Risk-taking: Interdisciplinary Thematic Unitteacherpress.ocps.net/studio129/files/2016/02/Gifted...Vanessa Brown, Ph.D. Thematic Unit for the Visual Arts RISK-TAKING: INTERDISCIPLINARY

Vanessa Brown, Ph.D. Thematic Unit for the Visual Arts

RISK-TAKING: INTERDISCIPLINARY THEMATIC UNIT Visual Arts Education

ABSTRACT: “Risk Taking” is a thematic unit that can be used with all students, but specifically designed for students that are identified as gifted and talented in the Visual Arts. This unit incorporates Gifted Education best practices, differential instructional strategies and sequential investigative activities influenced by the Autonomous Learner Theoretical Educational Model. Through hypotheses generation, experimentation, and in-depth student-directed research, students will use critical, creative, and problem-solving skills that will increase their ability to ”step outside of their comfort zone” and take more creative risks when making art.

Thematic Unit for the Visual Arts

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RISK-TAKING: INTERDISCIPLINARY THEMATIC UNIT Visual Arts Education

TABLE OF CONTENTS

Page RATIONALE 2 DIFFERENTIAITON MODEL 3 THEORETICAL MODEL 5 NGSSS AND NATIONAL ART EDUCATION CORE STANDARDS

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GENERALIZATIONS AND ESSENTIAL FOCUS QUESTIONS

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FLORIDA’S FRAMEWORKS

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GIFTED AND TALENTED BEST PRACTICES

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THEMATIC UNIT LESSON PLAN LESSON PART 1 THEME INTRODUCTION

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LESSON PART 2 BUILDING BLOCKS OF ART

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LESSON PART 3 RESEARCHING ART CAREERS CREATED AS A RESULT OF RISK TAKING

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APPENDIX EXPOSITORY WRITING MENU

37 EXTENDED STUDIO EXPEREINCE MENU

38 STUDY GUIDE 39 HYPOTHESIS GENERATION WORKSHEET 40 ART RELATED CAREER MENU 41 INDUCTIVE AND DEDUCTIVE LOGIC HANDOUT 42 PRE / POST TEST 43

REFERENCES AND RESOURCES 46


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RATIONALE

Many students identified as Gifted and Talented in the Visual Arts can be characterized as Creative Thinkers. “Sometimes people forget that people who have made the most significant contributions to humankind throughout history generally exhibit many characteristics of creative thinkers “. It is the non-conformists who are the problem solvers, artists, dreamers, and inventors, thinking “outside of the box” in ways that profoundly affect our lives. (Susan Winebrenner, Teaching Gifted Kids in Today’s Classroom: Strategies and Techniques Every Teacher Can Use, (page 20), (2001).

The behaviors of the creative thinker can be a challenge for teachers and parents. These students often do not do well in school, argue for things to be done differently and can become procrastinators, which impacts their educational success. This unit is designed to take into consideration these characteristics in order to develop a more meaningful, challenging, differentiated and positive educational experience in the Visual Arts for these students.

Some of the characteristic of the creative thinker being taken into consideration are listed below. Creative thinkers often:

• Display original ideas and products. Are sometimes characterized as thinking up “wild and crazy ideas.”

• Are fluent in idea generation and development. • Demonstrate flexibility of ideas and points of view. Can see merit in

looking at things and situations from numerous perspectives. • Are impatient with routine and predictable tasks. Add or change

directions given by the teacher to make assignments more interesting to them.

• Challenge accepted assumptions. • Say what they think without regard for consequences. Are capable of

great independence and autonomy. • Have a great imagination; daydream often. • Can persist at one task to the total exclusion of others. • Are passionately interested in a particular topic or field of endeavor.


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“In considering the practical applications in the classroom, it would seem that the encouragement of a learning atmosphere which generates alternative modes of thinking and problem solving strategies and an acceptance of open-ended situations encourages the creative act. The classroom needs to be “emotionally charged”; pupils encouraged to pursue individual ideas in an atmosphere of adventure and risk-taking.”

*Trevor D. Vaughan, The Balance of Opposites in the Creative Process; The Creative Mind Gifted Education International September 1, 1988 5: 142-147

Personality Characteristics Associated With Two Patterns of Creative Individuals Characteristics Associated With Openness and Courage

to Explore Ideas

Characteristics Associated With Listening to One’s

Inner Voice • Sensitivity to problems • Aesthetic sensibilities • Curiosity • Sense of humor • Playfulness • Fantasy thinking • Risk-taking • Tolerance for ambiguity • Tenacity • Openness to experience • Adaptability • Intuition • Willingness to grow • Openness to feelings • Unwillingness to accept

authoritarian assertions without critical examination

• Self-awareness of creativeness • Persistence • Independence of thought • Self-disciplined • Self-directed • Autonomous • Self-confident • Reflective • Introspective • Internal locus of control • Rejecting of stereotypes • Energetic • Hard-working • Absorption in work • Unsociable


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DIFFERENTIATION MODEL

In the Visual Arts Education curriculum, the primary focus is on the student’s ability to CREATE. This includes all of the activities referred to as “creative thinking.” Due to their unique characteristics, Gifted and Talented students need differentiation in instruction. One of the most popular differentiation models is Bloom’s Taxonomy of Educational Objectives (1984), which arranges the levels of thinking sequentially from least to most complex. The Bloom’s Taxonomy hierarchical arrangement was revised by Susan Winebrenner (2001) to reflect that in order to better meet the unique needs of the Gifted and Talented student, the most challenging category, CREATE, should be at the top of the chart. The following Taxonomy of Thinking Chart guides all lessons and activities developed for this unit.

TAXONOMY OF THINKING CHART CATEGORY DEFINITIONS TRIGGER WORDS PRODUCTS

CREATE Re-form individual parts to make a whole

• Compose • Design • Create • Hypothesize • Imagine • Construct

• Paintings • 2D Design • Photography • Collage • Mixed Media • 3D Design • Graphic Design

EVALUATE • Judge value criteria • Support judgment

• Critique • Evaluate • Reflect • Recommend

• Artist Statement • Concentration Summation (AP

Studio Art) • Critique • Rubric

ANALYZE Understand how parts relate to a whole. Understand structure and intent, or motive. Note fallacies.

• Investigate • Classify • Categorize • Compare • Contrast • Solve

• Plan / Journal • Identify solutions • Present

APPLY Transfer knowledge in one situation to another

• Demonstrate • Use tool, skill, or

techniques

• Demonstration • Artwork • Formulations of directional

steps UNDERSTAND • Demonstrate basic

understanding of concepts and curriculum.

• Translate into other words.

Restate into own word • Give examples • Explain • Summarize • Translate

• Response to questions • Artwork • Demonstration

RECALL Ability to remember something previously learned

• List • Define • Locate

• Quiz or test • Skill Work • Vocabulary


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THEORETICAL MODEL

The theoretical model that will influence this unit is the Autonomous Learner Model for the Gifted and Talented (ALM) developed in the late 1970s and further developed by Betts in 1985. The focus is placed on the social-emotional and cognitive needs of the high school gifted and talented student. This model is especially appropriate for the departmentalized and Visual Arts Magnet program structure in high schools. The ALM suggested implementation timeline progresses students through five major dimensions within a 3 year period. Visual Arts Magnet programs implementation timeline progresses students through very similar dimensions in a 4 year period. The ALM culminating goals of preparing students to be successful life-long learners, while developing thinking, decision making, and problem-solving skills is also the foundational focus of most Visual Arts Magnet programs. The ALM dimensions include orientation, enrichment, seminars and in-depth study. The basic principles of the model are best practices emphasized in our program. The diagram below illustrates how the ALM is very similar to the structure of the Visual Arts Magnet program model. In the diagram below, only the two-dimensional art disciplines are represented, but can be adapted to all visual arts disciplines. In this unit on “Risk Taking”, lesson Part 2 focuses on individual development, that includes exploration and investigative enrichment activities.


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STANDARDS

This thematic unit can be applied to many courses and encompass many of the NGSSS standards and College Board requirements highlighted below in the courses chosen to implement this unit of instruction.

9-12 DRAWING I (#0104340) http://ims.ocps.net/curriculum/SVPA/VisualArts/High/Pages/default.aspx 9-12 PAINTING I (#0104370) http://ims.ocps.net/curriculum/SVPA/VisualArts/High/Pages/default.aspx

9-12 PORTFOLIO DEVELOPMENT: DRAWING HONORS (#0109310) http://ims.ocps.net/curriculum/SVPA/VisualArts/High/Pages/default.aspx

ADVANCED PLACEMENT STUDIO ART: DRAWING PORTFOLIO https://apstudent.collegeboard.org/apcourse/ap-studio-art-2-d-design

ADVANCED PLACEMENT STUDIO ART: 2D DESIGN http://media.collegeboard.com/digitalServices/pdf/ap/ap-studio-arts-course-description.pdf

As adapted from The Cluster Grouping Handbook by Susan Winebrenner, M.S., and Dina Brulles, Ph. D. (2006), in order to add rigor to instruction and the scaffolding of knowledge, techniques, and skills for the Gifted and Talented student, lessons developed will be tiered to include the required standards, entry-level activities, advanced activities, and highly challenging activities.

The National Art Education Association (NEA) created the National Core Visual Arts Standards to create a process that guides educators in providing unified quality arts education for students in Pre-K through high school. The key features and related standards identified for this unit includes:

Creating| Performing/Presentation/Producing| Responding |Connecting

http://ims.ocps.net/curriculum/SVPA/VisualArts/High/Pages/default.aspx�



https://apstudent.collegeboard.org/apcourse/ap-studio-art-2-d-design�

http://media.collegeboard.com/digitalServices/pdf/ap/ap-studio-arts-course-description.pdf�


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NATIONAL CORE ART STANDARDS CREATING PERFOMING

/PRESENTING /PRODUCING

RESPONDING CONNECTING

Anchor Standard #1 Students will generate and conceptualize artistic ideas and work. Anchor Standard # 2 Students will organize and develop artistic ideas and work. Anchor Standard # 3 Students will refine and complete artistic work.

Anchor Standard #4 Students will analyze, interpret, and select artistic work for presentation. Anchor Standard #5 Students will develop and refine artistic work for presentation. Anchor Standard #6 Students will convey meaning through the presentation of artistic work.

Anchor Standard #7 Students will perceive and analyze artistic work. Anchor Standard #8 Students will interpret intent and meaning in artistic work. Anchor Standard # 9 Students will apply criteria to evaluate artistic work

Anchor Standard #10 Students will synthesize and relate knowledge and personal experience to make art. Anchor Standard #11 Students will relate artistic ideas and works with societal, cultural and historical context to deepen understanding.

INTERDICIPLINARY STANDARDS

Language Arts:

LAFS.910.SL.2.4 – Students will present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task. LAFS.910.WHST.2.4 – Students will produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

Mathematics:

MAFS.K12.MP.1.1 - Make sense of problems and persevere in solving them. MAFS.K12.MP.2.1 - Reason abstractly and quantitatively. MAFS.K12.MP.3.1 - Construct viable arguments and critique the reasoning of others. MAFS.K12.MP.6.1 - Attend to precision.

Science:

SC.912.P.8.8 - characterize types of chemical reactions

Social Studies / Humanities:

SS.912.H.1.In.a: Identify works in the arts, including architecture, music, and visual arts, from time periods, such as Classical, Renaissance, Modern, and Contemporary. SS.912.H.1.Su.a: Recognize works in the arts, including music and visual arts, from a time period, such as Classical, Renaissance, or Contemporary. SS.912.H.1.Pa.a: Recognize a characteristic of a work in the arts from a time period.


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GENERALIZATIONS AND ESSENTIAL FOCUS QUESTIONS

THEME: Risk Taking

In the quest to help the Gifted and Talented Visual Arts student to create quality art work, be prepared for higher education and art-related careers, the theme, “risk taking,” should apply within all of the five major dimensions of the Autonomous Learner Model for the Gifted and Talented (ALM) theoretical model being adapted for Visual Arts Magnet programs. All of these dimensions overlap throughout the duration of the program.


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TOPICS: Under this thematic unit, the following are examples of what topics can be integrated and combined throughout the Visual Arts Magnet program.

Lesson Topic: The Building Blocks of Art

• Focus of Activities: Elements and Principles of Design

Lesson Topic: Art Media and Careers

• Focus of Activities: 2D Media, Skills, and Techniques • Focus of Activities: Architecture Linear Perspective Skills, and

Techniques • Focus of Activities: Researching Innovative Careers

Lesson Topic: Art History

• Focus of Activities: Non-Western Art • Focus of Activities: Western Art • Focus of Activities: Innovative and Contemporary Artists


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THEME GENERALIZATIONS

ESSENTIAL FOCUS QUESTIONS

Risk taking is essential to the advancement of society.

How has risk taking shaped the progression of art throughout history?

Risk taking can be interpreted as a necessary “rebellion” within a society.

What are some of the instances where risk taking has produced unique, visually rewarding works of art throughout history?

Risk taking requires creative thinking.

Why is risk taking equated with “breaking the rules”, “thinking outside of the box?”

Risk taking improves self-confidence and self-esteem.

What are some of the steps that can be taken to overcome the fear of taking risks in the art making process?

Risk taking takes courage and the ability to “fail forward.”

Why is the fear of risk taking so strong within societies and the art world?

Risk taking is essential in the conceptual age of our cultural development.

How has risk taking propelled society through the agricultural age, industrial age, information age into the conceptual age?

Risk taking should be a required skill for all Visual Arts students.

How can risk taking assist students in meeting the high demands of portfolio development for college entry or art-related careers?


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FLORIDA FRAMEWORKS FOR THE GIFTED AND TALENTED LEARNER

Florida’s Frameworks for K-12 Gifted and Talented Learners has been created for many different stakeholders with gifted education. This document has been reviewed and information gleaned to assist the Visual Arts Education instructor in developing a more effective, engaging, rigorous, and enriching curriculum that focuses on the importance of promoting risk taking in the art making process.


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The chart entitled, Identifying Relationships Between DQ 3, 4 and Gifted Goals 1, 4, and 7 illustrates student outcomes, goals, and objectives gleaned from the Florida Frameworks Gifted and Talented Learners can be easily integrated with the Marzano Art and Science of Teaching Domain Questions 2, 3 and 4. Focusing on this level instruction can add the rigor required to meet the needs of this targeted group, as well as all Visual Arts students.

Below are the Student Outcome Framework Goals and Objectives chosen to include in the development of this thematic unit. In addition, the chart below demonstrates an example of how to integrate the Frameworks and Visual Arts Core Standards for this thematic unit.


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GIFTED AND TALENTED EDUCATION BEST PRACTICES

Gifted and talented students and those with high abilities need gifted education programs that will challenge them in regular classroom settings, as well as enrichment and accelerated programs to enable them to make continuous progress in school. According to Westberg, K. L. (1999), What happens to young, creative producers? National Association of Gifted children (NAGC): 3, 13–16,

[Gifted Education programs] are more than just giving students a challenge in classrooms: Gifted programming positively influences students’ futures. Several longitudinal studies have shown that gifted programs have a positive effect on students’ post-secondary plans. Further benefits of gifted programs have been shown to include that students who had participated in gifted programs maintained their interests over time and stayed involved in creative productive work after they finished college and graduate school. [6]

Four of the six best practices identified by NAGC are infused in most Visual Arts Magnet programs and within this thematic unit include:

ACCELERATION

Grades 9 students are invited to take Advanced Placement Studio Art and participate in Visual Arts Magnet recitals that are usually reserved for 11th and 12th graders

CURRICULUM COMPACTING

Lessons and activities are designed to offer students differentiated instruction. Students’ performance on pre-tests can help to determine mastery of vocabulary. Also, portfolio content helps to determine mastery of skills and techniques. This allows for student to accelerate to enrichment activities to deepen understanding.

GROUPING

A Visual Arts Magnet program is comprised of students that are identified as Gifted and Talented in the Visual Arts. These students are grouped together in specialized courses for four years. This allows for appropriate, rapid, and advanced instruction, which matches the rapidly developing skills and capabilities of these students.

SPECIALIZED PROGRAMS

Students identified for this unit are members of a Magnet program in a local school. Magnet school programs also often work hard to keep their course offerings innovative and challenging to remain competitive among other offerings for advanced students.


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Students will use questioning techniques for the following purposes during this thematic unit: Conduct Research, written reports, conducting experiments, independent projects, group and individual projects and to prepare for presentations. Students will practice three thinking abilities by applying questioning techniques: divergent, convergent and metacognitive thinking. Below are tips for effective questioning and the types of divergent questions interjected throughout this unit. These were taken from the Curriculum Development for the Gifted Module 6 presentation created by Mandy Cason, OCPS (2015).


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The chart below demonstrates how these questioning techniques are infused throughout this thematic unit on risk taking.

THEMATIC UNIT TITLE: RISK TAKING QUESTIONING TECHNIQUES

QUANTITY QUESTIONS

SEE LESSON PLAN PART 1 • How many periods in art history emphasize

innovation and risk taking in art making? • How many artists could be considered as

creative risk takers?

COMPARE AND CONTRAST QUESTIONS

SEE LESSON PLAN PART 2 • In the process of making art, what is the

relationship is the relationship between the elements of art and the principles of design?

• What is the contrast between appropriating art and creating art using your own “voice?”

• What careers required the most education or training and the least?

FEELINGS / OPINIONS / PERSONIFICATION

QUESTIONS

SEE LESSON PLAN PART 1 AND 2 • Why is “risk taking” sometimes seen as

“rebellion?” • How has risk taking impacted your personal art

making process? • How has taking creative risks improved your

self-confidence when creating art or your self-esteem?

“WHAT IF” QUESTIONS

SEE LESSON PLAN PART 2 • What if you were asked to paint a picture, but

could not use a brush. What would be some of the things you would consider using?

• What if you had no paper to draw or paint art on? What would you use instead?

• What would the world look like if artists and designers did not take any creative risks?


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The theme of this unit is “risk taking.” In order for Gifted and Talented Visual Arts students to develop the multiple perspectives needed to become creative risk takers, they need to be exposed to multiple approaches instruction. In order to provide students interdisciplinary, differentiated, and challenging educational experiences, the lessons within this unit will also include implementing Howard Gardner’s “Entry Points” as a best practice. Entry Points were developed to meet the needs of the multiple intelligences students demonstrate in the classroom.

ENTRY POINTS

• The Aesthetic Window - The entry point through which learners respond to formal and sensory qualities of a subject or work of art

• The Narrative Window - The entry point through which learners respond to the narrational elements of a subject or work of art. .

• The Logical/Quantitative Window - The entry point through which learners respond to aspects of a subject or work of art that invite deductive reasoning or numerical consideration

• The Foundational Window - The entry point through which learners

respond to the broader concepts or philosophical issues raised by a subject or work of art.

• The Experiential Window - The entry point through which learners respond to a subject or work of art by actually doing something with their hands or bodies.


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THEMATIC UNIT TITLE: RISK TAKING [Examples of how the Entry Points can be used in this unit lesson plans]

AESTHETIC

ACTIVITY: Students will choose one of the Elements or Principles of Design from the Extended Studio Experience Menu to research using their textbook, teacher-prepared articles and online resources. (See Lesson Part 2)

LOGICAL / QUANTITATIVE ACTIVITY: Small groups and whole class activity: Students will research art periods. Students will identify and list time periods where risk-taking changed society’s definition of art. Students will also identify and list innovative artists of those periods.

FOUNDATIONAL

ACTIVITY: Students will describe / brainstorm how they will apply techniques to solve aesthetic problems assigned by the teacher. Through convergent and divergent thinking new perspectives formed will be discussed with their peers and during teacher-student conferences.

PRODUCT: Students will create works of art that demonstrate their understanding of how their topic is used in the art making process. Students will chose their own materials and tools. (See Lesson Part 2)

PRODUCT: Students will create a graph that visually shows the results of their research and present their findings to the class. How many artists were identified as “risk-takers” and during which art period did or do most of them exist?

PRODUCT: Students will create a plan for executing works of art; make thumbnail sketches, and notes of new knowledge that may have been acquired during brainstorming sessions.

ACTIVITY: Students will learn how to critique their own work using the Project Rubric (see lesson 2). Students will identify their weaknesses and strengths.

ACTIVITY: Students will use inductive and deductive logic to generate hypotheses. Students will test hypotheses that encourage them to take creative risks.

ACTIVITY: Students will examine career opportunities in the Visual Arts to determine pre-requisite skills, qualifications, supply and demand, market locations, and potential earnings. Students will choose a career of their choice from the Extended Menu (see Lesson Part 3) to research. They will be asked to pay close attention to careers that have been developed due to taking creative risks and what may have been the driving force.

PRODUCT: Students will produce multiple works of art and self-critique their work.

PRODUCT: As part of their reflection on learning, they will complete a chart that records their hypothesis, results of testing, and conclusion they have drawn about how this impacted the art making process.

PRODUCT: Students will reflect on their research in their journals. Students will be asked to develop a new future art-related career idea.

EXPERIENTIAL

ACTIVITY: Students will experiment with various materials, supplies, and techniques to test their hypotheses. Students will experiment with various materials, supplies, and techniques to find their own “voice” while taking creative risks.

NARRATIVE

ACTIVITY: Students will use the Expository Writing Extension Menu (see Lesson Part 1) to choose questions to investigate within small groups. Students will also generate additional focus questions they believe should be a part of this unit.

STUDENT CHOICE PROJECTS As a result of implementing this unit, it is hopeful that students will transfer lessons learned into additional works of art throughout the school year. Students will be given the opportunity to choose additional project topics from Extended Studio Experience Menus that are teacher created. Students will also have the opportunity to develop their own topics, research that topic, and generate hypotheses about how to take creative risks to create their own works of art that communicates their unique “voice.”

PRODUCT: Students will create multiple works of art and be able to discuss what risks they took and how this impacted the results of their critique.

PRODUCT: Students will individually produce a written summation of their group discussion and read it to the group.


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THEMATIC UNIT: RISK TAKING

LESSON # 1: UNIT INTRODUCTION

Topic: Writing To Support an Argument or for Elaboration

Duration: 3 weeks (15 Days)

Subject: Visual Arts – Drawing I, Painting I, and Drawing Honors

Grade Level: 9-12

Resources and Materials:

Student Resources:

Expository Writing Menu

Studio Student computer workstations, BYOD (laptop, tablet, Smartphone)

Edmodo Course Page [for uploading writing assignments and accessing supporting Internet links and handouts]

Digital or Hardcopy Textbook: The Visual Experience [As a reference]

Rubrics

Learning Goals

Scholastic Arts Magazine Editions

Teacher Resources:

Digital or Hardcopy Teacher Guide Textbook: The Visual Experience

Scholastic Arts Online Teacher Resources


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Standards

LAFS.910.SL.2.4 – Students will present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task.

LAFS.910.WHST.2.4 – Students will produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

LEARNING GOALS

Students will present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task Students will produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Students will be able to identify and investigate a problem and generate supportive arguments from multiple perspectives of a complex issue. Students will choose a theme generalization or essential focus question; Students will be able to identify, discuss, and investigate a problem.

Instructional Strategies Due to their unique characteristics, research studies have shown that Gifted and Talented students need differentiated instruction. The activities associated with this unit lesson can be used to introduce the thematic unit, by engaging students in research and small-group discussion about the identified generalization or essential focus questions.


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WEEK 1- 3 ACTIVITIES


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LEARNING SCALE

CREATING Level 4

Students will present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task

PERFORMING Level 3

Students will produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

RESPONDING Level 2

Students will be able to identify and investigate a problem and generate supportive arguments from multiple perspectives of a complex issue.

CONNECTING Level 1

Students will choose a theme generalization or essential focus question; Students will be able to identify, discuss, and investigate a problem.

RUBRIC /ASSESSMENT CRITERIA

ACCOMPLISH

The student was able to analyze relevance, reliability, and usefulness of the information researched to draw conclusions.

25 POINTS

PERFORMING PRESENTING PRODUCING

Students presented information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task

25 POINTS

UNDERSTAND

The student investigated a theme generalization or essential question and generated supportive arguments from multiple perspectives of a complex issue.

25 POINTS

KNOW

The student chose a generalization or essential focus question to investigate and could articulate in discussion a clear understanding of what was to be investigated.

25 POINTS

TOTAL POSSIBLE POINTS 100


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LESSON # 2: BUILDING BLOCKS OF ART

Topic: Elements and Principles of Design

Duration: 9 to 18 weeks


Grade Level: 9-12

Theme: Risk Taking

Theoretical Model: Autonomous Learner Model for the Gifted and Talented (ALM) / Individual Development and Enrichment Dimensions


Student Resources:

Study Guide with Extended Menu


Edmodo Course Page (articles, vocabulary, pre and post tests)

Shared Google Drive Account [for uploading and editing art work for critique]

Digital or Hardcopy Textbook: The Visual Experience, 3rd Edition, 2005 [As a reference]

Rubrics and Topic Development Sheet

Learning Goals

Basic Art Supplies, Materials, and Tools

• Various grades of drawing, painting, and charcoal paper


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• Graphite pencils • Water soluble graphite crayons • Kneaded and white erasers • Blending stumps • Conté pastel pencils • Hard pastels • Soft pastels • Watercolor tubes and trays • Various sizes and styles of brushes • Acrylic paints in primary colors only ( regular liquid,

heavy, and tube) • Linoleum blocks and carving tools • Block Ink • India ink and quills • Magazines • Various adhesives • Fixative spray • Scissors, small and large mat knives • Charcoal ( sticks and pencils [white, black and brown] • Rulers, compass, protractors • Tracing Paper

Teacher Resources:

Topic Development Sheet


Smartboard and Smartboard teach-created activities

Safari Montage Teacher-created video list

Assessments:

Art Critique Rubric, page 21

Pre-Test – Vocabulary, page 43

Post-Test – Vocabulary, page 43


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NAEA Core Anchor Standard #11

Students will relate artistic ideas and works with societal, cultural and historical context to deepen understanding.

NAEA Core Anchor Standard # 9

Students will apply criteria to evaluate artistic work

NGSSS Standards

VA.912.O.2.2 - Solve aesthetic problems, through convergent and divergent thinking, to gain new perspectives.

VA.912.H.3.2 - Apply the critical thinking and problem-solving skills used in art to develop creative solutions for real-life issues.

VA.912.F.1.3 - Demonstrate flexibility and adaptability throughout the innovation process to focus and re-focus on an idea, deliberately delaying closure to promote creative risk-taking.

VA.912.S.3.5 - Create multiple works that demonstrate thorough exploration of subject matter and themes

VA.912.S.3.6 - Develop works with prominent personal vision revealed through mastery of art tasks and tools.

VA.912.C.2.3 - Process and apply constructive criticism as formative assessment for continued growth in art-making skills.

VA.912.S.2.4 - Use information resources to develop concepts representing diversity and effectiveness for using selected media and techniques in a sketchbook or journal.

VA.912.O.1.3 - Research and use the techniques and processes of various artists to create personal works.

MAFS.912.G-CO.1 – Students will experiment with transformations in the plane.

SC.912.P.8.2 – Students will demonstrate the relationship between physical changes and physical properties.

SC.912.P.8.8- The students will identify the reaction type of a given reaction.


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LEARNING GOALS

• Students will develop and refine artistic work for presentation. • During presentations, students will present their topic; discuss any new knowledge and

inspiration acquired from their assigned reading; discuss their hypotheses, predictions, observations during the art making process.

• Students will generate and test a hypothesis that encourages them to take creative risks during the art making process.

• Students will solve aesthetic problems, through convergent and divergent thinking, to gain new perspectives.

• Students will use information resources to develop concepts representing diversity and effectiveness for using selected media and techniques.

Topic Development Sheet

REQUIRED STANDARD RELATED TOPICS VA.912.S.3.10 - Develop skill in sketching and mark-making to plan, execute, and construct two-dimensional images.

LINE

VA.912.O.1.1 - Use the structural elements of art and the organizational principles of design in works of art to establish an interpretive and technical foundation for visual coherence.

SHAPE and FORM

VA.912.S.3.6 - Develop works with prominent personal vision revealed through mastery of art tasks and tools.

VALUE

VA.912.S.3.8 - Develop color mixing skills and techniques through application of the principles of heat properties and color and light theory

COLOR

VA.912.C.1.1 - Integrate curiosity, range of interests, attentiveness, complexity, and artistic intention in the art-making process to demonstrate self-expression.

TEXTURE

VA.912.S.3.5 - Create multiple works that demonstrate thorough exploration of subject matter and themes

SPACE

VA.912.O.1.1 - Use the structural elements of art and the organizational principles of design in works of art to establish an interpretive and technical foundation for visual coherence

COMPOSITION

VA.912.F.1.3 - Demonstrate flexibility


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and adaptability throughout the innovation process to focus and re-focus on an idea, deliberately delaying closure to promote creative risk-taking.

UNITY

VA.912.H.3.2 - Apply the critical thinking and problem-solving skills used in art to develop creative solutions for real-life issues

EMPHASIS

VA.912.O.3.1 - Create works of art that include symbolism, personal experiences, or philosophical view to communicate with an audience.

VARIETY

VA.912.S.2.4 - Use information resources to develop concepts representing diversity and effectiveness for using selected media and techniques in a sketchbook or journal.

RHYTHM

VA.912.O.1.3 - Research and use the techniques and processes of various artists to create personal works.

MOVEMENT

VA.912.O.2.2 - Solve aesthetic problems, through convergent and divergent thinking, to gain new perspectives.

BALANCE

VA.912.S.2.4 - Use information resources to develop concepts representing diversity and effectiveness for using selected media and techniques in a sketchbook or journal

PATTERN

VA.912.C.2.2 - Assess the works of others, using established or derived criteria, to support conclusions and judgments about artistic progress.

PROPORTION

VA.912.S.1.4 - Demonstrate effective and accurate use of art vocabulary throughout the art making process.

VOCABUALRY

VA.912.C.2.3 - Process and apply constructive criticism as formative assessment for continued growth in art-making skills.

CRITIQUE


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Instructional Strategy PRE and POST TEST

Students will complete a Pre-Test for this lesson within the unit (see Appendix, page 43). This pre-test will be re-visited throughout the lesson to generate small-group or whole class discussions about why students chose the statements within the test to be true or false.

At the end of this lesson, students will be given the same test and a post-test to assess learning gains.

Student – directed Art Making Opportunities

Due to their unique characteristics, research studies have shown that Gifted and Talented students need differentiated instruction. The activities associated with this thematic unit lesson are student – directed.

Students who encounter difficulty completing activities independently will be given teacher-directed activities. Students will use the Study Guide (See Appendix, page 35) and Extended Studio Experience Topic Menu (See Appendix, page 38) to progress through this lesson. By the end of this lesson, students will have chosen six (6) topics of their choice to investigate in order to complete the production of six (6) quality works of art.

Reading for Comprehension

Reading assignments accompany each topic on the menu. Students will use their journals to record information they found interesting during their assigned reading. They will also make notations about ideas or concepts for their studio experience project generated as a result of the reading content.

Generating and Testing Hypotheses For each of the six topics each student will investigate during this lesson, they will have to generate a hypotheses using inductive or deductive logic that solves a problem that encourages creative risk-taking. The teacher will guide students through the process of identifying problems to solve by providing examples. Students will be encouraged to develop their own problems (see Appendix, page 42).


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LEARNING SCALE

4

CREATING

Students will develop and refine artistic work for presentation. During presentations, students will present their topic; discuss any new knowledge and inspiration acquired from their assigned reading; discuss their hypotheses, predictions, observations during the art making process.

3 PERFORMING

Students will generate and test a hypothesis that encourages them to take creative risks during the art making process.

2 RESPONDING

Students will solve aesthetic problems, through convergent and divergent thinking, to gain new perspectives.

1 CONNECTING

Students will use information resources to develop concepts representing diversity and effectiveness for using selected media and techniques.


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Art Products will be Critiqued using a Project Scoring Rubric


31


LESSON PART 3: RESEARCHING ART CAREERS CREATED AS A RESULT OF RISK TAKING

Topic: CAREERS

Duration: 2 WEEKS


Grade Level: 9-12

Theme: Risk Taking


Student Resources:

Study Guide with Extended Menu


Edmodo Course Page (articles, vocabulary, pre and post tests)

Digital or Hardcopy Textbook: The Visual Experience, 3rd Edition, 2005 [As a reference]

Rubrics

Learning Goals

Teacher Resources:


Smartboard and Smartboard teach-created activities

Safari Montage Teacher-created video list


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NGSSS Standards

VA.912.F.2.1 - Examine career opportunities in the visual arts to determine requisite skills, qualifications, supply-and-demand, market location, and potential earnings.

LAFS.1112.WHST.2.6 - Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information.

LAFS.1112.WHST.3.7 - Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

LAFS.1112.WHST.3.8 - Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the specific task, purpose, and audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.

LAFS.1112.WHST.3.9 - Draw evidence from informational texts to support analysis, reflection, and research.


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• LEARNING GOALS: Students will examine career opportunities in the visual arts to determine requisite skills, qualifications, supply-and-demand, market location, and potential earnings.

• Students will solve aesthetic problems, through convergent and divergent thinking, to gain new perspectives.

• Students will generate and test a hypothesis that encourages them to take creative risks during the art making process.

• During presentations, students will present their topic; discuss any new knowledge and inspiration acquired from their assigned reading; discuss their hypotheses, predictions, observations during the art making process.

LEVELS LEARNING SCALE 4

CREATING

During presentations, students presented their topic; discuss any new knowledge and inspiration acquired from their assigned reading; discuss their career choice.

3 PERFORMING

Students will form conclusions, provide supporting evidence from their research about how taking creative risks impacted their career choice.

2 RESPONDING

Students will use convergent and divergent thinking, to gain new perspectives.

1 CONNECTING

Students examine career opportunities in the visual arts to determine requisite skills, qualifications, supply-and-demand, market location, and potential earnings.


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To begin this lesson, through whole class instruction, students will need to be reminded of the following theme generalization and essential focus question.

ART-RELATED CAREER MENU

Students will choose a career to research from a menu. The career list in almost unlimited, therefore, the menu below is only used as an example. This menu can also be found in the Appendix, page 41.

Mural Artist Photographer Fiber / Textile Artist Accessory Designer (shoes, handbags,

hats)

Fashion Designer / Sport Apparel

Designer

Book Illustrator / Comic Book Artist

Typographer Architect Interior Designer / Decorator

Landscape Architect Toy Designer Potter / Ceramic Designer

Stage Design FUTURE CAREERS STUDENT-DIRECTED

2D Animator /3D Animator

Museum Curator Architectural Illustrator

Commercial Artist

Theater / Film Costume Designer

Advertisement Designer

Digital Illustrator

iPhone/ Android App Designer

Special Effects Designer

Video Game Designer

Printmaker / Screen Printer

Courtroom Artist Special Effects makeup Artist

Art Therapist Tattoo Artist Art Teacher

THEME GENERALIZATION ESSENTIAL FOCUS QUESTION




35


RUBRIC

Unit Summation and Reflection

In order for teachers of the Gifted and Talented in the Visual Arts to provide a more challenging curriculum for these divergent thinkers, the element of “risk taking” must be introduced at the beginning of every course. We must remember that,

“Sometimes people forget that people who have made the most significant contributions to humankind throughout history generally exhibit many characteristics of creative thinkers “. It is the non-conformists who are the problem solvers, artists, dreamers, and inventors, thinking “outside of the box” in ways that profoundly affect our lives.

POINTS GRADING CRITERIA 25

CREATING

During presentations, students presented their topic; discuss any new knowledge and inspiration acquired from their assigned reading; discuss their career choice.

25 PERFORMING

Students formed conclusions, provide supporting evidence from their research about how taking creative risks impacted their career choice.

25 RESPONDING

Students used convergent and divergent thinking, to gain new perspectives.

25 CONNECTING

Students examined career opportunities in the visual arts to determine requisite skills, qualifications, supply-and-demand, market location, and potential earnings.


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APPENDIX


37

EXPOSITORY WRITING MENU

Student Name:

Period:

Course:

How has risk taking shaped the progression of art throughout history?


Risk taking can be interpreted as a necessary “rebellion” within a society.

Risk taking requires creative thinking.

Student Choice

What are some of the instances where risk taking has produced unique, visually rewarding works of art throughout history?

How can risk taking assist students in meeting the high demands of portfolio development for college entry or art-related careers?


Risk taking improves self-confidence and self-esteem.


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Extended Studio Experience Topic Menu Student Name:

Period:

LINE

Read pages 32-40 Studio Experiences:

page 46, 48 or 52 Student Product

Choice

SHAPE AND FORM

Read pages 58-72 Studio Experiences: Pages 78, 80, or 82 Student Product

Choice

LIGHT AND DARK

VALUE Read pages 88-92

Studio Experience: page 106 or 240

Student Product Choice

TINTS, SHADES, AND

TONES: COLOR MIXING AND VALUE

Read pages 88-96, 216-225 Studio Experiences:

Pages 108, 110, 112, or 244 Student Product Choice

SPACE

Read pages 116- 132 Studio Experiences: Pages 136, 138, 140,

142 or 144 Student Product

Choice

TEXTURE

Read pages 148-152 Studio Experiences: pages

160 or 169 Student Product

Choice

UNITY

Read page 166-172 Studio Experience:

page 196 Student Product Choice

VARIETY


Page 200 Student Product Choice

EMPHASIS


pages 202 Student Product

Choice

STUDENT CHOICE

BALANCE

Read page 166-184 Studio Experience: pages 200 or 248


STUDENT CHOICE

PROPORTION

Read page 166-190 Studio Experience: page

240 Student Product

Choice

RHYTHM AND MOVEMENT

Read page 166-178 Studio Experience: Pages 198 or 246


ARCHITECTURE Read pages 296-312 Studio Experiences:


PRINTMAKING

Read page 208 – 216 Studio Experience: page 248 or block printing teacher-directed

activity Student Product Choice

MIXED MEDIA

Read page 208 -236 Studio Experience:

Page 24 Student Product

Choice

PATTERN Read page 166-188 Studio Experience: Pages 194 or 250


2D MEDIA

FIGURE DRAWING Read pages: 212-214 Studio Experience:


TEACHER-DIRECTED

Paper Marbling Color and line studies


39


40

Directions: Students will complete one worksheet per topic.


41

ART-RELATED CAREER MENU

Student Name:

Period:

Mural Artist Photographer Fiber / Textile Artist

Accessory Designer (shoes,

handbags, hats)

Fashion Designer / Sport

Apparel Designer

Book Illustrator / Comic Book

Artist

Typographer Architect Interior Designer / Decorator

Landscape Architect

Toy Designer Potter / Ceramic Designer

Stage Designer FUTURE CAREERS STUDENT-DIRECTED

2D Animator /3D Animator

Museum Curator

Architectural Illustrator

Commercial Artist

Theater / Film Costume Designer

Advertisement Designer

Digital Illustrator

iPhone/ Android App Designer

Special Effects Designer

Video Game Designer

Printmaker / Screen Printer

Courtroom Artist

Special Effects makeup Artist

Art Therapist Tattoo Artist Art Teacher


42


43

PRE-TEST / POST –TEST

Student Name:

Period:

Match the definition to the appropriate term:

1. _____ Value

2. _____ Line

3. _____ Shape

4. _____ Texture

5. _____ Space

6. _____ Contrast

7. _____ Proportion

8. _____ Pattern

9. _____ Emphasis

10. _____ Variety

A. An element of art that is the area around and within an object.

B. Relationship of elements to one another and to the whole artwork in terms of their properties of quantity, size, and degree of emphasis.

C. An element of art that is a continuous mark made by a tool as it is drawn across a surface.

D. The use of many different elements in a composition.

E. An element of art that refers to the relative darkness or lightness of an area.

F. An element of art that is two-dimensional and encloses space.

G. Extreme differences in colors, values, textures, and other elements.

H. An arranged repetition of forms or design, or a combination of both.

I. Principle of art by which the artist combines contrasting sizes, shapes, colors or other elements to place greater attention on certain areas in a work of art.

J. An element of art that refers to the tactile quality of a surface.


44

Multiple Choices:

1. The Primary Colors are: a. Red, Blue, and Green b. Black, White, and Brown c. Violet, Green, and Orange d. Red, Blue, and Yellow

2. An example of Complimentary Colors are: a. Red and Yellow b. Violet and Orange c. Orange and Blue d. Green and Blue

3. Which of the following is NOT true about Perspective drawing:

a. The only type of perspective drawing is one-point perspective.

b. The ground line drawn on the page is called the horizon line.

c. Every diagonal line should be drawn to the vanishing point.

d. In two-point perspective, there are two vanishing points.

4. A great advantage of drawing with colored pencils is: a. Complimentary Colors and Perspective work best with

colored pencils b. Shadow and Highlight are easier with colored pencils c. Transparency of the colored pencils allow the artist to

blend the colors d. They can be erased


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5. In Gesture Drawing, objects are drawn: a. With one continuous line. b. As quick sketches that capture movement. c. Slowly and with great attention to detail. d. None of the above.

True or False:

1. _____ Value can only be shown using a gray scale, not color. 2. _____ Areas of shadow are always drawn darker than areas

of highlight. 3. _____ Monochromatic Colors are different shades/values of

the same color. 4. _____ when drawing the human figure, the head should

measure 1/10 of the entire figure. 5. _____ It is important to have objects right in front of you and look back and forth frequently when drawing from observation.

6. _____ When drawing from observation, you should always draw the objects with a heavy outline.

7. _____ 2D drawings can look 3D by adding shading. 8. _____ Blind contour drawings are created by carefully

observing an object and sneaking peaks at your paper while drawing the object.

9. _____ Stippling is a drawing technique that uses patterns of dots to create values and gradation.

10. _____ When drawing, it is very important that the artist see with the brain, not the eyes.


46

REFERENCES AND RESOURCES

• Colleen Mills and Kylie Pawson, Integrating motivation, risk-taking and self-identity: A typology of ICT enterprise development narratives; International Small Business Journal, August 2012; vol. 30, 5: pp. 584-606. first published on July 29, 2011.

• Trevor D. Vaughan, The Balance of Opposites in the Creative Process; The Creative Mind Gifted Education International September 1, 1988 5: 142-147.

• Dennie Heye, Creativity and innovation: Two key characteristics of the successful 21st century information professional; Business Information Review September 1, 2007 24: 156-160.

• Emily J. Shaw, and John C. Houtz, Edwin C. Selby, The Creative Personality, Gifted Child Quarterly, Fall 2005; vol. 49, 4: pp. 300-314.

• Susan Winebrenner, Teaching Gifted Kids in Today’s Classroom: Strategies and Techniques Every Teacher Can Use, (2001).

• Florida’s Frameworks for K-12 Gifted and Talented Learners http://www.fldoe.org/academics/exceptional-student-edu/gifted-edu.stml

• Davis Publications, The Visual Experience, 3rd Edition, Student Edition and Teacher Guide, 2005.

http://www.fldoe.org/academics/exceptional-student-edu/gifted-edu.stml�

http://www.fldoe.org/academics/exceptional-student-edu/gifted-edu.stml�


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• Barbara Clark, Growing Up Gifted, 8th Edition, 2013. • Davis, J. (1996). The MUSE Book. Cambridge, MA:

President and Fellows of Harvard College/Harvard Project Zero.

• Gardner, H. (1991), The Unschooled Mind, New York: Basic Books.

• Charness, G., Gneezy, U., & Imas, A. (2013). Experimental methods: Eliciting risk preferences. Journal of Economic Behavior & Organization, 87, 43–51.

• Chan, Serene, Yuen, Mantak, Teachers' beliefs and practices for nurturing creativity in students: Perspectives from teachers of gifted students in Hong Kong, Gifted Education International, Sep 2015; vol. 31: pp. 200-213.

Documents

Risk-taking: Interdisciplinary Thematic Unitteacherpress.ocps.net/studio129/files/2016/02/Gifted...Vanessa Brown, Ph.D. Thematic Unit for the Visual Arts RISK-TAKING: INTERDISCIPLINARY