Student artworks will demonstrate an understanding of foreground, middle ground and background.
UTAH STATE CORE LINKS Science Core 4th Grade—Science Benchmark Utah has diverse plant and animal life that is adapted to and interacts in areas that can be described as wetlands, forests, and deserts. Standard 5: Students will understand the physical characteristics of Utah’s wetlands, forests, and deserts and identify common organisms for each environment. e. Create models of wetlands, forests, and deserts. Objective 2: Describe the common plants and animals found in Utah environments and how these organisms have adapted to the environment in which they live. a. Identify common plants and animals that inhabit Utah’s forests, wetlands, and deserts. c. Describe some of the interactions between animals and plants of a given environment Utah Visual Art, Rainbow Chart: Implied Texture, Art Criticism, Aesthetic
(other elements and principles as chosen by the teacher) Identify, Experience: make drawings of multiple objects, with overlapping and accurate size relationships MATERIALS Image of Ode to Sagebrush: A Hidden Picture, by Arlene Braithwaite Piece or picture of sagebrush Copy paper and pencils Large sheets of drawing paper Colored pencils or other colored media (colored pencils are good because they provide a lot of control but can be mixed easily) Books, Internet, other research materials VOCABULARY Habitat, sagebrush, steppe, pygmy rabbit, vole, antelope, rattlesnake, obligates. Foreground, middle ground, background.
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Show the piece or picture of sagebrush and ask the students how many of them know what kind of plant it is. Ask the students what they think of sagebrush. Then pass out the “Who Needs Sagebrush” worksheet.
When the students have filled in the worksheet, go over it with them, asking the students what they know. (See teacher’s copy of the worksheet) Then show the class the image of Ode to Sagebrush, by Arlene Braithwaite. See if the students can identify any of the plants, animals, or insects in the artwork.
Indian Paintbrush http://www.nps.gov/grte/galleries/gallery_plants.htm As a work of the U.S. Federal Government, image is in the public domain http://commons.wikimedia.org/wiki/File:Indian_Paintbrush_ in_Grand_Teton_NP-NPS.jpg
Indian Paintbrush Yarrow (the white flower) Becker’s White Butterflies (also called the Great Basin White or Sagebrush White) Lupine (the blue flower) Indian Rice Grass Bees Garden Spider Beetle Grasshopper Ladybug Fly Scorpion Ferruginous Hawk
Sage Grouse, photo by Gary Kramer Source: U.S. Fish & Wildlife Service Digital Library System As a work of the U.S. Federal Government, image is in the public domain http://en.wikipedia.org/wiki/File:SageGrouse21.jpg
Sage Grouse Brewer’s Sparrow Sage Thrasher Sage Sparrow Pygmy Rabbit Sagebrush Lizard Sagebrush Vole Pronghorn Antelope Great Basin rattlesnake
Read the words that go around the outside of the artwork to the students:
Our eyes burn from clouds of dust blowing across the sand and cheatgrass landscape, once a thriving sagebrush steppe. When the sage canopy disappeared, the future of the myriad insects, reptiles, birds, mammals, and humans living on this land was sealed. In webs of life it is easy to overlook the unglamourous, like the sagebrush. The importance of these unflashy anchors for entire communities only becomes apparent when they are gone. 58
Help the students understand any parts they find confusing. Ask the students why they think the artist may have felt so strongly about sagebrush. Ask the students to make a list of things that might be harming the sagebrush steppes (you can make the list on the board or have them work in small groups). If they need help, ask leading questions. A few possibilities are development of land for housing development for oil, gas, or coal overgrazing by cattle wildfires cars and trucks and other vehicles use of land for farming poor management invasion by juniper trees
Explain to the students that one of the important facts about habitats or ecosystems is that many parts of them are interdependent—changes in one component, such as the number of sagebrush plants, will affect the other plants, animals, and insects in the ecosystem. (You can read or paraphrase the following information for students.)
For example, in the “. . . sagebrush community. This symbiosis literally starts from the ground up, where biological soil crusts, protected by sagebrush, hold moisture, fertilize soil and discourage exotic weeds. Beneath the surface, sage roots form the base for fungal networks that extend the sages’ reach to nutrients and moisture. In the winter, sage collects snow in drifts and shades it for slow melting. In summer, ten-foot long taproots bring water to the surface. This moisture enhancement helps native sod-forming grasses, which in turn, stabilize soil.” (From Human Nature, Insights from the Natural World, Exhibition Catalog, Arlene Braithwaite)
Ask the students to look at the image and see if they can figure out any other ways the different parts of the sagebrush steppe works together. Help them only as needed by pointing them in the right direction or adding small bits of information such as that the lupine, which grows under
Sagebrush Vole, Professor Mark Chappell © Mark A. Chappell, used by permission http://faculty.ucr.edu/~chappell/INW/mammals/lagurus.shtml
the sage canopy, is a member of the pea family, which replenishes the nitrogen in the soil to help support other plants. Beetles, such as the dung beetle, recycle animal waste into fertilizer for the plants, and some insects take pollen from plant to plant, fertilizing their blossoms.
Ask the student which of the life forms in the artwork eat other things that are depicted. Ask them to explain how that helps balance an ecosystem. What happens if one part of an ecosystem starts disappearing? How do we know what the effects of changes in an ecosystem will be a long time from now? Is it important to try to maintain ecosystems? Why or why not? Ask the students to look at the image as artwork, now, rather than mostly as science. In what ways is this piece an effective artwork? If needed, ask the students to look at the use of the elements and principles of design such as color, line, texture, balance, proportion, variety and repetition, center of interest, etc. Ask the questions such as the following: What is the overall effect of the artwork? How was creating this artwork (it’s a pastel) similar to painting someone’s portrait? How different? How does the text change your response to the work? What might the artist be saying about people with this artwork?
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Who Needs Sagebrush? Name
1.
Sagebrush are like weeds; they grow in lots of places we don’t want them to.
3.
Mule deer eat sagebrush.
2. 4.
Land with sagebrush on it has more problems with wildfires than land with juniper trees. Pygmy rabbits like to live where the sagebrush are pretty close together.
5. Indian Paintbrush (a flower) use the roots of sagebrush to help provide the nutrients and water they need. 6. Sage Grouse use sagebrush for food, shelter from predators (other animals that want to eat them) and to make snow caves that keep then warm in the winter. 7.
Bears use sagebrush to line the caves they hibernate in.
9.
Pronghorn antelope eat sagebrush in the winter.
8.
One scientist counted 83 different kinds of spiders that live in areas with lots of sagebrush.
10. One kind of vole (kind of like mice with short tails) eats sagebrush leaves and bark as well as wheatgrass and lupine, which grow near sagebrush. 11. Four kinds of birds are sagebrush obligates (that means they can’t survive without sagebrush and the other plants that grow near sagebrush). 12. Pronghorn antelope like to eat several plants that grow on sagebrush steppes.
13. One kind of lizard lives in areas with lots of sagebrush so much that it’s called a sagebrush lizard. 14. Sagebrush can release chemicals that “talk” to other parts of the sagebrush plant.
15. Sagebrush blooms in the late summer or early fall when there isn’t as much pollen or nectar for insects. 16. Great Basin rattlesnakes eat sagebrush berries.
17. More than 170 species of birds and mammals live in areas with sagebrush, including black-tailed jackrabbits, prairie falcons and golden eagles. 60
Who Needs Sagebrush? (teacher’s copy) Below is a list of statements; put an X by any that you think are true.
1. A sagebrush steppe is a large, dry level area with lots of sagebrush, grasses and flowers, but few or no trees. True—and Utah has sagebrush steppes in several places throughout the state. 2. Sagebrush are like weeds, they grow in lots of places we don’t want them to. The answer may depend on who you are—but students may discover sagebrush is more helpful and important than they think. 3. Land with sagebrush on it has more problems with wildfires than land with juniper trees. False—Although sagebrush burns, areas where juniper and pinion pine trees have invaded have more problems because the trees provide more fuel for fires than sagebrush does. 4. Four kinds of birds are sagebrush obligates (that means they can’t survive without sagebrush and the other plants that grow near sagebrush). True —Sage Grouse, Brewer’s Sparrow, Sage Sparrow, and Sage Thrasher 5. Pygmy rabbits live where there is a lot of sagebrush. True —Sagebrush are so important for pygmy rabbits that they are also sagebrush obligates 6. Indian Paintbrush use the roots of sagebrush to help provide the nutrients and water they need. True —Indian Paintbrush grow their roots right into sagebrush roots—they are partially parasitic (use another plant to live on) 7. Sage Grouse use sagebrush for food, shelter from predators (other animals that want to eat them) and to make snow caves that keep then warm in the winter. True —Sage grouse eat sagebrush and other plants in the summer, but in the winter they only eat sagebrush, and they like the small cave-like spaces that snowdrifts make on sagebrush. 8. Bears use sagebrush to line the caves they hibernate in. False—bears don’t need anything but their fur to keep them warm in winter. 9. One scientist counted 83 different kinds of spiders that live in areas with lots of sagebrush. True —scientists did a study to find out about the spiders that live in and around sagebrush. 10. Pronghorn antelope like to eat several plants that grow around sagebrush in summer and sagebrush in winter. True 11. One kind of vole (kind of like mice with short tails) eats sagebrush leaves and bark as well as wheatgrass and lupine, which grow near sagebrush. True —it’s called the sagebrush vole. 12. One kind of lizard lives in areas with lots of sagebrush so much that it’s called a sagebrush lizard. True —it looks a lot like a Western fence lizard, which many of the students will have seen. 13. Sagebrush can release chemicals that “talk” to other parts of the sagebrush plant. True—a scientist just did experiments that proved this. 14. Sagebrush blooms in the late summer or early fall when there isn’t as much pollen or nectar for insects. True 15. Great Basin rattlesnakes eat sagebrush berries. False—but Great Basin rattlesnakes do live in sagebrush steppes. 16. More than 170 species of birds and mammals live in areas with sagebrush, including black-tailed jackrabbits, prairie falcons and golden eagles. True 61
ART PROJECT
Students should write a brief statement about their depiction of a habitat and the relationships among the plants, animals, and insects they chose to depict. Students can include the text as part of the artwork or can make their statement part of their label, which should also have their name, a title, and the habitat they have depicted.
There are a variety of ways to approach the artwork portion of this lesson. Students can research a habitat or ecosystem in books, on the Internet, or by asking experts. Or, students may be able to observe a particular ecosystem in the area. They should compile information about what plants, animals, birds, insects, and other life forms live in the ecosystem and how they interact and depend on each other. You may choose to have them use the Research Worksheet included in the lesson materials. Students should then choose one small portion of the ecosystem to depict, perhaps 3-7 life forms.
ASSESSMENT Have students turn in their Who Needs Sagebrush worksheet. They should receive credit if they completed the worksheet. They should also turn in the Research Worksheet.
Before students start work on their artwork, show them Braithwaite’s image again. Have the students identify ways the artist has created a sense of depth in the artwork using foreground, middle ground, and background. Ask students what is different about each of these parts of the artwork. (The plants in the foreground are bigger, brighter, and have more detail than those in the middle ground. Compare the Indian Paintbrush in the front, to the side, and behind the sagebrush and the sage grouse. Look at the detail on the sagebrush in the front of the painting as compared to those behind it. Compare the size of the hawk to the beetle in the front. Also look at the detail in the dirt as compared to the lack of detail in the mountain ridge in the background of the painting. Ask students to use these art techniques in their own work.) Students should then plan their artworks, making changes and editing their sketches at least three times. Next, students should make a light sketch of the larger artwork. As they work on the planning, remind students to use what they know about the elements and principles and what they discovered about foreground, middle ground and background such as using overlapping shapes, more intense colors in the front, more detail close up, etc. Encourage students to include implied texture and any other elements and principles of art they are familiar with.
Assess the students’ artworks using criteria such as the following (modify the specific art criteria to fit what you have taught your class). EXTENSIONS You can add other scientific information the students need to learn such as the definition of herbivores, carnivores, and omnivores and the identity of each in the habitat. See the Science core for other ideas.
VARIATIONS Use a different habitat as the focus of the lesson. Have the students work in small groups to research parts of the habitat and then have each group present that information to the class. After learning about habitats and what threatens them, choose a way to increase public awareness of the problems. Find a place or places to display the artworks where members of the public can see them. Include information about ways the public might help protect the habitat(s) or even particular elements of the habitat. Choose a way your class might help one of the animals, plants or insects in the habitat. Create a plan, assign responsibilities, execute the plan. It may help to get local media involved. Write a press release as a class writing exercise.
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Habitat Research
Name ______________________________________________________________________ Date _____________________________ Chosen habitat
Where is found in Utah? Animals that live in this habitat
Plants that live in this habitat
Other life forms
What do they eat?
What do they need for shelter?
Insects
What plants do the insects need?
What threatens this habitat?
What are the most important parts of the habitat? 63
Who Needs Sagebrush? Habitat Artwork
Name __________________________________________ Date ______________ Circle the face that shows how well you did each item I completed the Habitat Research worksheet
Great!
I turned in the worksheet with my artwork My artwork shows at least 5 things that belong in the habitat My artwork shows something about how the habitat works together (For example, animals sheltered by or feeding on plants) I used different textures to help depict parts of my habitat
I created depth in my artwork through overlapping, color, and detail I included a statement about the relationships in my habitat I made a label with my name and the title and what the habitat is Overall, my artwork is Totals for each column Grade
Sagebrush Drawing, Public Domain because by government employee http://gf.state.wy.us/services/news/pressreleases/03/05/02/index.asp
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Okay
Bluh!
Art & Science Connected I’m Being Eaten By a _______? Visual Art & Science Lesson By Louise Nickelson OBJECTIVES Students will examine the way an artist creates tension in his artwork. Students will demonstrate their understanding by identifying the components of tension in other artworks. Students will explore the ways animals relate to each other and other life forms in a particular environment. Students will demonstrate that understanding by planning a realistic scene that has tension based on real-life interactions of life in the environment. Optional: Students will create an artwork based on a scenario they identified on their planning page. UTAH STATE CORE LINKS This lesson could be adapted to fit several science objectives as well as a broad variety of visual art objectives. Choose ones that match your grade level. MATERIALS Images of Carel Brest van Kempen’s paintings from the CD or poster (include Lizard Relay: Jaguarundi with Green Iguanas and Banded Basilisks Images of other artists’ artworks from the CD Paper Pencils Research materials on environments If desired, copies of the Planning Page from the packet Optional, paper and colored pencils for the artwork
PROCESS Show the class the image of Lizard Relay and ask students to identify what is going on in the painting. Ask the students what their reaction is to what is happening. Do they think the jaguarundi will catch one of the lizards? If they can’t articulate it themselves, help the students realize that the sense of being caught in a moment when things are happening creates tension and interest in the painting.
Show some other images of Carel’s artworks while you give the students information from his biography in this packet. Make sure you include his statement that he tries to represent nature: “lots of stuff chasing other stuff,” as he puts it. You may want to sing a few verses of “I’m being eaten by a ______________” to the tune of “I’m being swallowed by a boa constrictor.” Substitute animals from the artworks and let the students come up with verses. For example, “I’m being eaten by a Great Blue Heron, a Great Blue Heron, “ etc. (If
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There are no right answers about these artworks; the students just need to think and to justify their answers. You can help students learn to discuss without getting upset by chiming in with an occasional response such as, “I didn’t notice that part of the painting, I think I agree with you.” Help them see that the give and take can be fun.
One of the interesting things about Carel’s artwork is that he chooses realistic scenes to depict based on his knowledge, his experiences traveling, and research. He wants to show how nature really works, but his work tends to be about kinds of animals other artists, at least in the US, aren’t painting, which gives him a nearly unique niche in the artworld. Assign students to research a particular environment (this can relate to social studies as well as science curriculum or be their choice) and find out what animals, birds, insects, or other kinds of life might be interacting in that environment. Next, they will plan a possible scene that would have tension or drama and be based on real behaviors that might be observed in that environment. You can have them use the Planning Page or just plain paper. Students can do the research and planning as individuals or as small groups.
Carel Brest van Kempen, Riparian Rashomon Used by permission © Carel Brest van Kempen
What words would you use to describe the feeling of Silvia Davis’ sculpture The Colt?
you are too young to know this song, you can learn it from this site: http:// www.youtube.com/watch?v=dki6hO 22XFg&feature=related) Next, show the class other artworks and ask the students how much tension is in the artwork and what creates that tension. Use the images of the following artworks or others you have copies of. Silvia L. Davis, Guest (1994), and The Colt (1995) Cyrus E. Dallin, Pinnacles: Cathedral of the Pines (1920) Phillip Henry Barkdull, Seagulls on Utah Lake or The Gulls (1930)
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ARTWORK (Optional) After the students have completed the planning page, they can produce the artwork. If you have colored pencils, they are a good medium to use. ASSESSMENT If the students are going to make an artwork, have them help you create a list of criteria based on both science and art. (Studies have shown that student performance is improved when they participate in establishing the criteria for an assignment.) If students are not creating an artwork, use a checklist to record participation in the class discussion and either assign completion points for the planning page or rate it on a scale of 1-3 or whatever scale you typically use. SECONDARY EXTENSION You can use the basic approach from the elementary version of the lesson but include an extended artwork using colored media of the students’ choice. You may want to have students practice gesture drawings of animals in motion before they start their artwork. They may also need to research the way other forms of life in their chosen environment move. Although Carel Brest van Kempen’s artwork are realistic, students may choose a less realistic approach to rendering. However, all students need to base their scene on a realistic, possible scenario. The “Tension in Art Planning Page” is on the next page.
Carel Brest van Kempen, Three Worlds used by permission VARIATION Use some of the other Carel Brest van Kempen paintings such as the one of the magpie, the trout, or the barn owl, all animals from the Science Core. Give students photographs or books for research and have them choose one of the animals, birds, or fish that is found locally. Have them create an artwork featuring that animal. Students should work on representing the animal faithfully, so the artwork is both beautiful and useful as a scientific image.
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Tension in Art Planning Page
Name ______________________________________________________________________ Date _____________________________ Chosen environment (kind and place)
What lives in this environment? Mammals
What do they eat or what eats them?
Birds
Reptiles
Insects Other
Plants Describe a possible scene that has tension:
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Art & Science Connected Shaping Utah’s Surface 5th Grade Science & Visual Art Lesson by Louise Nickelson OBJECTIVES Students will examine the geological formations depicted in artworks and will explore the geologic processes that created those formations through experimentation. (Optional) Students will create a landscape of a specific geologic formation(s) and will demonstrate their understanding of the elements and principles of design as well as their knowledge of depicting depth in a landscape. UTAH STATE SCIENCE CORE Standard 2: Students will understand that volcanoes, earthquakes, uplift, weathering, and erosion reshape Earth’s surface. Objective 3: Relate the building up and breaking down of Earth’s surface over time to the various physical land features. a. Explain how layers of exposed rock, such as those observed in the Grand Canyon, are the result of natural processes acting over long periods of time. UTAH VISUAL ARTS, Rainbow Chart, any or all of the Elements & Principles of Art MATERIALS Images from the CD: Lewis A. Ramsey, Towers of the Virgin; Zion Canyon; Royden Card, Red Rock II; Royden Card, Desert II; Loren Covington, Angel’s Landing; Ranch Kimball, Entrance to Zion’s; Mabel Frazer, Sunrise North Rim Grand Canyon; Birger Sandzen, Moonrise in the Canyon (The last two are also Elementary Posters from the SMA set.) Whatever you need for the geology experiments you choose to use (most of them need dirt, a box top, and a watering can or device. Some do need
up to several days preparation. Experiment report forms (included) Optional: Paper, pencils, colored media, and/or writing paper and pencils
Divide the class into small groups. Give each group a copy of an image from the CD or a similar image, and ask the group to come up with a hypothesis about the creation of that particular section of Utah landscape. Let the group perform research to validate their hypothesis. If necessary, they should revise their hypothesis as they find information that conflicts or adds information. Each group should make a brief presentation to the class about their image, their hypothesis, and the results of their research. They should point out any particularly interesting features of the land in their image. (For example, it may show bands of different colored rock that indicate the layers contain different minerals, etc.
Royden Card, Desert II SMA Have each of the groups, or new ones, complete a science experiment that demonstrates a principle of weathering. Some possible experiments follow:
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1. Fill a large plastic tub or a shallow box with dirt, making some sections higher than others. Carefully pack the dirt down. Pour water from a sprinkling can and observe and record the results. If possible, do this experiment outside or use another tub or pan underneath. Continue to pour water over the dirt until it accumulates in some areas along the edge. Make a hole a small way below these spots to allow the water to drain, simulating the way water will find a weaker area to erode. Continue to “rain” on the dirt, watching to see whether the shapes that develop look familiar to shapes in the surrounding mountains and valleys. As a group, write up the results of your experiment.
2. Gather several colors of dirt, or use light-colored dirt that you can add food coloring to. Put the different colors in their own containers. Add enough water to one color dirt to make thick mud. Spread the mud in a box lid (like from a paper box) and let dry. Use the same process with the other colors of dirt, letting each one dry before a new one is added. (Don’t make the layers perfectly even.) When all the layers are dry, cut away a section of the box lid on one short end. Prop the other end of the box lid up and pour water on that section, using a small watering can or a container with some wholes punched in the bottom. Let the
water run down and eventually, out the cut area. Continue to pour water on the top section of your “land.” As a group, write up the results of your experiment. 3. You will need a shallow box or plastic bin. Fill the bin with sand. Take a small fan and point it so that the air blows slightly down but across the sand. Record what happens. Try moving the position of the fan and try different speeds. Record what happens when you modify the position or speed of the fan. As a group, write up the results of your experiment.
4. Fill a large, shallow container with a variety of kinds of soil, clay, pebbles, sand, bits of rock, even rock salt. Poke some holes in one end of the container and tilt the container slightly (prop it up on a piece of 2 x4) and place a tray or other container under the end with holes. Using a watering can, “rain” on the tray and keep track of what happens. As a group, write up the results of your experiment.
5. Pack slightly moist dirt in a plastic, shallow pan, at least 2” thick. Stick some pieces of cardboard down into the dirt to make indentations (these can be at different angles. Leave the cardboard pieces in for at least an hour, then gently pull the
Mabel Frazer, Sunrise North Rim Grand Canyon SMA 70
cardboard pieces out. Let the dirt dry overnight and then freeze it for a while. Carefully pour water in the indentations and put the container back into the freezer overnight. Record any changes in the dirt in the pan and write up the results.
These are just a few of the kinds of experiments that can be done. Your science book probably has some, and there are all kinds of variations of these and many others online.
Have the groups share the results of their experiments with the class. After the class has seen and heard the results of the experiments, have them look again at the artworks. Which experiments help explain how the formations depicted in the artworks occurred? SOURCES for additional information or photographs http://upload.wikimedia.org/wikipedia/ en/6/66/SEUtahStrat.JPG http://geology.com/rocks/sedimentary-rocks. shtml http://geology.utah.gov/utahgeo/geo/index.htm Utah’s Spectacular Geology, How it Came to Be, by Lehi Hintze. ISBN 0-9760722-2-X
OPTIONAL EXTENSION Have students use their new knowledge about how erosion helped shape the land in Utah. Students should make at least 4 sketches of their planned landscape. They can use images of actual Utah places for inspiration, but should not just copy a particular picture. The students can use whatever color media you have available in your classroom. Remind them to use what they know about using the Elements and Principles of design as well as anything they know about creating visual depth in an artwork. Students should write a label that has a title for the landscape, their name, and a brief explanation of erosion helped create the landscape they depicted. VARIATION Instead of creating a landscape of a large area, have students make drawings of close-ups of
some small section of a landscape that shows a weathering process. ASSESSMENT
One possible assessment tool is included at the end of the lesson. 3-D EXTENSION Students may create their chosen formation in 3-D using clay, cardboard, paper mache, salt dough, or any approved combination of media.
LITERACY EXTENSION Show students the image of Royden Card’s Red Rock II and read them the poem that he paired with it. (On next page) (You may want to read other samples of appropriate poetry to the students. Ask students to choose one of the images from the lesson and quickly write a list of words or short phrases that come to mind when they look at the image. They should think about their senses: what colors do they see, what shapes, do they hear or smell anything? What might they see besides the rocky landscape if they were there? What feelings does the place invoke? Does it invoke memories or ideas or other times or places? After the students have had a few minutes to write down what comes to them, ask them to look back at what they’ve written. Which words or phrases best evoke the image or their feelings or sense of being in that place? Which words or phrases are related or go well together or perhaps are at odds with each other? Have students put checks by the parts they want to use. Give the students time to organize the words and phrases and to add whatever transitions they need. Remind them that poetry packs lots of images or ideas or feelings into a small space. The words should be rich, but the poems do not have to rhyme or have complete sentences.
Ask interested students to read their poems aloud and see if the rest of the class can match the poem to the artwork. (They may not be able to since the poet may have used ideas, feelings, or memories that were personal.)
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VARIATIONS Many artworks and photographs are available that match other specific areas of the science curriculum for Utah Geology. You can use the artwork as an introduction to a specific topic or as a way to cement the geologic knowledge through tying it to an actual hands-on experience that uses the students’ science knowledge in a different way.
You can also link art, literature, and science by reading short essays, descriptions, or short stories by western writers such as Terry Tempest Williams, The Illuminated Desert , Coyote’s Canyon (with photographs by John Telford), etc. By Royden Card evening
whisper wind crisp grasses rasp against stone swish feathers of evening swallows in tight arcs round glowing stone shadow raven ruffled whispering wings above and below quiet climbed sheer walls and was blown fast across the sand
Above, Temple of Sinawava, Zion by Robert Nickelson
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Shaping Utah’s Surface Geology: Science & Art
Name __________________________________________ Date ______________ Put a check in the box that shows how well you did each part of the lesson I participated in the Class discussion
I helped complete the science experiment
I made conclusions about weathering and our artwork
My artwork shows something about what I learned about erosion I used everything I know about the elements & principles of art in my artwork I created depth in my artwork through overlapping, color, and detail I made a label with my name and the title and a statement about how the forms in my landscape would have been created Overall, my artwork is Totals for each column Grade: Student Comments:
Teacher Comments:
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Great! 4 pts
Pretty Good 3 pts
Okay 2 pts
Bluh!
1-0 pts
Shaping Utah’s Surface Geology Experiment Report
Name s_________________________________________________ _________________________________________________________________________ Describe your experiment set up:
Procedure:
Results:
Conclusion:
How might your experiment tell you something about your group’s artwork?
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Art & Science Connected The Science and Art of Invention Upper Elementary, Junior High, and High School Visual Arts & Science Lesson by Elicia Gray OBJECTIVES Students will understand how artists and scientists work together in order to create new inventions. Students will design, draw, and produce a three dimensional prototype of an original invention. Students will participate in an “invention exhibition” in order to display and explain their ideas.
that they are asked to solve problems in a variety of ways. Both of these people use the creative process in order to find solutions that have not existed before. Artists and scientists often work with each other in order to solve problems for society. Throughout history, artists and scientists have helped citizens to discover new worlds, develop communities, increase efficiency, and even cure diseases.
STATE CORE OBJECTIVES: Standard 1: Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2: Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3: Students will create meaning in art. Standard 4: Students will find meaning in works of art through settings and other modes of learning. MATERIALS Visuals of Leonardo Da Vinci and his inventions, Image of Osral B. Allred, Front Hook-up (1984) SMA Collection, Inventions Handout, Invention Particulars Handout, Invention Particulars— Teacher Example, Invention Prototype Checklist, ACTIVITY
Start the discussion by writing the words Artist and Scientist on the board. Ask students to make a list of attributes that describe each of these professionals. Then draw comparisons between the two. Emphasize that artists and scientists have a lot in common, but the most important is
Show a picture of Leonardo da Vinci and explain that he was both an artist and a scientist. Show pictures of his paintings and his inventions. Point out that both have value and both have had an impact on future societies. Show image of Osral B. Allred, Front Hook-up (1984) SMA Collection, and explain that each time someone invents some
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Particulars Handout, Invention Particulars—Teacher Example, Invention Prototype Checklist, ACTIVITY
Start the discussion by writing the words Artist and Scientist on the board. Ask students to make a list of attributes that describe each of these professionals. Then draw comparisons between the two. Emphasize that artists and scientists have a lot in common, but the most important is that they are asked to solve problems in a variety of ways. Both of these people use the creative process Osral B. Allred, Front Hook-up (1984) SMA in order to find solutions that have not existed before. Artists and scientists often work with each other in order to solve Upper Elementary, Junior High, and High School problems for society. Throughout history, artists Visual Arts & Science Lesson and scientists have helped citizens to discover by Elicia Gray new worlds, develop communities, increase efficiency, and even cure diseases. OBJECTIVES Students will understand how artists and scientists work together in order to create new inventions. Students will design, draw, and produce a three dimensional prototype of an original invention. Students will participate in an “invention exhibition” in order to display and explain their ideas. STATE CORE OBJECTIVES: Standard 1: Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2: Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3: Students will create meaning in art. Standard 4: Students will find meaning in works of art through settings and other modes of learning. MATERIALS Visuals of Leonardo Da Vinci and his inventions, Image of Osral B. Allred, Front Hook-up (1984) SMA Collection, Inventions Handout, Invention
commons.wikimedia.org/wiki/Leonardo_da_Vinci 76
Show a picture of Leonardo da Vinci and explain that he was both an artist and a scientist. Show pictures of his paintings and his inventions. Point out that both have value and both have had an impact on future societies. Show image of Osral B. Allred, Front Hook-up (1984) SMA Collection, and explain that each time someone invents something, that person (or someone else) must create a detailed drawing before the object can be created. See if students can identify the machine that is depicted in this artwork. Explain that students will be required to design an invention or product to solve an existing problem or meet a specific need. This problem can be simple or complex. Products may be completely unique, or they may be an improvement upon an existing item.
Have students read about historical and bizarre inventions in order to obtain ideas (see Inventions Handout). Once they have decided on a clever idea, students should complete the Invention Particulars worksheet (see Invention Particulars Handout) The teacher may choose to show a completed example of the Invention Particulars worksheet in order accelerate the brainstorming process (see Invention Particulars—Teacher Example).
FaustoVeranzio: Following Leonardo da Vinci’s idea, he actually created a flying device by attaching ropes around his “homo volans” and to the cloth roof above his head. He tried to fly thus equipped when he jumped from a Venetian belfry. Miraculously he survived. http://www.library.yale.edu/slavic/croatia/science/ science.html
Students will then complete a detailed drawing of their invention, using one-point or two-point perspective where possible. Drawings must be carefully colored and labeled to explain the various design features.
Using clay, papier-maché, cardboard, or found objects, students will then complete a simple prototype of their invention. Prototypes need not operate realistically, but must be a semi-accurate three-dimensional representation of the student’s idea. When students have completed their prototype, the teacher will host a “science fair” or an “invention exhibition” where students will have a chance to reveal how their invention will work.
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Inventions WINDSHIELD WIPER The windshield wiper was invented by Mary Anderson in 1903 to help streetcars operate safely in the rain. In 1905, she patented her invention, which allowed the car operator to control the external swinging arm wipers from within the car. Windshield wipers became standard equipment on cars a decade later. Anderson was from Alabama, USA.
BUBBLE GUM Bubblegum was invented by Frank Henry Fleer in 1906, but was not successful; the formulation of Fleer’s “Blibber-Blubber,” was too sticky. In 1928, Walter E. Diemer invented a superior formulation for bubble gum, which he called “Double Bubble.” CRAYONS Crayons were invented by Edwin Binney and Harold Smith, who owned a paint company in New York City. Binney and Smith invented the modernday crayon by combining paraffin wax with pigments (colorants). These inexpensive art supplies were an instant success since they were first marketed as Crayola crayons in 1903.
SILLY PUTTY Silly putty was invented in 1943 by the General Electric engineer James Wright, who was trying to invent a synthetic rubber during World War II. He made it from boric acid and silicone oil, which forms a weird polymerized compound. Wright could find no uses for this bouncy, gooey substance. Peter Hodgson, who worked in marketing, realized its future as a novelty toy in 1949, and it was a success. It was even taken to the moon in 1968 by the Apollo 8 astronauts. SLINKY TM The Slinky TM was invented by the engineer Richard James (1914-1974) in 1943. This spring-toy came about by accident as James was developing springs to support sensitive equipment on ships. James invented a manufacturing machine that could make a Slinky TM from 80 feet of steel wire in 10 seconds. His wife Betty James (1918- ) named the Slinky TM and runs the company that produces it. YO-YO The yo-yo is one of the oldest toys. Yo-yo’s have been used as a toy for over 2,500 years, when the ancient Romans played with wooden and metal yo-yo’s. The word “yo-yo” may come from Tagalog language (the language of the Philippines), meaning “to come back.”
BLUE JEANS Levi Strauss (1829-1902) was an entrepreneur who invented and marketed blue jeans. Trained as a tailor in Buttenheim, Bavaria, Germany, Strauss went to San Francisco, USA from New York in 1853. Strauss sold dry goods, including tents and linens to the 49ers (the people who came to the California gold rush, which began in 1849). In 1873, Strauss and Jacob Davis, a Nevada tailor, patented the idea (devised by Davis) of using copper rivets at the stress points of sturdy work pants. 78
Early levis, called “waist overalls,” came in a brown canvas duck fabric and a heavy blue denim fabric. The duck fabric pants were not very successful, so were dropped early. His business became extremely successful (and still is), revolutionizing the apparel industry. VELCRO George de Mestral was a Swiss engineer who invented Velcro in 1948. While hiking, he had noticed that burrs (burdock seeds) stuck to his clothing extraordinarily well. The burrs had hook-like protrusions that attached themselves firmly to clothing. Mestral used this same model to develop Velcro, which consists of one strip of nylon with loops, and another with hooks. Mestral patented Velcro in 1957. It was originally used mostly for fastening clothes, but is now used to fasten many other things. SAFETY PIN The safety pin was invented by Walter Hunt in 1849. Hunt patented the safety pin on April 10, 1849 (patent No. 6,281). Hunt’s pin was made by twisting a length of wire. Hunt invented the safety pin in order to pay a debt of $15; he eventually sold the rights to his patent for $400.
LIFE SAVERS The candy called “Life Savers” was invented in 1912 by Clarence Crane, a chocolate maker from Cleveland, Ohio. His original Life Saver was a lifepreserver-shaped peppermint candy called “Pep-O-Mint.” Crane designed it as a summer candy--one that would not melt in the summer heat. He bought a pill-making machine to make the candies, and then punched a hole in the middle. Since they looked like little life preservers, he called them Life Savers. In 1913, he sold the rights to his candy to Edward Noble for only $2,900. Noble then sold Life Savers in many flavors, including the original peppermint. There are now 24 flavors; they are manufactured in Holland, Michigan. POPSICLE The popsicle was invented by 11-years-old Frank Epperson in 1905. Epperson (1894-?) lived in San Francisco, California. Epperson had left a fruit drink out overnight (with a stirrer in it), and it froze, making a new treat. His frozen treat was originally called the Epsicle. Epperson got a patent on his “frozen ice on a stick” many years later, in 1923. The Epsicle was later renamed the popsicle. Epperson also invented the twin popsicle (with two sticks so it could be shared by two children), Fudgsicle, Creamsicle, and Dreamsicle.
Invention information retrieved January 12, 2004 from www.enchantedlearning.com/inventors/
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Invention Particulars
Name__________________________________________________________________________________Per________
In order to create an effective marketing campaign for your invention, you must be able to describe clearly all of its functions and features. Use the following boxes to help you envision all of the different options and attributes of your invention. Please be as specific as possible. You may use catalogs or the teacher’s example to help you formulate your ideas. Options available:(colors, settings, sizes, and so forth)
Out of what materials is it made?
Instructions for care:
Explanation of your invention: (What is it, and how does it work?)
Why would individuals or companies want to buy this? What are the major selling points?
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Teacher Example
Invention Particulars
In order to create an effective marketing campaign for your invention, you must be able to describe clearly all of its functions and features. Use the following boxes to help you envision all of the different options and attributes of your invention. Please be as specific as possible. You may use catalogs or the teacher’s example to help you formulate your ideas. Options available:(colors, settings, sizes, and so forth) Colors available: Ivory, Wedgwood Blue, Burgundy, and Hunter Green Three temperature settings: warm, warmer, and warmest. Three sizes available: Twin, Full, and Queen size. Shipping and handling $4.95 per item Battery attachment is available. Out of what materials is it made?
Tootsie Toasters are quality crafted in the U.S.A. Made of Velour, the popular blanket material that provides thermal warmth without weight.
Instructions for care: For best results, hand or machine wash in gentle cycle with mild detergent in warm water. Rinse well. Do not use bleach or spot cleaners. Tumble dry on low heat or line dry.
Explanation of your invention: (What is it, and how does it work?) The Tootsie Toaster is an inexpensive and unique blanket. Its patented design has a pocket approximately three feet deep. The pocket wraps around the bottom of the bed between the sheets and your other blankets. Side and bottom flaps provide an easy, snug, and secure fit for any standard twin, full, or queen-size bed. The Tootsie Toaster is equipped with tiny heated coils that softly heat the velvety fabric, keeping your toes delightfully cozy all night long.
Why would individuals or companies want to buy this? What are the major selling points? Tootsie toasters are guaranteed against defects in fabric and workmanship. This is a great gift for seniors! Constructed with over 500 million 100% surface fibers for velvety softness and extraordinary durability. The plush surface will never matt, pill, or shed—even after numerous washings. Cozy, lightweight, durable, and machine washable. For a delightful sleeping experience, order your Tootsie Toaster today! 81
Invention Prototype Checklist Name ____________________________________________________________________________ Per ____________________
As you complete each of the following requirements, please place a checkmark in the box provided.
I have completed the “invention particulars” worksheet. I have completed a detailed sketch of my invention. I have added arrows and labels to my sketch in order to explain my invention drawing. I have asked at least one peer to review my invention labels to check for clarity and spelling errors. I have carefully reviewed my drawing in order to decide which medium (clay, papier-maché found objects, or the like) would be best for my prototype. I made a list of items I would need for my prototype. I showed my list to the teacher so that he/she could tell me which items I would need to bring from home. I made a list of items I would need to bring from home. I showed my list to my parent or guardian. I brought the necessary items from home. I carefully constructed a prototype of my invention. I modified my idea as necessary in order to tackle any problems that arose while I constructed my prototype. I used my class time wisely to work on my prototype. I added color to my prototype. I added small details to my prototype. I added tiny numbers on sticky labels to my prototype in order to identify all of the interesting features. I created a list to explain all of the special features. My list has numbers that corresponded to the numbers on my sticky labels. I asked at least one peer to review my list of special features to check for spelling errors and clarity. I thoroughly looked over my prototype again, searching for areas where I could improve, and making the necessary adjustments. I took my time and completed a quality piece of work. When I was completely finished, I showed my prototype to the teacher. I asked for ways that my prototype could be improved. I made the necessary improvements I turned in my prototype on time. 82
Art & Science Connected Pirates, Seascapes, and the Aesthetic Experience Visual Art & Science Lesson, may be adapted for all age levels By Elicia Gray OBJECTIVES Students will identify and apply the concept of the aesthetic experience. Students will gain an appreciation for artwork that generates an aesthetic response. Students will compose a poetic, aesthetic response to an artwork and to a daily activity.
choose to blindfold students in order to help them more fully concentrate on the senses other than sight. Explain that many times, an aesthetic experience can stem from a memorable experience that is linked to one of the five senses. Ask students to put their heads down, close their eyes, and get comfortable as they imagine the scenario that follows.
STATE CORE OBJECTIVES Standard 2: Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3: Students will create meaning in art. Standard 4: Students will find meaning in works of art through settings and other modes of learning.
MATERIALS Assorted objects for motivational activity (see below), Aesthetic Mold handout, bowls, warm water, chunks of dry ice, color overhead of Joseph M. W. Turner’s seascape entitled Snowstorm, Joseph M. W. Turner Handout, Seascapes slide show, Embarkation from Scotland by Nathaniel Irving Spens (1867) and Open Sea (1900) by Frederick Judd Waugh, from the Springville museum collection.
http://inspirethereal.files.wordpress.com/2007/08/
You are relaxing on the deck of your softly swaying ship. Your feet are propped up on a fluffy pillow, there is a soft warm breeze blowing through your hair, and you’ve just polished off the last of the ACTIVITY freshly baked biscuits. With your stomach comfortMotivation: As a means to introduce the aesably full, you stretch out in your hammock to watch thetic experience, students must endure a trip as the sun begins to melt slowly into the distant through the Treasure Cave. In a dark corner of the horizon. Filling the sky with fiery shades of angry classroom (or the stock room), design a haunted orange and passionate red, you watch as the heavcave. Each student must experience the terror by ens above are transformed while daylight turns to handling monkey brains (slimy spaghetti), pirate dusk. Slowly the sun disappears, and you are left to eyeballs (peeled grapes), pirate cuisine (tuna enjoy the deep purplish shadows of nightfall. You fish), and so forth. Students will be given only get the chills as you reflect upon the colorful masmoments to touch, smell, taste, or listen to the terpiece you have just experienced. Feeling deeply items in the haunted treasure cave. Teachers may satisfied, you realize that there is nothing more 83
beautiful than an ocean sunset on a calm summer evening.
choose to explain the scientific processes that cause the fog effect.
With their eyes still closed, ask students to identify a time when they have been “blown away” by a sunset, a storm, a view, or a piece of artwork. Identify those events as aesthetic experiences.
On pirate ships, food is often moldy; therefore, the teacher may choose to use a moldy apple to show the difference between an aesthetic experience and a practical experience. First, demonstrate a practical reaction to the moldy apple. Next, demonstrate an aesthetic reaction to the moldy apple. Read Aesthetic Mold (see Aesthetic Mold, Handout) and explain that rich description and poetic language can add to an aesthetic experience.
Invite students to have an aesthetic experience with clouds of white fog. Explain that fog was a common occurrence in nautical life. Place a number of large bowls around the room, each filled with warm water. Encourage students to sit on the floor around each bowl of water. Using tongs or a pair of thick gloves, place a substantial fragment of food-grade dry ice into each bowl. The extreme cold will cause the water vapor to condense into bubbly clouds, creating a billowing amount of ground hugging fog. Ask students to observe the process carefully as the dry ice turns to fog. Students must then write an aesthetic response to this cloudy phenomenon. Encourage students to use rich descriptions and poetic language to enhance their responses. Discuss the difference between a practical experience with fog, and an aesthetic experience with fog. For an extension of this activity, the teacher may choose to add colored dish soap to the dry ice mixture in order to create another bubbling monstrous effect, evoking a different kind of aesthetic response. If time permits, then the teacher may also
Display the color overhead of Joseph M. W. Turner’s seascape entitled Snow Storm. Relate the historical information pertinent to the work (see Joseph M. W. Turner Handout). Demonstrate an aesthetic response to this work of art. Also display Embarkation from Scotland (1867) by Nathaniel Irving Spens and Open Sea (1900) by Frederick Judd Waugh (SMA collection).
Explain that aesthetic experiences can cause people to feel a variety of diverse emotions. They are not always pleasant or calm. Display the Seascapes slide show (on the CD) and invite students to choose one artwork about which they will write an aesthetic response. When students are finished, ask them to share their responses. Identify similarities and differences between responses.
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Divide students into small groups. Ask students to make a list of everyday activities that pirates might experience, such as eating, swimming, or sailing. Invite students to choose one item from the list and create an aesthetic response. Encourage students to incorporate the pirate vocabulary in their responses (see Pirate Vocabulary Hand-
out). Students will create one response per group. ASSESSMENT Student aesthetic responses will be evaluated for completion and coherency. Group responses will also be evaluated and given a group score.
SOURCES Sources are stated on each individual handout, and in the slide show. VARIATIONS Focus on the science connections of the lesson. Options may include studying weather cycles to help explain the seascape paintings, investigating the scientific process and properties behind the dry ice phenomenon, and exploring the nerve responses that affect the five senses.
Raoul Dufy, The Casino at Nice, Night (1935-36) Fair Use, Education, to inform, only
EXTENSIONS In order to better explain aesthetic experience, identify ways in which the body responds to different stimuli. What happens when we get scared? What happens when we are happy? How do the different stimuli cause us to respond differently? Frederick J. Waugh, The Open Sea (1900) SMA
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Joseph M.W. Turner (1775-1851) "Snowstorm"
In this painting, wind and water violently cascade as if the boat were in the midst of a treacherous storm. Why might this British artist have wanted to compose his painting in such a manner? What feelings, emotions, or reactions was he hoping to bring forth? Turner based this particular composition upon his own experience at sea. While traveling upon a boat called the Ariel, he demanded a front row seat during a deadly ocean storm. “I got the sailors to lash me to the mast to observe it,” he said. “I was lashed for four hours and I did not expect to escape, but I felt bound to record it if I did (Grolier, 1996, p. 28).” Critics at the time were frustrated by Turner’s attempt to show what it felt like to experience a storm. One critic claimed that the painting looked like “soapsuds and whitewash (Grolier, 1996, p. 28).” Today, this painting is considered to be one of Turner’s greatest works.
Grolier Educational. (1996). “Sea, Sky and Storm.” Danbury: Grolier Publishing Company. 86
Pirate Vocabulary Note to the Teacher: This vocabulary is to be used with the aesthetic experience activity. While it is relevant to many of the other activities, the diverse terms may be easily integrated into a clever aesthetic response. Avast-nautical term meaning halt or stop. Derived from the phrase “hold fast.” Becalmed-the state of a sailing ship when it cannot move because of lack of wind. Bilge-the lowest part of the ship. Bilge water is the foul, brackish sea water that seeps into this area. Black Jack-a leather tankard used by dockside pubs and taverns to serve wine and beer. Booty-a batch of stolen goods. Bowspirit-a long spar that projects from the ship’s bow. Buccaneer-a pirate or unscrupulous adventurer. Careen-cleaning a ship’s hull of barnacles, seaweed and marine worms by beaching it and leaning it over to one side. Corsair-a French privateer. Crow’s nest-a platform up at the top of the mast. Davey Jones’ Locker-slang term for the bottom of the ocean. Cutlass-a short, curved, thick, sword; the preferred weapon of many buccaneers. Doubloon-a gold coin minted by Spain or Spanish colonies, worth about seven weeks pay for an average sailor. Filbustier-a French term for pirates during the golden age. Freebooter-another term for pirate. Gibbet-a wooden frame from which dead pirates were hung, often in a metal cage especially fitted for the pirate. Used as a warning to any others who would think of taking up a career of piracy. Jolly Roger-the pirate flag with its skull and cross bones. Letters of Marque-proof that a particular government sponsors a pirate/privateer. Marooned-to be left alone on a desert island. Mutiny-a revolt by the crew, overthrowing the captain of the ship. Picaroon-term meaning both pirate and slaver. Piece of Eight-Spanish silver coin, or old Spanish peso, often cut into pieces to make change. Pirate-derived from the Greek pirate, meaning one who plunders on the sea. Ponton-an English prison hulk, or converted ship hull, where captured pirates were held. Privateer-a pirate working for a particular government, restricting prey to that of another unfriendly government. Scurvy-a disease resulting from a vitamin C deficiency, characterized by weakness, anemia, and spongy gums. Scurvy Dog-slang term for low quality or mean spirited. Sea rover-a pirate’s ship. 87
Aesthetic Mold Slowly I sift Through the madness that is my office. A tiny crumpled container Is revealed. The contents— a mystery. I unwrap cautiously. Light caresses a lonely article. In finer days It matured on a tree limb. Now disturbed from a lengthy slumber, it is protected by a blanket of luscious spores. Glistening spheres, like miniscule snowballs mask the once ruby skin of forbidden fruit.
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Art & Science Connected Creating Your Own Biosphere Junior High Visual Arts & Science Lesson By Carrie Wilson OBJECTIVES Students will use perspective drawing in the 9th grade Science Core to discover ideas about the zone of life. Visual Arts (Secondary): The students will create unique landscape of another planets biosphere using basic landscape perspective techniques like one point, two point, aerial perspectives. (Standard 1and 3, VSA) Student Friendly Language: I can create a unique landscape.
UTAH STATE CORE Science Benchmark Earth supports an interconnected system of living organisms. This system is unique in the solar system. Biodiversity on Earth is determined by biotic and abiotic factors. Throughout Earth’s history, the number and distribution of species have changed over time in response to environmental changes.
Objective 1
Describe the unique physical features of Earth’s environment that make life on Earth possible. A. Compare Earth’s atmosphere, solar energy, and water to those of other planets and moons in the solar system B.Compare the conditions that currently support life on Earth to the conditions that exist on other planets in the solar system. C.Evaluate evidence for existence of life in other star systems, planets, or moons, either now or in the past. Standard 2
Students will understand that the features of Earth’s evolving environment affect
living systems, and that life on Earth is unique in the solar system. VOCABULARY http://www.artlex.com/ (Look up perspective and any other art term you are interested in.)
MATERIALS Scrap Paper for Sketching and Practice Larger Paper for the Final Drawing Pencil Color Medium (markers, colored pencils or any thing on hand) Images of artworks: James Christensen, The Rhinoceros, and Fantasies of the Sea Catherine Kuminski, Kimono Teapot Julie Buckley, Artwork: http://www.jdbuckleyfineart.com/ (Unusual landscapes and creative environments.) M. C. Escher, Belvedere (http://picasaweb.google. com/lh/photo/EjyYJfGTl1R_AUToMKF4SA or http://thegirlwithkaleidoscopeeyes.files.wordpress.com/2009/09/belvedere-lithograph-1958. jpg) (Escher is a great example of imaginary landscapes using perspectives.) The Illustrated Book Dinotopia http://www.dinotopia.com/dinotopia-art.html RESOURCES http://springvilleartmuseum.org/collections/ index.html Perspective Drawing Basics: http://drawsketch.about.com/library/weekly/ aa021603a.htm (Good history on perspective) http://www.technologystudent.com/designpro/ twopers1.htm
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http://www.ider.herts.ac.uk/school/courseware/ graphics/two_point_perspective.html http://perspective.currencyretail.com/onepointperspectivedrawings/ Aerial Perspective: http://psych.hanover.edu/Krantz/art/aerial.html
tree is just the basic shape, plus things that are really far away have a blue cast to them.
Have the students sketch out their basic idea as a thumbnail and have them show it to you. The thumbnail should be small with only the most basic detail, just to get the idea out. Once the idea is plotted out on the scrap paper and they have practiced the perspective they need, have the students start work on the larger paper.
ACTIVITY (Although this lesson is for junior high, it can be easily changed to younger grades by using simpler ways of using perspective such as overlapping, objects in the distance having fewer details, which I will talk about in this lesson.)
Introduce: The marriage of art and science is a logical and fun one. Talk about different ecosystems here on earth. Concepts like the Biosphere, Lithosphere, Hydrosphere, and Atmosphere with your class. Then talk to them about creating their own world, so they have to know the basics of this one to make another. For example, discuss what a water planet would be like, where would it have to be in relation to their sun, the life on the planet, what kind of structure would be created if human like individuals were there, what would they look like and what ecosystem would exist? Or a planet with no gravity, would they anchor thing down or, a cool fantasy planet, not limits to the creative expression, just that the students have to think in the whole picture of the complete ecosystem. Basically, how would life be sustained? Another good example to show is the book Dinotopia because it has beautiful illustrations about an imaginary landscape and ecosystem. Brainstorm their ideas. You can have the students work in small groups to help each other flesh out the ideas. (You can use the brainstorming worksheet included at the end of the lesson.) Talk about different types of perspectives. If the students want to draw a structure in their landscape, they need to use one-point perspective or two-point perspective, and there are lots of web pages giving step-by-step instruction, please check the web resource list. Plus, you can just talk about how we see. Things that overlap come at you, and things that are far away lose detail. Think about a line of trees. In the first tree, we see the bark and the details of the leaves. The furthest
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Students may add color with any color medium you have available. Have the students create a nametag for their planet’s landscape.
You can display the landscapes with the nametag, and/or lay the drawings out with just the title of the landscape, and then have the students go around looking at the landscapes like a walk around. You can have the students write down what they think the planets are like.
Name: _________________________________________________________________________ Period: ___________________ Date: ____________________
Create your own world!
Brainstorm as many possibilities you can think of, if you could create a world! Nothing is silly or too out there, so really push your imagination.
Name of your planet: What does it look like from space? Draw it.
Describe the characteristics of your planet. What kind of life lives on your planet?
Draw what life looks like on your planet.
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Assessment Rubric Student Name: Assignment/Problem: Self-Created Landscape Circle the number in pencil that best shows how well you feel that you completed that criterion for the assignment. Composition and Design—does it read well? Can I see what my planet is like from the drawing? Growth and progress— how does the work compare to previous work? Is there growth in thought? Have I tied in my knowledge about what it takes to make a planet? Impact—Is it daring? Does it extend from past work? Is it a theme of personal expression or if borrowed, how did I change it? The problem—have I addressed the problem posed? Are variations made for a reason? Care/effort—Is the work appropriate to the style? Have I Paid attention to details—What level is the craftsmanship? Work habits —Did I use my time efficiently, ask questions, record my thoughts and experiments? Totals for each column Total points Grade: Name of the Planet
Class Period Date Completed
Superior, Justify Below
Excellent
Good
Average
Needs Improvement
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
Characteristics of the Planet (How have I shown this in my drawing?)
Student Reflection:
Teacher’s Comments:
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Art & Science Connected Ideas for Art & Science Lessons BRANCHES OF SCIENCE: With Accompanying Art Projects. by Joseph Germaine ACOUSTICS: It is a branch of science related to the study of the transmission of sound waves. It usually refers to the characteristics of theaters, auditoriums, and studios and includes the behavior of sound in buildings. It also studies the way acoustic musical instruments make their sounds. >Try making handmade instruments like clay whistles, flutes, ocarinas, rattles, and drums and playing them in a variety of acoustic environments such a classroom, outside, in the cafeteria, and the gym. Compare and contrast the different sounds and discuss possible reasons for the change in sound. Look at the walls, at the size, at the kinds of texture in the rooms. What causes an echo?
http://everydaycraftygoodness.wordpress.com/2009/02/11/ clay-whistles/
AERODYNAMICS: It is associated with the study of forces of air acting on objects in motion relative to air.
>Paper airplanes are a natural. Find some good books on the subject or there are some excellent websites to use. (This one has all kinds of airplanes and gliders and has everything from easy to hard with folding diagrams as well as videos: http://www.paperairplanes.co.uk/planes.php) What makes a “long distance flyer? What makes a loop to loop? What makes a fast rocket? All these ideas and many more are available for exploration through the “origami” art of paper airplanes.
AGRICULTURE: It is the science of cultivating the ground, harvesting the crops and rearing and management of farming. >Try growing plants in your classroom. As you cultivate some interesting plants, use them for still-life rendering. Try growing from seed. Use grow lights and hydroponic growing techniques. Have students study the variety of line in a single plant. Notice the harmonious and dynamic relationship between the visual elements of a single
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plant. Notice the contrast with other kinds of plants. Render the observation with pen and ink or watercolor. Look at the way botanists make illustrated renderings of plant species. >Grow a sunflower from seed. Draw and paint it. Look at Vincent Van Gogh’s, Sunflowers.
ANATOMY: It is a branch of biology, related to the study of structure and organization of living things. It involves human anatomy, plant anatomy and animal anatomy. >Have students learn the names of the bones in the human the skeleton. Have students draw the skeleton from memory. Make skeletal gestures with the correct proportions. (See the handout for the lesson on Bones.)
http://commons.wikimedia.org/wiki/ File:Danj%C5%ABr%C5%8D_Ichikawa_II_as_Shibaraku.jpg
ANTHROPOLOGY: It involves the study of both the past and present human cultures. It is associated with physical and social characteristics of humanity through the study of historical and present geographical distribution, acculturation,
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cultural history, and cultural relationships. Anthropology also deals with “Material Cultural,” which includes art. >Have students make artifacts based on ideas and designs from other cultures: Australian Aboriginal dreamtime maps, Collagraphic printmaking using Polynesian Tapa designs, Peruvian Retablo sculptures, Japanese paper mache Kabuki masks (some of these are in past packets). >Have students write their names in other languages using phonetic alphabets from Sumerian (cuneiform), Egyptian Hieroglyphics, and Japanese Kanji, Hiragana, Katakana and the Latinized alphabet called romaji. Translation sites for most languages can be found on the Internet. ARCHAEOLOGY: It is a sub discipline of anthropology that involves the study of physical evidence of past human societies, recovered through excavation. >Have students construct ceramic mugs and bowl using Anasazi style designs. Use black sharpies on white clay to reproduce the aesthetic. >Have students sculpt Fremont Indian “votive figure” dolls from red ceramic clay. Use other “extinct” cultures such as Hohokam, Mogollon, and Casas Grande for their decorative design ideas. This artist makes traditional Anasazi-style pottery. www.ancientarts.org/Pottery.htm http://commons.wikimedia.org/wiki/File:Chaco_ Anasazi_canteen_NPS.jpg
ASTRONOMY: It is the scientific study of celestial bodies such as stars, comets, planets, and galaxies and phenomena that originate outside of the Earth’s atmosphere. >Find some of those amazing images taken by the Hubble Telescope. (This site has the top 100 images and they’re big images. One is included on the CD. http://www.spacetelescope.org/images/ archive/top100/ ) Have students make “outer space” images with watercolor that resemble non-objective abstract expressionism. >After studying some of the Greek mythological star constellations, find a good photo of the Utah night sky, copy it approximately with pen and ink and copy off sheets for each student and have the students create their own constellations in the star-filled sky. (Find images at http://www.utahs
>Use plant fibers in your recycled handmade paper for texture and color. (See the lesson in Art on a Shoestring Budget, Evening for Educator packet Sept. 2010, SMA) http://www.tapeeurope.org/G6-Slovakia/projectsslovakia.html
The Pleiades in the Utah night sky.
kies.org/) Students should share their mythologies and stories. >Look at the wealth of historical symbols using the sun, moon, and stars from most every culture. Have students pick one of these heavenly bodies to create a personal symbol that uses sun, moon, or star as the prime design motif. BIOLOGY: It is the scientific study of LIFE. It involves the study of structure, origin, growth, evolution, function, and the distribution of living things. >If possible, organize a field trip to the Hogle Zoo in Salt Lake City. Have each student carry a small handmade sketchbook and a pencil or pen. Students should make “life drawings” of the zoo animals. Using photographs as research options, have students make accurate drawings of baby animals. Try endangered species. >A good option to the Zoo is the Bean Museum at BYU. BOTONY: Sometimes “plant biology,” plant science or phytology. It involves the scientific study of plant life. >Make your own plant-based pigments to color eggs, color handmade paper, paints. Try using beets, carrots, onions, cabbage, tomatoes, grass, blueberries, and concord grapes. Experiment with any plant or leaf by boiling, pureeing, or soaking. Boiling makes the darkest colors. (One good site: http://www.pioneerthinking.com/ naturaldyes.html)
An example of a Hawaiian—style quilt based on a sego lily—not perfectly symetrical. Made by an adult >Look up Hawaiian Quilt patterns and have students use this idea to create their own plant pattern. Try making the symmetrical pattern using sego lily, pine tree, sagebrush, Indian paint brush, yucca, Joshua tree, or other local native plants. http://www.adamsamigos.net/daniel/parriot1. htm
CHEMISTRY: It is a branch of natural science that is associated with the composition of substances and their properties and reactions. It is the science of matter and its interactions with energy and itself. >Experiment with clay from the schoolyard and students yards to see if any of it is fireable clay. Make a small wafer of clay and fire it. The chemistry for usable clay is 1 part alumina to two parts silica with a little feldspar thrown in for flavoring. >Experiment with the chemistry of ceramic glaze by making a line blend using soda ash, volcanic
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ash, and borax (Twenty Mule Team Borax) or any soluble salt as the basis for low-fire clay. As in all scientific inquiry, you must be willing to experiment. Use your kiln.
CIVIL ENGINEERING: This branch of engineering deals with the planning, designing, construction, and maintenance of structures (roads, bridges,
ENTOMOLOGY: It is a branch of science that includes the study of insects in their relations to forests and forest products. >”That Really Bugs Me.” Have students research scientific drawings of insects. Students should then render copies of these insects, choosing two or three. Now have students combine elements of each insect to create and name their own insect. Remember that not all “bugs” are insects. Insects have an exoskeleton, a three-part body (head, thorax and abdomen), three pairs of jointed legs, compound eyes, and two antennae. >A fun entomological project is to hatch butterflies from larva and pupa. These can be purchased in several varieties from most ScienceEducational catalogues. >Design and invent your own butterfly. Decorate it with pen and ink and watercolor. It can be symmetrical or asymmetrical, traditional or unconventional. It can also be a cut out and collage project. This is also a good time to use color theory and color scheme applications.
buildings, etc.) and altering the geography to suit the human needs. >Have students create drawings, paintings, and sculptures of historic architecture, buildings, monuments, bridges, dams, towers, cathedrals, castles, fortresses, palaces, temples, and other kinds of engineering projects. Models of all these edifices can easily be made of ceramic clay. Try a clay sculpture of a Freeway Interchange. CLIMATOLOGY: It involves the study of climatic data, analysis of climatic changes and investigations of its phenomena and causes. >Have students draw or paint the wind. Find examples. Try “Starry Night” by Van Gogh. >Have students document photographically the climate changes in your school playground and the visual effects the climate changes make. Try photo essays of seasons.
COMPUTER SCIENCE: It includes a systematic study of computation and computing systems. It also involves different theories for understanding the computing systems and methods, algorithms, design methodology, and tools.
>Have students use computer technology to create original works of art. Scan in an original drawing or painting or photograph and then use one of your drawing or painting or photo adjustment applications to change and distort or enhance or cut and paste to change the original into an interesting and compelling visual work. >Use Photo Booth to create an original self-portrait for your students’ Portfolio covers. (See Let’s Face It! Packet.) ECOLOGY: It includes the study of interrelationships between living organisms and their environments. >Have students draw and color (colored chalk or pastels) a large mural sized habitat of Desert, Swamp, Mountains, Beach, Reef, or Prairie. Render only the topography and general landscape without any animals or plants. Research the flora and fauna in a specific habitat and have students make cut out representations of these elements and have them attach them to the appropriate location on the mural.
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EVOLUTION: It is the sequence of changes involved in evolutionary development of a species or taxonomic group of organisms.
>Study M.C. Escher’s “Metamorphosis” to see the evolving shapes and objects. This would be a good time to teach Tessellation patterns.
GEOGRAPHY: It includes the study of the earth as well as its features, phenomena and in habitants. It also deals with climate, topography, vegetation and soil. >Get a list of National Parks in the United States (try other countries also). Find distinctive images and use as inspiration for original artwork. These projects could also be rendered as collage >Have students experience how topographical maps are made by making their own maps of their own neighborhood or community.
tions to be done with them in 3D applications. >For young students, a “dance” project where students hold hands and create and name basic shapes is a wonderful to introduce the concepts of plain geometry by starting with concept and vocabulary. >All “perspective” drawing is involved with geometry as the students learn to create the illusion of space (three dimensional). >Using the tools of geometry is a grand way to make art. Have students create original designs by using straight edge rulers, compass, protractor and right triangles. Try using “French Curves” as drawing guides to non-objective designs and patterns.
en.wikipedia.org/wiki/File:Puu_Oo_cropped.jpg GEOLOGY: This branch of science involves the study of origin, history, evolution and structure of the earth’s crust. It also involves the examination of soil and rocks. >Show students some videos of Hawaiian Volcanoes and have them illustrate the volcanic phenomena including the magma chamber. Have students render images of the two types of lava: pahoehoe and a’a. http://www.solarviews.com/ eng/hawaii.htm http://hvo.wr.usgs.gov/ GEOMETRY: It is a branch of mathematics that deals with the questions of shape, size and relative positions of figures as well as with the properties of space. It is associated with polygons, vertices, triangles, meshes and associated opera-
>The Tangram is a Chinese dissection puzzle consisting of seven flat shapes, called tans, which are put together to form new and interesting shapes. The object of the puzzle is to form a specific shape (given only an outline or silhouette) using all seven pieces, which may not overlap. This puzzle game came from China and became very popular in 19th century Europe. A pattern is included at the end of these lesson ideas. http://p6den.blogspot.com/2009/11/tangrams. html Lots of puzzles http://www.tangrams.ca/inner/ down.htm >The Pentomino is shape composition made of five congruent squares, connected along their edges. Sometimes it is call an orthogonal connection. There is a game of sorts connected
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with pentominos but we just use it to see how many ways we can combine the squares to create unique arrangements of geometric forms. Most of the compositions are similar to letters of the alphabet and their mirror image. We have come up with 18 different compositions. How many can you find? Remember, only sides connect. http:// en.wikipedia.org/wiki/Pentomino >After looking at images of geometric crop circles (there are many in Britain) have students create their own geometric design using drafting tools. Give the designs names to imbue meaning. >Remember that geometry can be 3-dimensional. Have students build Platonic Solids, Geodesic Domes and any other complex polyhedra out of triangles and pentangles made of matt board or cardboard.
Wall relief of Ra, temple of Edfu, Egypt Photo by Rémih, 9 June 2009 GNU Free Documentation http://commons.wikimedia.org/wiki/File:Edfu32.JPG
A crop circle in the form of a Triskelion composed of Circles public domain http://en.wikipedia.org/wiki/File:Crop_circles_Swirl.jpg
HELIOLOGY: It deals with the study of the Sun. >Have students understand something about how light travels and where light comes from by creating an original work based on the question, “What Can You See In The Dark?” Create light sources, shadows and reflections. Use pencil and render as a value study. >Many cultures worshiped the sun as the giver of life. It is understandable why this would be so. Have students study several cultures that worshiped sun gods and have them create their own images of the sun deities or sun mytholo-
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gies. Some of the cultures that worshiped the sun were the Egyptian Ra, the Greek Helios, the Native Americans (Iroquois and Plains Indians) performed the “Sun Dance,” the Persians Mithra (heliodromus, the sun-carrier, the Roman Apollo, the Eskimo (Inuit) Malina, the Mayans Kinich Ahau, Do you know about Litha? It is the celebration of the midsummer solstice, longest day of the year.
ICONOGRAPHY: It is a system of using images, symbolic pictures, or figures to represent a theme or structure. >Have students develop “personal symbols” that represent themselves in some personal way. I have students come up with four different symbols so they can choose the best one. To help them think and get an idea, we divide the thinking into four different categories. 1. Monogram, 2. Pictograph, 3. Geometric shapes and patterns, 4. Self-Portrait. After students have designed their
personal symbol, they can use it for portfolio covers, collagraphic printmaking, or repeated pattern projects. >Have students develop symbols, which replace clichéd symbols like the sun, the heart, and the smiley face. >Part of iconography is found in the advertising world where recognizable icons are used for instant recognition of a product or company. Have students develop an original advertising logo for a real or imaginary business. >The national flag is a recognizable icon in all countries. Have students work is small groups to design a flag for their school, community, grade level, or neighborhood that uses symbolic images, colors, shapes, or words.
Purple, Orpiment (Arsenic Sulfide) for Orange, Chalk for White, Umbra for Brown. In my class we use a white gesso as the base to mix our own paints for mineral colorants.
If you want to use minerals for colorants in glazes the list will be different and depend somewhat on the temperature you wish to fire the ware to. Cobalt Carbonate for Blue, Chromium Oxide for Green, Copper Carbonate for Turquoise, Rutile for Yellowish Tan, Black Iron Oxide and Cobalt Oxide for Black, Red Iron Oxide for Reddish Brown. These colorants work well at cone 06. OCEANOGRAPHY: It is the study of chemistry, physics, geology and the biology of oceans. >Waves and surfing always attract young students’ attention. Get hold of a surfing movie or short surfing clips for free online. Have student try to reproduce what waves look like as they roll in set after set. A little explanation about the physics of wave energy will help. The waves will probably not look very realistic. There just aren’t a lot of big waves on Utah Lake. These wave sketches will make good cardstock templates for a collagraphic printmaking project. They could also be used for a stencil printmaking project but obviously the most natural medium for waves is WATERcolor. Get it?
Sodium Chloride (Salt) Halite Crystal public domain http://en.wikipedia.org/wiki/File:Halite%28Salt%29USGOV.jpg
MINERALOGY: It is the study of chemical composition, physical properties, internal crystal structure, origin occurrence, and distribution of minerals. >Use a variety of minerals to create color pigment in paint or glaze. For room temperature pigments in a neutral base, try Red Iron Oxide for Reddish Browns, Hematite for black, Red Hematite for bright red, limonite for yellow, azurite for blue, Iron Oxide in clay for yellow, Yellow Ocher for Yellow, Red Ocher for Red, Minium for Red, Verdigris and Malachite respectively, for Green, Lazurite for
Katsushika Hokusai, The Great Wave off Kanagawa, (c. 1833) Color wood block print public domain en.wikipedia.org/wiki/File:Great_Wave_off_Kanagawa2.jpg 99
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Art & Science Connected Symmetry in Nature – Bug Drawings 1st – 4th Grade Visual Art & Science Lesson by Stephen Pratt
Point titled Symmetry in Nature included in the CD of this packet for some examples. Check for understanding by having students point out symmetrical objects around the room. Or have a collection of objects or images (some symmetrical and some that are not) and have the students give you a thumbs up if the image is symmetrical, and a thumbs down if it is not.
OBJECTIVES Students will be able to: Define Symmetry and be able to recognize it in objects from nature. Illustrate their understanding of symmetry by making drawings of bugs. Make a connection with symmetry in nature and symmetry in manmade creations by looking searching for symmetrical objects in the classroom, and studying the architecture of the Taj Mahal. Define the different anatomical names for the different sections of insects STATE CORE OBJECTIVES 1-4th Grade Rainbow Chart: Line, Shape, Color – Identify, Explore, Create
MATERIALS Images of symmetry from nature for presentation Images of bugs for students to draw from – beetles and butterflies Blank paper, or photocopies of drawing sheet supplied in this lesson. Pencils Color pencils Fine tipped sharpies or other black pen/markers (optional) INSTRUCTION Explain the meaning of symmetry – having both sides of an image or object look the same. If you were to divide it in the center, both halves should be mirror images of each other. Show them some images of examples of symmetry we see in nature. Images could include bugs, flowers, human faces, leaves, tiger faces (interesting to see that even their stripe pattern is symmetrical). See Power-
Christmas Beetle (Anoplognathus viriditarsus) Dhobern 23 December 2008 Creative Commons Attribution-Share Alike 2.0 http://commons.wikimedia.org/wiki/File:Anoplognathus_virid-
Art Criticism: Explain that a lot of manmade things are symmetrical. Sometimes it makes a design more balanced and pleasing to look at when it has symmetry. Some architecture is a good example of this. Show them an image of the Taj Mahal, (on CD)and explain that the Islamic culture believed that symmetry was a form of beauty and perfection, and helped balance our lives. Everything about the design of the Taj Mahal is symmetrical. Even the gardens and exterior walls and architecture (which you don’t usually
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see in photos) were laid out to give a symmetrical balance. There is a structure off to the side of the gardens of the Taj Mahal built to house servants. In order to keep everything symmetrical, there was a replica building built on the opposite side, even though it was never used. Would the Taj Mahal look as good if it were missing some of its architectural features from one side or the other?
You could ask students if they can think of any other buildings that are symmetrical. Is the school a symmetrical or asymmetrical design? Do they have a preference over symmetrical or asymmetrical design? What are some good things about symmetry, and what are some good things about asymmetry?
If you would like you, can show the class more images of buildings or designs that are symmetrical and asymmetrical.
Demonstration: Explain that realizing that an image is symmetrical can help us draw it more easily. Do a demonstration of drawing a beetle or butterfly, with an image of one that everyone can see. I like to have it projected on my screen while I make a drawing on my white board. Start by putting a line of symmetry on your bug picture, and a line of symmetry on your drawing paper. From there you start drawing the contour of one half of your bug, and then try to imitate the second half on the other side of your line. (This same process can be done for drawing animal faces, which would be a good extension for students who finish this project early). This is also a good time to talk about the anatomy of beetles, and other insects, and introduce them to the proper terms: head, thorax, and abdomen. See Sources for websites teaching bug anatomy. Activity: Hand out photocopied images of beetles and butterflies. You can hand out a blank sheet of paper for them to draw on, or I like to give them a paper with two rectangular windows for them to draw in. I tell them their bug drawing should fill the rectangular window, and that helps them draw it a little bigger. They should start by drawing their lines of symmetry before they start drawing anything else. It is ok to erase, there is
http://www.robink.ca/blog/dragonfly-turtle-bayview-train/
no shame in it. After their line drawings are done, I have them trace it with a fine tipped sharpie and erase their pencil lines. The last step is to use color pencils to color in their bug drawings. I require them to color their bugs in solid. SOURCES: Bug Anatomy: http://www.earthlife.net/insects/anatomy.html http://www.insectidentification.org/insect-anatomy.asp http://biokeys.berkeley.edu/inverts/insect_anatomy.html
Good Dover Publications book for bug images to draw from: Insects, ISBN-13: 978-0-486-99779-7 and ISBN-10: 0-486-99779-0 Good website with different beetle images: http://www.cerambyx.uochb.cz/cerambyx.htm VARIATIONS You could do the same lesson with animal faces instead of bugs. EXTENSIONS You can require the students to use complementary colors to color their bugs. It’s a good way to get them familiar with complementary colors. It doesn’t have to be limited to just two colors per bug. They can use different shades of the complementary colors, and they can add neutral colors, such as black, grey, and brown.
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ASSESSMENT Use the rubric below to assess student work or have your students help you create one.
Criteria
Symmetry
5
4-0
-used a line of symmetry in the center of the window at the beginning
-student attempted to create both - student did not grasp the concept of sides of the bug drawing symmetrically symmetry -used sharpie to carefully go over the pencil lines
Craftsmanship
-erased extra pencil lines -kept color pencil strokes close together and solid -student used the class time wisely
Effort
-line of symmetry is not in the center of the window or missing
-sharpie lines were made too quickly -did not erase all or any of the pencil lines -coloring is not smooth. Colored too lightly, or left too much white paper showing through -student had difficulty focusing on the work, getting very little done in class
-drawing was passed off by the teacher -didn’t pass off the bug drawing before for any suggestions before moving on moving on to sharpie to using the sharpie -it appears that the student drew too -evidence of erased lines in attempts to quickly, and did not take the time to make the drawing more symmetrical make corrections
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Art & Science Connected Camouflaged Butterflies and Natural Selection 5th – 12th Grade Visual Art & Science Lesson by Stephen Pratt, Jakob Ellinger, and Katherine Sonne
INSTRUCTION Start with a presentation on natural selection (you may refer to the PowerPoint included in this packet). Natural selection is the concept that desired traits of a species will become more common through the years as those members of a species possessing those traits survive and reproduce. One of the best- known examples of that process is the English peppered moth. There are two types of peppered moths — a white moth with speckles and a dark moth. In the 1850’s the white moth made up 99% of the population of peppered moths, because it camouflaged well with the light colored lichen on the tree trunks.
OBJECTIVES Students will be able to: Explain how natural selection works and the concepts of evolution. Define the terms camouflage, mimicry, adaptation, and fitness as it relates to the theory of evolution Explain the differences between moths and butterflies. Create a butterfly that will hide in the classroom surroundings. Form their own opinions about the message of the camouflage art by Liu Bolin.
STATE CORE OBJECTIVES Science 5th grade Standard 5, Objective 2: Describe how some characteristics could give a species a survival advantage in a particular environment. Science 7th grade Standard 4, Objective 2: Relate the adaptability of organisms in an environment to their inherited traits and structures. Science 9-12th grade Biology Standard 5: Students will understand that biological diversity is a result of evolutionary processes. Fine Arts Standard 1 (Creating), Objective1 & 2 Fine Arts Standard 2 (Perceiving), Objective 1 & 2
MATERIALS Visual examples of camouflaged bugs and animals (see Sources below for good websites to find images to make a PowerPoint) Photocopies of blank butterfly patterns (included in this lesson packet) Colored pencils Scissors
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White and Black Peppered Moths Photos by Olaf Leilinger CC-BY-SA-2.5 and GNU FDL http://en.wikipedia.org/wiki/Peppered_moth_evolution
After the growth of the Industrial Revolution, the tree trunks darkened due to soot and grew less lichen because of the pollution, benefitting the darker moths in hiding from prey. By the 1950s, the dark moths made up over 90% of the peppered moth population (see sources for more information on the peppered moth). Now, with reduced rates of pollution, the white peppered moths have increased in numbers.
even posters in the room (white walls don’t count – you know some of the students are thinking of that).
A fun activity for the students might be to see a few images with camouflaged bugs or animals and see if they can spot them. There are some pretty amazing adaptations out there that have helped species hide in their environment.
Explain the theory of evolution and terms such as camouflage, mimicry, adaptation, and fitness. See PowerPoint included in this packet and sources at the end of this lesson.
Dead Leaf Butterfly Activity: To help them remember what they’ve learned about natural selection, their assignment will be to create a butterfly/moth that can blend into the classroom. Show them some student examples included in this lesson. Students will have to try to imitate color, pattern, and texture of an area in the room. This could be the floor, ceiling, cupboards, counter, bookshelves, books, or
Hand out the photocopy patterns of blank butterflies. Suggest to them that they think-it-through and plan their butterfly using a graphite pencil and light markings, before they tackle the drawing with colored pencils. It helps if they place their butterfly paper right on the area they intend to camouflage it into to so they can match the surroundings. It is ok if it is an unrealistic situation of mutation and natural selection – meaning, that the butterfly could be made to blend into one specific spot, and if it moved a little, it would be cited. Have fun with it! See how well they can hide their butterflies! Stress to the students that they will be graded on how well colors and textures match their surrounding. (See “Extensions” for an idea to prep them for this.) Sometime before, during, or after the activity, teach the students the differences between moths and butterflies. See Sources for good websites that teach this.
Connection to Contemporary Artists: Show them images of two contemporary artists: Liu Bolin and Cayetano Ferrer. They both use camouflage as the main concept of their work. Liu Bolin paints people to blend into the surrounding elements. Cayetano Ferrer will paint boxes in corners so that it appears you are seeing right through them. This would be a lot harder than simply camouflaging a flat piece of paper, as in the case of the butterfly assignment. How do you think they accomplish this? They aren’t using any computer or photography tricks, it is all done with paint. You would have to take into account that it only works when viewed from one specific angle. If the viewer were to move, it would no longer line up to match the surroundings perfectly. Class discussion: See this website: http:// www.dailymail.co.uk/news/worldnews/article-1201398/Now-you-dont-The-artist-turnsInvisible-Man.html to learn more about what inspired Liu Bolin to do his work. He talks about being shut out of his studio by the Chinese government, and so this was a way of taking his stu-
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dio out into the open, and “hiding.” He says this is his protest against the government and his way of revolting. Have a class discussion on what they think – does it work? He also talks about having a feeling of alienation and loneliness at a time of his life. Do these works express that? How? ASSESSMENT Rubric for Camouflaged Butterfly is included at the end of the lesson.
EXTENSIONS If you have the time, you could have an exercise previous to making the butterflies, where students cut out small swatches of color out of magazines, glue them on a paper, and they have to try their best to match that same color with colored pencils. All colors from a magazine will have to be imitated by mixing or overlapping different colored pencil colors. You could also discuss the biological differences of moths and butterflies to educate the students a little more about them.
SOURCES Nice website talking about the peppered moth and natural selection: http://www.techapps.net/ interactives/pepperMoths.swf
Short article on the peppered moth: http://www.mansfieldct.org/schools/mms/staff/ hand/genNaturalselection06.htm Natural Selection: http://en.wikipedia.org/wiki/Natural_selection http://evolution.berkeley.edu/evolibrary/article/ evo_25 http://evolution.berkeley.edu/
Along with camouflage, you could discuss mimicry as a way for species to protect themselves from predators. Mimicry is when a species, over time and through natural selection, looks a lot like a similar species that is bad tasting.
Simple explanation of differences between moths and butterflies: http://library.thinkquest.org/J002124/moths. htm http://insects.about.com/od/ learningaboutinsects/a/butterflyormoth.htm
Great Liu Bolin art images website: http://www.ekfineart.com/html/artistresults. asp?artist=82 Article on Liu Bolin and large images of his work: http://www.dailymail.co.uk/news/worldnews/ article-1201398/Now-you-dont-The-artist-turnsInvisible-Man.html VARIATIONS Instead of camouflaging butterflies, the assignment could be to make their wings look like something else. As in the case of butterflies scaring off predators with a design on their wings that simulates eyes.
Owl butterfly at the London Butterfly House in Syon Park, by wwarby Creative Commons Attribution-Share Alike 2.0 Generic http://www.flickr.com/photos/26782864@N00/1584811381/
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ASSESSMENT Use the rubric below to assess student work or have your students help you create one. Criteria
5
4-0
-textures or patterns are imitated well. Camouflage
-colors match the surroundings.
-poor job of imitating the textures or patterns in its surroundings. -colors don’t match very well.
-butterfly is neat and in good condition -butterfly paper is damaged in some (not folded, wrinkled, or ripped). way (folds, wrinkles, or rips) Craftsmanship
Effort
-used color pencils to color in solid (ap- -coloring is done too lightly, or too plying some pressure and covering up scribbled so that it is not smooth or all the white paper). solid/ white paper can be seen. -student was observed to not be work-student used their time wisely in class. ing on the project the whole time/ too much socializing/ not focusing on it. -chose a texture or area of the room that created a challenge (not some-picked a camouflage area that was thing too easy). too easy (such as a black cupboard, or something that was mostly white). You can use this butterfly pattern or have the students draw their own.
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Art & Science Connected You have two sides to your brain – now use it! Middle School Visual Art & Science Lesson by Patty Taylor
OBJECTIVES Students will be able to perceive differences in various brain functions as they create, evaluate and discuss artworks.
UTAH STATE CORE OBJECTIVES Standard 1 MAKING—Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Objective B: Create works of art that show the use of the art elements and principles. Standard 2 PERCEIVING—Students will find meaning by analyzing, criticizing, and evaluating works of art. Objective B: Evaluate works of art. • Evaluate works of art based on how they were created, effective use of the art elements and principles, fulfillment of functions, and expressive qualities.
students can get a feel of who he was, and why every child born in the 40’s – the 60’s all thought he was their other grampa. There are jillions of sites that show his art, but I always go to Disney. com and find a plethora of ways to show current and archival examples of what he and his “Imagineers” did and are doing.
Visual Culture: Ask for examples of Disney characters in various media, including television, film, marketing, etc. Explain that three touching circles are pretty much known worldwide, as a form of Mickey Mouse, and ask them to wear clothing or bring items from home to show how big the Disney brand is in their own worlds, for extra credit, of course, and have them share these items with the class. Go to various websites to show examples of online marketing, examples where Disneyesque items have been used in other media, etc.
Standard 4 CONTEXTUALIZING—Students will find meaning in works of art through settings and other modes of learning. Objective A: Analyze art. • Analyze the impact of culture on works of art. ACTIVITY
Art History: Walt Disney, the person, and Disney – the company are introduced. This is a great time to talk about Disney as an artist – to discuss the many times he tried and failed in his art and business adventures, perhaps bring up a video interview, or show a clip of him introducing a segment of “The Wonderful World of Disney,” so that
Image by Feld Entertainment Fair Use of a copyrighted image because this is a small image used only to facilitate discussion in an educational setting http://blog.syracuse.com/entertainment/2009/04/best_bet_ sunday_april_5_playho.html
Criticism: Evaluate, interpret and describe their drawings and the drawings created by profession-
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al animators. This can be held as a class discussion, a co-op assignment or an individual assignment. I usually make this part a class discussion, as we view their display and talk about other characters created by Disney, et.al..
Aesthetics: Ask questions about what is right or wrong about people who don’t own the copyright using Disney images in their web sites, artistic creations, or other media or design works. Write in a reflections journal summing up the class discussion and the student’s personal feelings on the subject. This two-part lesson is part of a
a-d. They then make a cross on the small drawing of Mickey “blocked in” on the attached sheet, and label the outside corners of the small drawing with an a-d in the outer corners. Students have now divided their paper and the worksheet drawing. This is a simple graph drawing method which easily enables them to draw what they see in section a on their paper, then b, c, and end with d. I demonstrate the drawing on the board, showing them how to recreate the “blocked in” Mickey, always paying close attention to size – shape – angle and placement. After a quick assessment to check the big four – they go on to copy the other drawing and create Mickey as Disney did. I tell the students that we are not making Melvin Mouse, we are making Mickey Mouse – and they need to do so correctly. I explain that there are times when it’s okay to copy another artist’s work and times when it is called plagiarism and neither legal nor nice to do. If students finish early, they can “give Mickey a place to live,” meaning they can create a background and thereby tell a story, by creating a setting to go along with their character.
Fake Disney characters used in China during the Olympics http://www.japanprobe.com/2008/07/24/fakemickey-mouse-statues-at-the-beijing-olympics/ basic shape introduction unit. The emphasis on the unit is using basic shapes to block in a drawing. There are many drawing skills discussed and practiced throughout the unit with emphasis on students checking their work for correctness in creating drawings using size comparisons, checking angles, seeing and using the correct shapes, and always placing items and lines correctly. After discussing Disney and his beginnings as a graphic designer and talking about how we use and see Disney products now (see AH and VC above), we begin by asking the students to fold a 8.5x11 sheet a paper into fourths (fold hamburger, then hotdog). They then put their name in the lower right hand corner, and in the outside corners, label each section
The second part of the drawing involves the RIGHT/LEFT BRAIN THEORY idea of drawing from the left side of the brain. There are a ton of ideas and pros – cons, opinions of opposing and appeasing forces when you bring up brain theory, as discussed in such classics as Edwards, Betty. The New Drawing on The Right Side of the Brain. Penguin Putnam. ISBN 0874774241 There are any number of theorists willing to discuss the possibilities of improving drawing abilities by using the brain differently.
I don’t do anything too scientific – I just like to get the kids thinking – so we begin with a little skit to have some fun and get them involved in discussing themselves and others.
I take a couple of student volunteers in the hall, read through the skit with them, let them practice for five minutes and then they come in and perform the following skit, or their variation of it, for their classmates.
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Props: -two posters dividing the drawing on the next page or one similar to this illustration in half and labeling each with a big R or L, the L in heavy block print and the R in something pretty and flowing. -a small poster that says NARRATOR Script:
Narrator: Welcome ladies and gentlemen to this segment of “Inside your Head” – a wildly popular tellall show which explores the things that we REALLY think!!!! We have with us Right Brain and Left Brain – who have decided to come on the show and share with us some of their deep dark personal secrets… Tell us Right Brain – Right Brain: Oh just call me RB – all my veins do!!!!!!!
Narr. : Ok – works for us – Why are you seated slightly behind Left Brain?
RB: Well, I do take a back seat in brain functioning – because Left Brain likes to control things.
Left Brain: That is Right. I am in charge!!! I know about so many things and I am very good at everything I do.
RB: That is right – he/she is in charge - but I am much more creative and sensitive. I can really dream too. Ohhhhhhhhhhhhhhhhhhhhhhhhhh….. LB: I am no dreamer! I am awake. I am conscious of what is happening at ALL times!!!
RB: Yeah, you are always telling me that I am late, or early, and that I have no sense of time.
LB: That is because I keep track of time, and all you do is think of colors to paint the clock and how to design it prettier….. RB: Oh yeah – I love to do that!!!! There is never a dull moment with me – I am so happy or sooooooooooooooo sad. I am Mad – or I am singing Joyously!!!!! Lalalalalalalalalalalala
LB: Oh I am not emotional!!!! Logic is my game. I put names on things. I make Lists. I put things in Categories. I like to reduce ideas and simplify projects.
RB: Not me!!! I like to make things fancier. When I remember things I see lines, shapes, darkness and light. I remember things by thinking about smells, sounds, colors, details and – oh yes – emotions!!!! LB: Silly you. Memory should be words – words and more words. Words are the key. I use verbal communication at all times.
Narr: Wow!!!!!! You two sure are different. It is good that you work together so well – in most people anyway…. Thank you for coming today and letting us get to know you better. Let’ give them a big hand!!! 111
The teacher lists under a drawing of each side of the brain the various concepts learned from the performance. There are comparisons made and questions asked about which side of the brain each student feels is more dominant in their thinking and learning styles. There is also a discussion around the fact that students who talk a lot are using the left – less creative – side of their brain when they talk – so they should be quiet in their art class so they and their neighbors can create better. They are then instructed to cover up the top part of their worksheet, fold their paper in fourths and label it as they did before. After a demo on the board they are instructed to draw Mickey again, following the same steps they did on the right side up drawing. They groan, complain, and threaten, and then – in complete silence, or with Handel’s “Water Music” playing, draw Mickey again – looking at their upside down model from the worksheet.
When finished, they compare the two and put a smiley face next to their name, by the one they like best.
Their works are displayed on a bulletin board, and later that week, we go on a “Gallery Stroll,” push the tables back, sit on the floor and have a “kind criticism” session. ASSESSMENT a possible rubric is included on the last page of the lesson.
EXTENSIONS Cartoon strips can be created from the main character and background. Students can create a graphic novel using their own original cartoon character and text from a story written in their English class.
Page below is from http://disney.go.com/partners/ print-center/coloring-page-widget/index.html and is shown here so you understand the idea.
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Student example of assignment
Assessment: Mickey Up and Down
Name ________________________________________________________________________ Period ___________
How well did you do? 1. Shapes 2. Size 3. Angle 4. Placement 5. Creativity 6. Neatness 7. Completeness
So Good – 5
Total: ________________
Huh? – 4
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Not so much – 3
Nope –2
Art & Science Connected Right Brain /Left Brain Secondary Visual Art & Science Lesson by Joanne Smith-Seale and Patty Taylor
Graphite Composition:Identifying and Working with Opposites in Life and Art
OBJECTIVES Students will be able to identify pairs of opposites in their life and in works of art. Students will also be able to sort and pick and combine opposing elements to create a work of art that expresses balance, harmony, and beauty. This project teaches students how to use pencils/graphite in very creative ways. It also “hides” subject matter in a manner that becomes an enjoyable, visual game. State core links; Standard 1; obj.1 b, obj.2 a & b, Standard 2; Obj.1 a & b, Standard 3; Obj. 1 b & c, Standard 4; Obj. 1 c Obj. 3 b. MATERIALS #2B and #4B soft lead pencils, electric pencil sharpener, or handheld or xacto blades for sharpening pencils, a variety of erasers, blending stumps, 80 lb. 9” x 12” drawing paper, rulers, spray fixative. You will also need each student to have 4-7 previous practice drawings of ordinary objects using the Blind Contour Line method. Drawings need to be original to the student and drawn from observation. LESSON
You will need for the lesson: Right Brain/ Left Brain readers’ theater printouts, various art work images that students can see obvious use of opposites, examples of student art works done previously or your own example. A chart listing 5 elements of art (Line, shape, texture, value and color may be add as the 6th element, space as in positive and negative space) and a chart listing a few of the design principles.
PROCEDURE Begin lesson by asking a girl and boy to participate in a readers’ theater with you. Give each a copy of the dialogue and read it through. Ask students to name qualities of right brain thinking and qualities of left-brain thinking. Make a list on the board or have an overhead transparency ready. Have them identify activities that might fit either way of thinking and processing. Discussion could include advantages and disadvantages of both. Summarize that a balance is necessary for healthy living. Reference the word “balance” on a chart of the principles of art (unity, balance, contrast, emphasis, repetition, etc.) Have students apply the concept of dualism to art. Show a few images of art in which students can identify pairs of opposites like lights and darks, complimentary colors, warm colors and cold colors, hard edges and soft edges, geometric shapes and biomorphic shapes, quiet areas and busy areas, open places and closed places, straight lines, curved lines, etc. Summarize by saying that works of art can be harmonious or beautiful when the opposing elements are balanced, the same as in healthy living. Image suggestions (Springville Museum collection, on CD): Abstract II by Carlos J. Andreson, Towards Thebes by Wolf Barsch, Coke At The Fair by Jerry Yazzie, Century’s End by Micheal Mogus, George II by Lee Deffebach, The Dance by Edith Roberson, Card Players by Alvin Gittens. Pablo Picasso’s Guernica is also a good image to use for this project as are Kandinsky’s and Mondrian’s art. ACTIVITY/ART PROJECT Begin project by handing out pieces of 80 lb. paper to students with rulers and #2B pencils. Tell them to draw a grid that is a 3:4 proportion
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rectangle with 12 equal squares and that is smaller than the 9” x 12” paper. Give them time to work out this mathematical problem ( left brain) and when a few have it, show the rest and have them teach others. Each student should have a grid drawn on paper that is smaller than the paper. The squares represent half of one of the first pairs of opposites. The other half will come from the drawings students have previously drawn as blind contour line practice (right brain). They are to choose 2 or 3 of the best of their drawings to trace onto the grid system. The tracing of their own work is OK and not “cheating.” Large windows in class or light tables are used for tracing. When the class has finished tracing, the next task is to “edit” each square or erase out unnecessary lines and make shapes of “dangly” lines. Demonstrate this for the students. Each square must be made simple enough say, 3 to 9 shapes, so that pencil/graphite rendering will be possible. Demonstrate pencil use; difference between 4B and 2B, “eraser drawing,” pattern making, a variety of grays and solid black and some white areas.
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VARIATIONS AND EXTENSIONS Bigger paper, more complex subject drawing, warped grid, add limited colors, use faces and figures for blind contour drawings, use pen.
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Readers’ theater for Right Brain/ Left Brain Narrator: Welcome Ladies and Gentlemen to this segment of Inside your Head, the
program dedicated to exploring the fascinating world inside our heads. We have with
us today, Left Brain and Right Brain, who have agreed to let us ..er, pick their brains and share with us their deepest, darkest secrets. Thank you for joining us today. Tell us, Right Brain….
Right Brain: Oh, just call me R.B. all my veins do.
Narrator: Ha! That’s very clever, all right…..now, why are you seated in back of Left Brain?
R.B.: Well, I take a back seat in brain function because it’s easier to let L.B. control things.
L. B.: That’s right! I’m in charge! because I know everything and I’m so good at it!
R.B.: He may be in charge…..but I’m the one that is more creative and sensitive. I can really dream too.
L.B.: Oh, I’m no dreamer….I’m awake, I’m conscious of what’s happening.
R.B.: Yeah, You’re always telling me I’m late or early and that I have no sense of time.
L.B.: That’s because I keep track of time and you dream of different colors to paint the clock!
R.B.: And what’s wrong with that? There’s never a dull moment with me. I’m so happy or soooo sad. I’m mad or I’m singing joyously! I’m Emotions with a capitol “E”!
L.B.: I’m not emotional…..Logic is my game. I put names on things, and I make lists and put things in categories. I like to reduce ideas and simplify projects. I like symbols.
R.B.: Not me! I like to make things fancier. When I remember things I see lines, shapes, darkness and lightness. I remember in smells, sounds, colors, details and emotions. L.B.: How ridiculous! Memory should be words, Words and more WORDS!
Narrator: WOW! You two are sure different. It’s a good thing you work together well,
at least in most people. Thank you for coming on our program today. Audience, didn’t they do well? (applause)
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Suggested list of opposites to use after the readers’ theater
Emotional Right Organic Fluids Spontaneous Chaos Intuition Accidental Timeless Dreaming Creative Dionysian Syncopation Random repetition
Pairs of Opposites
Intellectual Left Geometric Solids Premeditated Control Reason Planned Time awareness Conscience Logical Apollonian Rhythm or beat Ordered replication or Pattern
ASSESSMENT Rubric for assignment: 1. Does the grid drawing have 12 equal squares? Is the grid smaller than the paper, leaving an equal white border? 2. Did I trace my best drawings onto the grid in such a manner that there are no more than 3 squares that have no other shapes? 3. Are there 2 or 3 drawing parts that exceed the grid into the border?
4. Does each square have 2 or more other shapes created by the drawings?
5. Have the extra lines and detail been made into shapes or erased? (editing)
6. Have I used a balance of light, medium and dark grays? Plus some white and some black areas? (pair of opposites) 7. Have I created some patterns or textures (busy areas)? Is there a balance of plain and busy areas? (pair of opposites)
8. Around the edge of the grid are there at least 2 open areas that allow white to come in? (open/ closed pair of opposites) 9. Is there a balance of soft edges and hard edges around the gird? (pair of opposites) 10. Is the whole composition balanced?
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Art & Science Connected Bone Up on Science with ART Secondary Visual Arts and Science Lesson By Cindy Clark
OBJECTIVES 1. Students will carefully observe the skeleton of the human body and name the major bones. 2. Students will use searching lines to draw the skeleton. 3. Students will use CONTOUR lines to draw a skeleton. 4. Students will apply understanding of WARM and COOL colors to create depth in a skeleton drawing. 5. Students will assess their drawings using a rubric. 6. Students will use scientific processes and thinking skills.
Use Science Process and Thinking Skills a. Observe objects and report their observations. b. Sort and sequence data according to a given criterion. c. Make simple predictions and inferences based upon observations. d. Compare things and events. e. Use instruments to measure. f. Conduct a simple investigation when given directions. g. Develop and use simple classification systems. h. Use observations to construct a reasonable explanation. STATE CORE LINKS 1. Students will use a variety of media, techniques and processes to create art. 2. Students will use scientific processes and thinking skills (SEE ABOVE) 3. Students will use a classification system to label and understand the names of bones.
Junior high school student example
MATERIALS Collect bones of animals A human/plastic skeleton if possible (these can be borrowed from district media centers) Paper, pastels, white chalk, colored markers, black paper A handout that includes the names of the major bones
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ACTIVITIES 1. For about a month in advance, collect bones from meals, i.e. chicken bones, pork chops, ribs, fish, etc. or any other bones from hunters, or farmers. Boil them to remove any “meat.” Find tools for students to use to cut and scrape the bones, i.e. compasses or dissecting needles or even push pins. Put the small “objects” into egg cartons.
fine the skeleton. Students could even add values at this time if they are able. (See samples) They have used SEARCHING lines to help define form.
2. MAKE A KWL. (Divide a paper into three columns. In the first column write K which represents what you KNOW already. “W” tops the second column and stands for what you WANT to know or questions you have, and “L” on top the third column represents what you LEARNED). Ask students to think about and record everything they KNOW about bones. Then hand out some “bones” to each student. Have them feel, break, scrape, and examine the bones.
3. In the W column, (What do you WANT to know) ask students to record any questions they have about the bones. 4. Have a discussion about the discoveries and questions. In the L column (learn) have students write anything new that they LEARNED about bones. A good website that explains about bones is http://kidshealth.org/kid/htbw/bones.html
5. Show a skeleton of the human body. You could give a worksheet that names the bones and have students point them out at this time. (One is included at the end of the lesson. There also is a large version on the CD)
Junior high school student example
(A teacher demonstration really helps).
6. Have students draw an interesting SECTION of the human skeleton. (More than just the skull). Have students begin using SEARCHING, sketchy lines with a light colored marker ie. Yellow. When they have their drawing completed, have them go OVER it with a little bit darker marker ie. Orange. This time they can refine the lines and fix proportions. Look even more carefully. Next go over the skeleton again with an even darker marker ie. Red. This time they can fix any errors they made on the first two tries. Finally, ask them go over it again with an even darker maker, and further de-
7. Another way to study the bones is to draw a section of the skeleton using contour lines. Try using WHITE chalk on black paper. (CONTOUR LINES show edges and ridges, are slow, and show careful observation. They DO NOT use sketchy lines like the searching line project did).
8. After doing the contour drawings, discuss WARM and COOL colors. Show students how to blend pastels. Have them use WARM colors on the bones that come FORWARD, and COOL colors on the bones that go AWAY. (See samples). 9. Display the drawings. Ask students to label the bones on their drawings.
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Examples of searching line drawings in marker
Examples of contour line drawings with pastel, more on next page Diagram of a human female
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ASSESSMENT
DaVinci and his CODE of writing upside down and backwards in his notebook because dissecting human bodies was against the law.
1. KWL is completed.
2. Students can label the major bones of the body by filling in a worksheet.
RESOURCES
3. Searching lines: Students showed careful observation by fixing proportion and drawings throughout the process. Changes are evident.
KWHL Chart---see http://www.ncsu.edu/ midlink/KWL.chart.html
4. Contour/warm color pastels: Contour drawings show careful observation, and do not use sketchy lines, textures, or values. Warm colors advance and cool colors recede. Students drew an interesting PORTION of the skeleton.
Critical Questions:
5. Students participated in the discussion. IMAGES Included
SOURCES http://www.innerbody.com/image/skelfov.html www.proteacher.com/cgi-bin/poutsideesite. cgi?id_8929&ex (grade levels 2-3) VARIATIONS See websites EXTENSIONS Drawing any subject in science helps students increase their observation skills, helps them remember in a visual way, and cements their learning. Mr. Goodbody does a great DANCE of the bones, and explains what bones are connected to what bones. It would be fun for students to dance using their BONES. Leonardo DaVinci’s notebook shows his drawings of a skeleton. It might be interesting to discuss
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What do we already know? What do we want to find out? How are we going to find out? What primary and secondary resources can we access? What attributes or characteristic should we focus on?
Diagram of a human female skeleton Mariana Ruiz Villarreal, 3 January 2007 Public domain http://en.wikipedia.org/wiki/ File:Human_skeleton_front_en.svg
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Art & Science Connected Becoming an Art Scientist Secondary Visual Art & Science Lesson By Amanda Toler
OBJECTIVES Students will be able to: -Analyze watercolor processes and try to recreate them -Apply the Scientific Process to explore various media techniques inspired by a contemporary artist or and artist of their choice. -Reflect on experimentation and use findings to create desired effects on an artist-inspired artwork.
STATE CORE LINKS Standard 1 (Making): The student will explore and refine the application of media, techniques, and artistic processes. Objective 1: Explore a variety of art materials while learning new techniques and processes. Objective 2: Predict the processes and techniques needed to make a work of art. Standard 2 (Perceiving): The student will analyze, reflect on, and apply the structures of art. Standard 4 (Contextualizing): The student will interpret and apply visual arts in relation to cultures, history, and all learning.
Or show another watercolor painting that shows various watercolor techniques for students to analyze.
Have each student take a small piece of watercolor paper or regular drawing paper and a watercolor set. Using watercolors and water, have students experiment with the watercolor to try and recreate some of the effects seen in Mary Ann Free Smith’s painting. Explain that certain effects can be made with salt, alcohol, masking tape, or crayons. Have students use these materials and decide which may be the most useful in recreating Mary Ann Free Smith’s painting.
MATERIALS -Image of Grey Squares by Mary Ann Free Smith -Watercolors -Various art mediums and supplies for students to experiment with (e.g. flour, water, salt, alcohol, chocolate syrup etc.) ACTIVITY
Art History: Start the lesson by showing the painting Grey Squares by Mary Ann Free Smith.
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Most students will find that the masking tape would be most useful because they would be able to use it to mask of the area of the flowers while they painted the squares in the background. Or they could use if to create straight lines on the squares. The salt would create little star shapes, which are not seen in the original piece, alcohol would create little light circles, and crayon shows through the paint, also not really useful for recreating this image.
Aesthetics After the watercolor exercise, discuss that the study of how artworks are created is important in learning how to create artworks yourself. Many times, when looking at an artwork, it’s difficult to understand how the artist used a particular medium to create specific effects in an artwork. Explain that the students will be using the scientific process to help them discover some new ways of creating art. Criticism/Production
The Scientific Process: Ask a Question Do Background Research (These can be summarized as “Observation,” as well) Construct Hypothesis Experiment Analyze Results/Draw Conclusions True/False Report Results /New Hypothesis
The Process
Students may use the for included in the lesson or just write the information on a sheet of paper. The form or report should be turned in as part of the assessment of the lesson.
Observation/ Research: Have students do research in the library or online. Have them search various contemporary artists that they like and find one that has a style or technique they find interesting and would like to imitate in their own artwork. They must find three different techniques they would like to recreate. Construct Hypothesis: Students should brainstorm all of the possibilities they can think of for how to recreate the desired effects. Could they add water, salt, alcohol, oil, flour, heat ,or any other manipulations of the media? Students should pick the six they think will work the best. Have students write a hypothesis for what they believe will happen when they manipulate their media with all the materials they listed. Experiment: Students then experiment with the different media and actually see what happens. The results should be recorded as they experiment.
There are a few different ways students can use the Scientific Method in the art classroom. First, students could explore any question, it would not have to relate to art, and they would report the journey and findings through an artwork. Secondly, students may use the method to explore how a known artwork was created or simply to experiment with new techniques. This lesson will focus on how a student may look at an artwork she is interested in and use the scientific method to figure out how to recreate some of the desired effects seen in the artwork and apply those methods in her own artwork, using only the materials available in class.
Analyze Results/Draw conclusions: Once all experimenting is through, the students must analyze the results. Was their hypothesis correct? Which materials worked the best to create the desired effect? If needed, students may go back through the process to experiment with other media and manipulations.
Once the student has decided on the best fit, the student then must create an artwork using the chosen techniques. The artwork must be inspired not only by the techniques of the chosen artist but also by that artist’s themes, ideas, or style.
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ASSESSMENT Assess the discussions formatively with participation points and the studio project with the following or a similar rubric: Criteria Craftsmanship
Follows the Scientific Method
Becoming an Art Scientist 1 2 3 No use of Little use of Average craftsmanship, craftsmanship neatness very messy Shows no understanding of the Scientific Method
Reproduction Artwork does of artist’s work not relate to chosen artist’s work, themes, ideas, or style
Creativity Use of class time
Very little creativity in design is shown Does not use class time wisely
Little understanding of Scientific Method, skips or misses steps
Shows understanding of Scientific Method, doesn’t completely follow through Artwork shows Artwork shows little a definite relationship to relationship to chosen artist’s chosen artist’s work, themes, work, themes, ideas, or style ideas, or style
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5 Strong Extremely craftsmanship, well crafted; neat work; demonstrates well-designed mastery of artwork technique(s) as well as artistry Finishes all Follows the aspects of Scientific the Scientific Method and Method goes beyond expectations Artwork clearly demonstrates chosen artist’s techniques as well as themes, ideas, or style
Little creativity Average creativity
Strong creativity
Works but talks and is often off track
Good use of class time
Average use of class time
Totals Total for Assignment 129
Artwork clearly demonstrates chosen artist’s techniques as well as themes, ideas, or style and is a unified artwork on its own Very strong creativity shown in completed artwork Very good use of class time. Finishes assignment in good time while keeping good quality and showing understanding
Becoming an Art Scientist Name _________________________________________________________________ Observation/Research (Artist’s name)
Artistic Effect #1
Class _____________________
Artistic Effect #2
Artistic Effect #3
Construct Hypothesis 1. (Possible ways to create desired effects)
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Report Experiments 1. (What was the result of each experiment?)
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Analyze Results (Was each hypothosis correct?)
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Draw Conclusions (Which materials worked best?) Put Results to Use (How will I use my research in my artwork?)
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VARIATIONS The scientific method can be used simply to just experiment with different types of media in the classroom and to come up with newer and more creative ways of using them. It does not have to be tied to an artist nor a specific style. EXTENSION Students who may want to go further could try and recreate the painting they observed as exactly as they possibly can, using only the materials available to them. While this approach may reduce the amount of creativity in the assignment, it will help the students understand the skills and processes of the artist better and provide an improved set of techniques for future creative projects.
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