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Integrating

Carla Spano 2014

The why factors


Teachers should utilise Visual Arts (and other art forms) in the classroom
for an infinite number of reasons

The Creative Arts takes literacy beyond talking, listening, reading and
writing and into critical literacy including observation, analysis,
interpretation, and making sense of their world.

It encourages healthy risk taking, helps kids recognise new skills in


themselves and others, provides a way to differentiate instruction,
builds collaboration among students and teachers, bridges
differences, and draws in parents and the community.

What it is

Seamless integration/ merging of knowledge and skills in


the most holistic and natural form

Intentionally aligned curricular


An exploratory, critical and problem based experience
Occasionally messy
A lot of fun
What it is NOT

Necessarily a whole unit


A sacrifice of academic achievement
A randomised program add-in at the end of term

The basics
These are the skeleton essentials of Visual Arts education. As a teacher, if you can know these, or
have them listed ready when designing a KLA program/ lesson, you will find merging content very
easy.

Tips for getting it right


Allow time for exploration, experimentation and
play. Art is problem solving in its most authentic
form.

You dont need to be artistic to be able to use arts


integration; you just need to learn some of the
fundamentals so they will be confident when
merging it with other learning experiences.
Three Components of an Effective Visual Arts Lesson:
-

Exploring (engaging activity)


Developing and making (students are making the artwork in pairs, groups or individually)
Reflecting (often the component that is left out due to time constraints needed for
improvement and development should not just be tell me about your artwork needs to
be fun and engaging, e.g. a game)

Art appreciation
Art appreciation should be fun!! The following activities are art appreciation activities:
Art alphabet:
- Look for something in your image that starts with each letter of the alphabet *** example
artwork: untitled by Mel Pekarsky, 1934.
- A - acrylic
- B bands (of colour)
- C complimentary colours
- D - distracting
- E - enlarged
- F - fantasy
- G - globalised
- H horizon and hill lines
- Etc.
Memory drawing: Show the picture to students, remove it and have them draw what they saw.
Discuss what aspects of the artwork stood out in their minds. Link this with the elements and
principles of art and consider the artists intention.

Feldmans Inquiry Method:


*** example artwork is Self Portrait of a Drowned Man
1. Name all the things you can see in the image
2. Go through an image and give small groups a particular aspect/part of a picture and ask
them to describe it with as many words as possible. (e.g. the man in the water, the
light/contrast, the natural aspects).
3. Explain why you think the man might be in the water.
4. Make a judgment; is the artwork good or not? Why, why not?
Art compass:
Students can work with the whole compass initially, and then be given 2-3 aspects of the compass
to work with. (a copy is at the back of this resource booklet)

Dinner Parties
- Similar to celebrity heads, but using artworks.
- 5 students leave the room, and are given a certain artwork.
- The students then swap artworks, and return to the room and the rest of the class must ask
yes/no questions to determine which artwork each person started with initially.
Living Clay
- 10 students leave the room, and in partners they pick an aspect of a particular artwork (e.g.
the foot of a person in the artwork) for one person (the clay) to model.
- The class asks questions to the sculpture to determine which artwork they are depicting
with their human clay.

Talking about
childrens art

Strategies to start children talking about their artwork:


The donts
These strategies are a weak means of communicating about art:
1. Complimentary good work, thats looking nice, etc. - this is a problem
because it doesnt open up a response for the student.
2. Judgemental ranking students work - good, better, best very shallow
statement on the part of the teacher.
3. Valuing.
4. Questioning its quite harmful to ask students what is it? putting adult
standards onto the students work.
5. Probing.
6. Correcting.
The dos
Questioning strategies should be based on the elements and principles of design for
example make a comment about an element/principle evident in the students work and
allow this to be the starting point for discussion about the artwork.
Instead, consider saying something like;
- I love how you have used thick curvy lies to show movement
- the choice of colours you have made is really making a nice tone
- Fantastic use of different sized shapes in your picture, youve created great
balance and harmony

Please note the following ideas are just that. They were developed either off the top of my head or are some from
other sources. These suggestions are only few of the endless possibilities. I would love to know if you have any
others or can extend on these seeds.

ART & Maths


Stage

Strand/ Concept

Outcome

Visual Arts links

Other Arts link

Whole

MAe-4NA
counts to 30,
and orders,
reads and
represents
numbers in
the range 0 to
20

To engage students in learning to write numbers correctly, have students create an artwork
focussing on one number between 1 and 10(may be done in groups). Students can share their
artworks and order them. They can be used in future lessons for addition and subtraction
(friends of 10). You might give students the outlined template of the number for them to
decorate inside or have them use a blank page to paint, stamp, and draw or sick other objects to,
to decorate the numbers. Whatever the focus, ensure you refer to one art element explicitly.

Music merges perfectly


with counting have
students count out a
beat with clapping sticks
or other percussion.
Change sounds when
reaching decades or
significant numbers.
Students can make
symbols for the beats
instead of music notes
and number them.

EARLY STAGE ONE

Number

Addition &

Subtraction

MAe-5NA
combines,
separates and
compares
collections of
objects,
describes
using
everyday
language, and
records using
informal
methods

Alternatively, look at form with the students and have them use modelling clay to create the
numbers. Take pictures of the numbers and have students order them. If possible, allow the clay
to dry and keep them for future lessons and other group work. This is great for kinaesthetic
learners and developing fine motor. If the clay can be fired in a kiln, have students paint them
and get them glazed to use in future lessons. Attach googly eyes and wool for hair to incorporate
texture into the lesson and for a bit of fun!
(shape, value, colour, line, variety, movement, emphasis, balance)
Have students create a monster or creature using addition. This could be a guided activity. Give
students a blank piece of art paper and guide them to add in body parts, keeping track of how
many they are adding. i.e. draw 1 body, add 1 head, how many parts? (2) add 2 ears, how many
parts? (2+2=4)
Discuss the shapes they used for their monster (could give criteria to merge with 2D Space lesson
write a checklist of shapes they must use together and display on the board)
Discuss the line students used and how this effected the look of the monster especially when
making the face. Discuss how they would colour the monster and why they would choose these
colours.
Have students create a scenario with their monsters which include a subtraction sum.

Have students embody


their monster as a drama
lesson. Consider what
the monster looks like,
acts like, moves like and
talks like. Use this as a
stimulus to texts such as
The Gruffalo, or a
springboard to creative
writing.
Keep the monsters
around the room and
include them in future
lessons. Students
monsters will be unique

and a comforting aspect


of the classroom
environment.
Multiplication MAe-6NA
groups,
and Division
shares and
counts
collections of
objects,
describes
using
everyday
language, and
records using
informal
methods

Fractions &

MAe-7NA
describes two
equal parts as
halves

Patterns and

MAe-8NA
recognises,
describes and
continues

decimals

Algebra

(space, shape, colour, texture, proportion, variety)


Using potato stampers of basic geometric shapes (potatoes with shapes cut out easier to make
than you might think!) create a scene for a story. You could do this as a whole class artwork using
a large piece or multiple pieces of butchers paper.
Introduce to students a setting you will be making (could be related to a book you have read)
and the shapes on your stampers. State something like, We need stars in our sky. How many
groups of stars should we have? How many stars in each group? How many stars all together?
For this part Id have the butchers paper in the middle of the floor with the class in a circle. Id
select students to come and have a turn at stamping the artwork. Keep a record of the sums and
the objects and display it next to the artwork. Students could make their own or it would also
work in groups use crayons if you prefer. You could also include sharing problems in the lesson
by suggesting something along the lines of There are four pigs in our scene and only two
paddocks, how many pigs we will put in each paddock to make it even?
The stampers are useful because they add to the exploratory aspect of the experience and help
fine motor skills. They allow students to experiment with shape what shapes can we use to
make something that will represent a person or a house? Discuss colour as they paint each
shape. For class management and timing, divide students into groups and state that they must
create several houses (the groups) with a certain number of windows (the objects) and state how
many windows there are all together. Students can then add their group work to the class frieze.
This lesson is not limited to using stampers. The idea can be used in the same way using other
materials such as crepe paper and you could have a discussion about texture.
Give students Brennex circles and have them cut them in half while discussing the need for them
to be equal. Students have to decorate each half of their circle using any medium the teacher
desires. Both halves must focus on the same element of art (line, tone, shape, space, colour,
texture). Students keep one of their halves. Giving up their second half, place all of these pieces
into a pile and have students randomly select a picture (put them upside down so they cant see
what one it is). Students can either then glue their original pieces and their new piece to a
separate sheet of paper, or they could take a walk around the room and place it with the one
they think it belongs with (encouraging students to look for the elements in other peoples art).
Pieces could be used to create a whole class pattern (merging patterns & algebra).
1. Paper weaving: cut strips of coloured paper. Have students get 5 strips of one colour (strips
can be as wide as the teacher likes). Stick one end of each strip in a line.

Music goes really well


with patterning. Have
students use percussion
instruments to create a

repeating
patterns

Using an assortment of other coloured strips, students can alternately weave under and over
each strip. When the piece is through all the way, glue down each end. Repeat until the page is
completely woven. Have students draw symbols to match each colour if desired. Students should
be encouraged to use as many or as few colours they like (at least 2). Patterns dont need to be
AB formation, but they should repeat at least once. To add the element of line, simply dont cut
all the pieces of paper in a straight line use curvy, zigzag etc.

2. Line patterns: have students use textured tools (tooth brushes, cotton tips, pen ends, sponge
pieces, etc.) to draw lines into a sheet of wet paint (students paint the paper in a desired
colour first)
Time

Position

MAe-13MG
sequences
events, uses
everyday
language to
describe the
durations of
events, and
reads hour
time on clocks
MAe-16MG
describes

1. In pairs, have students make their own clock faces using different textures, lines, colours,
shapes and space). Make hands out of cardboard and give to each pair with a designated
time to display on the hour. Students could use any medium (paint, paper, crayon,
watercolour, beads, tissue paper) as the base and then add the numbers over the top. I
would give them large numbers to cut out and add to ensure the focus is not lost. Students
may decorate these numbers if you wish. Depending on how much art skill you want to put
into it, focus on one of the elements of art very specifically. The base of the artworks could
simply be pre-printed circle cardboard. Attach hands with spit pins. Display the cocks in the
room after a discussion about their order starting at 12 you will end up with a very funky
wall of clocks!
Talking/ listening guided drawing lessons are great for including position in art. If you want their
artworks to still follow the instructions without all looking the same, provide a range of materials

song that follows a


sound pattern. Use
shapes to represent
instruments and the
musical pattern they
make.

position and
gives and
follows simple
directions
using
everyday
language

for students to complete each step with. Be flexible with the colour choice students can have on
their picture, or the shapes they can use, or the type of lines they can draw.

3D Space
2D Space

Data

Look at Kandinskys art examples such as these:

MAe-17SP
represents
data and
interprets
data displays
made from

Have students identify and describe the lines and shapes in the paintings. Have students describe
the shapes and colours in the painting to consolidate vocabulary. Address misunderstandings
about shape properties here. Have students use positional langue to describe where the shapes
are and what ones are overlapping.
Then have students create their own artworks to show how they can use line and shape to
overlap and create composition. This would be done by first having students use coloured paper
to cut and classify their shapes according to shape properties such as the number of sides it has.
Students should be encouraged to make more than one of each shape to help develop artistic
concepts and also know that regardless of their size, the shape can still be the same. You could
then have students create a class mural discussing the position of the shapes as they are added.
Consider balance, variety and harmony as art principles when negotiating where to place the
shapes.
1. What if their artwork was a data display? What if it wasnt just made from objects but
with them? Use objects dipped in paint to create their next graph.
2. Use an existing artwork of theirs that features line, colour of shape or all of the above as
a stimulus for creating a graph. Students will love looking at their own work.
3. Show students a geometric shape artwork such as the examples below. Make a tally of
how many shapes are in it.

objects

Whole

MA1-4NA
applies place
value,
informally, to
count, order,
read and
represent
two- and
three-digit
numbers

Addition and

MA1-5NA
uses a range
of strategies
and informal
recording
methods for
addition and
subtraction
involving oneand two-digit

STAGE ONE

Number

Depending on the artwork, you might also be able to have a discussion about line and
tone while youre looking. Make a tally of these too.
Using the data of how many shapes, colours, types of lines etc. in the selected artwork
recreate your own variation.
Look at form with the students and have them use modelling clay to create the numbers 1- 20.
Take pictures of the numbers and have students order them. If possible, allow the clay to dry and
keep them for future lessons and other group work. This is great for kinaesthetic learners and
developing fine motor. If the clay can be fired in a kiln, have students paint them and get them
glazed to use in future lessons. Attach googly eyes and wool for hair to incorporate texture into
the lesson and for a bit of fun!

Subtraction

(shape, value, colour, line, variety, movement, emphasis, balance)


Have students create a monster or creature using addition. This could be a guided activity. Give
students a blank piece of art paper and guide them to add in body parts, keeping track of how
many they are adding. i.e. draw 1 body, add 1 head, how many parts? (2) add 2 ears, how many
parts? (2+2=4)
Discuss the shapes they used for their monster (could give criteria to merge with 2D Space lesson
write a checklist of shapes they must use together and display on the board)
Discuss the line students used and how this effected the look of the monster especially when
making the face. Discuss how they would colour the monster and why they would choose these
colours.

Music merges perfectly


with counting have
students count out a
beat with clapping sticks
or other percussion.
Change sounds when
reaching decades or
significant numbers.
Students can make
symbols for the beats
instead of music notes
and number them.
Alternatively, have
students make a song
counting to 100 and then
go up by hundreds, etc.
Have students embody
their monster as a drama
lesson. Consider what
the monster looks like,
acts like, moves like and
talks like. Use this as a
stimulus to texts such as
The Gruffalo, or a
springboard to creative
writing.

numbers

Have students create a scenario with their monsters which include a subtraction sum.
Keep the monsters
around the room and
include them in future
lessons. Students
monsters will be unique
and a comforting aspect
of the classroom
environment.

Fractions and
Decimals

Patterns and
Algebra

3D Space

MA1-7NA
represents
and models
halves,
quarters and
eighths

1. Fractions fish: Give students Brennex circles and have them fold them in halves, quarters
and eights. Cut along the fold lines. Have students experiment with these shapes to create
fish (or any animals really). Discuss shape and movement in their artworks.

MA1-8NA
creates,
represents
and continues
a variety of
patterns with
numbers and
objects

Using plasticine, have students select 3 3D objects that they would like to make (a sphere, a
cylinder, a cube you dont need to worry if they know the names, if you say a square, it will
becomes a cube anyway. Have students put their models into some sort of pattern. Photograph
the patterns for future reference. Have students then draw the models in front of them as best
they can, and not too small. Have students colour these shapes in contrasting (opposite) colours
(use a colour wheel to help you). Students cut the shapes out and stick them on black cardboard.
They can stick them in the order of their original model pattern and then with another set of the
shapes, create a second pattern. Display artworks with a copy of the photograph from their
plasticine models. This is helpful for merging 2D / 3D pace concepts early on, integrating form,
assisting fine motor skills, using digital media (photography), exploring colour in patterning and
so much more.
1. Patterns & Algebra lesson above.
2. Have students use modelling clay to create 3D objects. Students could classify these
according to their faces. Have them put the shapes together to make an object monster.
3. Romero Britto Pop Art Pyramids

MA1-14MG
sorts,
describes,
represents
and
recognises
familiar three-

dimensional
objects,
including
cones, cubes,
cylinders,
spheres and
prisms

Begin by looking at the art of Pop artist, Romero Britto, and his Pyramid Project in London.
http://www.pyramidproject.co.uk/overview.php
Students sketch four sides (faces) for their own pyramids, incorporating symbols into each side
as Britto did in his art. They also combined patterns and either warm or cool colours with black
outlines.
Finally, cut out our pyramid patterns and assembled them. You can then count and discuss
vertices, edges, and faces in our 3D shapes-a concept third grade teachers asked me to
incorporate!

2D Space

MA1-15MG
manipulates,
sorts,
represents,
describes and
explores twodimensional

Lesson by http://elementaryartroom.blogspot.com.au/search/label/marker
The Shape Game Anthony Browne
Read the story to the students then complete the following activities.
The Shape Game:
- Give students a blank piece of paper and ask them to draw a random, irregular shape.
- Each student then passes their piece of paper to the right (so each person has someone

shapes,
including
quadrilaterals,
pentagons,
hexagons and
octagons

elses shape).
Tell students to look at the shape from all angles and then add to the drawing to create a
picture (similar to Mr Squiggle).
After drawing for a few minutes, have students pass all the pictures to the right again.
Tell the students to give the new picture in front of them a title.
Ask students to pass the pictures back to their original drawer.

Musical Shapes:
- Choose an artistic work that has a dominant focus on shapes (e.g. work from John
Koburn)
- Look at various shapes within the artwork and have students suggest what each shape
reminds them of (draw out abstract interpretations from students).
- Ask each student to select a particular shape, and one at a time they get up, choose an
instrument and make a noise to represent their shape, and then take the instrument
with them to their seat.
- Once most of the shapes in the chosen picture have been given a sound, ask one student
to be the conductor of the shapes.
- The conductor points to a shape and the associated sound must be made as the
conductor points to the shape (e.g. an oval in an artwork might be given the sound of a
maraca being shaken softly). If the conductor double taps the shape, the sound must be
repeated continuously until another double tap.

Shape Yourself:
Part One
- Ask all students to close their eyes, and think about what they would look like if they
were a shape. Encourage students to think about whether they would be a fluid, curvy
shape or sharp and angular, large or small etc.
- On a blank piece of paper, ask students to draw a shape that represents them as a
person, then cut out the shape.
- Divide students into groups (e.g. table group of 4-5). Have each student choose a colour
that represents them and their shape, and give them a large piece of paper in that
colour.
- Have each student trace their shape onto their coloured paper several times, to create
enough of their shape for each group member to have one. Once they are traded on the
paper they should be cut out.

Each student will now have their own coloured shape, and a different shape from each
member of their group. Give each student a blank piece of paper, and ask them to
arrange all the shapes in a pattern/design on the page (have them try several
arrangements before gluing the shapes down).

Part Two:
- Ask each student to choose a way to creatively represent their shape, using sound and
movement.
- Ask students to look at their group collages, and decide on one they would like to
display to the class using their creative sounds and movement. Have the students work
in their groups to creatively represent their chosen collage, using the positioning of the
shapes as inspiration (e.g. a linear collage may have students standing in a line all
performing their sound/movement in a sequence, while a collage with the shapes glued
on top of each other would require performing the sounds/movements more
interwoven).
- Place all the collages from a chosen group on display, and ask the group members to
perform. The rest of the class will try to guess which of the collages was chosen to be
creatively interpreted.
Lesson by Robyn Gibson
Whole
Number

The figure 5 in gold

A while back I had the 2nd and 3rd graders look at the work I Saw the Figure 5 in Gold and read
and listen to the poem that goes with the painting The Great Figure.

I put a picture of the original painting, a copy of the poem and a explanation of the project up on
the bulletin board. No school staff or admin seemed to notice the display but a few parents read
the poem and some kinder, 4th and 5th graders spent time looking at it so that is something.

When looking at the original painting I had students look for shapes, colours and lines. We found
the hidden fire truck and talked about how the artist used diagonal lines to make it look like the
fire truck was moving fast. Next we brainstormed our favourite number and drew it LARGE on
8"x 14" paper. Students could colour in their number with oil pastel or wait to paint it with
watercolour.

Next we talked about repetition and unity. We drew our favourite number small three or 5 more
times around the paper and then added three circles in various sizes. I had students colour their
circles in with oil pastel. Then we used DIAGONAL lines to dived our paper into smaller spaces.

The next class we re-read the poem and reviewed the elements of art we found in the painting.
Then I had students use watercolour to paint their background spaces. They could choose one
area on the paper that I would paint with my forbidden 1970's gold powdered tempera paint
that I keep hidden in the back of my cabinet.

The project was perfect for both 2nd and 3rd grade but the paper was too large for the 2nd
graders. Next time I will use standard letter size paper for 2nd grade and the larger paper only
for 3rd grade.

3D Space

MA2-14MG
makes,
compares,
sketches and
names threedimensional
objects,
including
prisms,
pyramids,
cylinders,
cones and
spheres, and
describes
their features

1, perspective art
Directions: You can make shape stencils, using cardstock.
l. Draw a large dot anywhere on your paper.
2. Draw five shapes, using the stencils, on the paper.
3. Draw lines from the corners of the shapes to the dot.
4. Colour the shape a dark shade of colour.
5. Colour inside the drawn lines with a lighter shade of the same colour. Add shadingdarker

toward the dot and lighter toward the shape.


6. Add lines or arcs to the linescloser together at the dot and wider toward the shape.
7. Outline and shapes and lines with black marker, being careful to stay on the lines. Use the
stencil and ruler to be really neat.

2. Discuss tone as an art element by having students create artworks as follows;

2D Space

Geometric Overlapping Shapes

This is a lesson I found during the summer on a great blog, which I unfortunately can't relocate.

Back in the summer when I was planning, I was completely unaware that I would later be
blogging the projects, and thus need to source them. If anyone knows where this project came
from, please let me know (it was a GREAT blog, too!) UPDATE: The creator of this lesson found
me! The original post is located here.
This is a great project to leave for a supply teacher, as it usually only takes an hour, so I will
outline the steps.
Materials required:

Variety of geometric tracers

Rulers

Sharpies

Watercolour paper

Watercolour paints

Sample of a colour wheel (I drew one on the board)

Before starting:
Do a small lesson explaining what analogous colours are. Essentially, two colours are analogous
(similar) if they are next to each other on the colour wheel. For the purpose of this activity, we
used the secondary colour wheel, which has red, orange, yellow, and green, blue, purple. Any
combinations of two colours side by side work perfectly.
Instructions:
1. Students trace a variety of geometric shapes all over the page, overlapping other shapes, and
running off the edges. Don't do TOO many shapes, about ten is enough.
2. When they are done, trace two lines through the page, one running vertical, one running
horizontal, to break up a few more sections (this whole process should only take about 10-15
minutes with a grade 4 or 5 class.)
3. Students can begin to paint! They must paint considering SECTIONS, not SHAPES. This can be
confusing for some. If you have divided up a circle into two parts, each part will contain
combinations of analogous colours. While they are painting, they must simply fill in each section
with two analogous colours, blending where they meet. Instruct students to paint sections all
over their page, so that if they do have time to paint everything, it will still look finished.

Time

MA3-13MG
uses 24-hour
time and am
and pm
notation in
real-life
situations,
and
constructs
timelines

One way I use a "regular" classroom's curriculum to help me teach my own curriculum is by
teaching the colour wheel while my students are still learning to read a clock.

I start with asking them to count how many colours are on the colour wheel (one with primary,
secondary, and tertiary colours). I then ask them to think of something else that is divided into
twelve sections and is usually round in shape. It doesn't take long for them to name a clock.
I then have students work in teams of two, using very large paper. We work together, using my
routine procedure of watch, wait, and do. First they watch me do the step. I'll then ask a

question to see if they understand. Then I tell them to do the step. I'll even count down from 5
or 10 (depending on how long it should take) with a slow, steady beat. Snapping my fingers to
the beat is calming and keeps them on task. (Weird, but true!)
Here are the steps:
Draw a large circle
Place 12 at the top, centre
Place 6 at the bottom, centre
Place the 3 on the clock
Next, the 9 (always asking where it would be located and not telling)
Evenly space the 1 and 2 in the top right corner
Add the 4 and 5
7 and 8
10 and 11 (If I don't do this in this order, students end up with 1-12 cramped together and a lot
of empty space)
Make an answer key by writing 1-12 on the side of the clock. Place a colour for each number.
What colour is 12? (yellow)
What number is "Blue o'clock"? (four)
What number is orange? (ten)
Day 2

3D Space

Give them only red, blue, and yellow paint.


Students must work together, reading their self-made answer key and paint each number on
the clock with the correct colour, mixing colour as they do so.
They love it! And, best of all, it sticks with them. After using this approach, my students retain
the information for years. I still have students using the term "Blue o'clock."
Look at 3D geometric sculptures such as:

Discuss 3D objects within these works.


Have students use a range of materials (clay, toothpicks and blu tac, straws, cellophane, fabric,

2D Space

Measurement

tissue paper, etc.) to create a geometric sculpture consisting of 3D objects. Students should first
make the frame of the sculpture and then apply a covering if necessary. If the shape is solid, such
as one made of clay, students can paint it or add texture how they wish. Encourage creativity by
having students consider if they made it see through, could they fill it (possible volume and
capacity lesson link). Have students consider proportion, gradation and emphasis when
experimenting with textures, size shape and form. Have students explain their ideas for their
sculpture. Display the sculptures in the room or in a class exhibition.
A lesson for incorporating 2D space (circles) and measurement (compass work). Give students a
compass each. Instead of putting a penicil the holder, have students use a paint brush, coloured
pencil, crayons, etc. Experiment with different media types and colours to create a colourful
circle artwork.

Engage
1. Describe the wind. Ask students to think of words or phrases that describe the wind. Explain
that there are degrees of wind. For example, describe the difference between a gentle breeze
and a gale force wind. Explain to students that it might be hard to describe the wind because we
cant actually see it. Since we cannot see it, we must look at its effects in order to describe it.
2. Read poems about the wind. Distribute copies of and read Who Has Seen the Wind? by
Christina Rossetti and read or play The Wind by Robert Louis Stevenson. Afterwards discuss them
with the class using these questions as prompts:
How do the authors show that the wind is present? (possible answers: trembling leaves, bowed

trees, flying kites, strong and cold feeling)


Do we need to feel the wind or observe its effects to know it is there? (answers will vary; ask
students to explain their answer)
How does the author feel about the wind? (possible answers: the wind is mysterious, frightening,
powerful)
3. View paintings by van Gogh. Display landscape paintings by van Gogh that include
representations of the wind:
Fishing Boats on the Beach near Saintes-Maries-de-la-Mer
Wheatfield with Crows
Wheat Field with Cypresses
For each painting ask students the following questions:
How can they see the wind in the paintings? (possible answers: movement in the wheat fields,
clouds, water, sails, etc.)
How did the painter achieve the feeling of wind in the painting? (possible answers: swirling the
paint, thick brushstrokes, strong colours, wavy lines)
What would it feel like to be inside the painting? (answers will vary; ask students to explain their
answer)
Build Knowledge
1. Learn about the Beaufort Scale. Explain to students that since you cant see the wind itself,
scientists describe it by measuring wind speed and observing its effects. Hand out the Beaufort
scale and discuss each of the ratings (Forces 0-12) and view sea images to illustrate them.
(Teachers will need to click on each sea state photo found in the Beaufort Scale chart.)
2. Observe an anemometer. Tell students that scientists have developed many ways to measure
the wind. One way is an anemometer, which can measure wind speed and direction. Play the
video (pausing to clarify vocabulary and concepts) and ask the students how they think the
anemometer would respond to different Beaufort Scale ratings. For example, the anemometer
might turn very quickly and be whipped back and forth during a Force 10 wind.
3. Build an anemometer. Follow and/or show the video instructions to build an anemometer.
Display the finished product beforehand and demonstrate and verbally explain each step during
the process. If the day is windy test the anemometers outside or create wind in the classroom

using a fan.
Apply
Students will participate in two activities to help them conceptualize the wind.
1. Pantomime the wind. Explain that pantomime is acting without talking and then tell students
that they will pretend to be trees and act out what the trees would look like based on the
Beaufort Scale rating they are assigned. Follow the steps below:
Divide students into pairs or small groups (13 groups total).
Provide each group with a Beaufort Scale (every group will have a different rating highlighted).
Allow groups time to discuss their pantomime. Answers questions and clarify information about
assigned ratings.
Allow each group 30 seconds to perform their pantomime.
Ask the audience to identify the rating that is being represented.
After all the groups have completed their pantomime, discuss with the class how this helped
them to understand what the Beaufort Scale ratings mean.
2. Create wind paintings. Tell students they will create wind paintings using their own breath.
Demonstrate and provide verbal instructions for the below steps:
Hand out paper and straws and place two blobs of paint in the centre of the paper. (Teachers
may wish to allow students to choose their colours.)
Blow through a straw to move the paint around the paper. Vary the strength of the breath and
the direction of movement to create different effects.
Optional: If time allows, students may use a paintbrush to add scenery, which reflects the effects
of the wind, to their painting. For example, if a student adds a tall field of grass, the grass might
be bent to show movement by the wind.
After the paintings are completed, post them around the classroom. Ask students to observe the
paintings and see if they can assign a Beaufort Scale rating to wind in the painting.
Discuss with the class how changing the strength of the breath and their movements affected
the paintings and how this relates to the Beaufort Scale. Ask them if their choice of colour made
their wind look more or less intense.
Reflect
1. Journal about wind activities. Have students respond to the pantomime and painting activities

by journaling about the following questions:


How did the activities help you understand the wind?
Which activity most helped you to understand the wind and its effects? Why?

Angles

MA3-16MG
measures and
constructs
angles, and
applies angle
relationships
to find
unknown
angles

2. Class discussion about journal entries. After students have finished journaling, reconvene the
class and ask student to share their responses. Make sure that students understand how the
strength and movement of the wind has different effects on objects and that the Beaufort Scale
helps us to categorize this.
Shapes & Angles

What's left in art when you take away anything that looks like something? Kandinsky did it--leaving colour, line, shapes, and angles!
1. What makes art? What are the basic elements of any painting? Would something be art if you
couldn't recognize anything in the painting? Would a painting be art if it was only lines and
shapes?
2. A Russian painter asked these same questions. Wassily Kandinsky, born in Moscow on
December 4, 1866, wanted to take away anything that looked like something in his art. He used
colour, line, shapes, and angles to create his art. He believed that feeling was art's most
important element. The art that he pioneered is called Abstract. What do you think that term

means?
3. If Kandinsky only used lines and shapes, then where he put those became very important. This
is called the composition. The word compose is used when writing music as well as making a
picture.
4. Kandinsky used music (without words) as a model for his new Abstract art. In what ways are
music and art similar? Music is made of notes that are simply sound. They communicate to the
listener in a different way than words do. Look at some of the modern work by Kandinsky and
others. What art elements characterize their style?
5. Create Abstract art that communicates your feelings. Are you excited about an upcoming
game or dance? Worried about a test? Happy that a friend is going to the movies with you? On
white paper, use Crayola Crayons to draw shapes that show your feelings.
6. Another way to make colour shapes is to tear or cut construction paper with Crayola Scissors.
A straight edge can help to create sharp lines and angles. Glue the shapes on paper with a
Crayola Glue Stick.
7. Exchange your Shapes & Angles with a classmate. Talk about the feelings your Abstract art
communicates.

HSIE
When talking about history, especially Australian, art is a very powerful way to connect
the abstract or distant with the present moment. Art appreciation gives history life as
there are endless artworks that frame a situation so well its as though the viewer is
looking at a still image from a movie a moment in time. ONE example is provided
below;

After discussion of the painting, show students a colour swatch and have students go up to the painting and match
Look at the artwork On the Wallaby Track by Frederick McCubbin 1896

The following focus questions were asked which could be used for probing discussion and exploration around this
artwork:

Have you ever been camping? Who did you go with and where did you go?
What can you see in this painting? How is it different to the last painting we looked at?
What do you think the man in the painting is doing? (Show students a billy can)
What do you think he is cooking in the billy? (Discuss students responses)
How do you think the lady is feeling? What about her posture/ the way she is sitting make you think that?
When have you felt like this?
(Draw the students attention to the alley through the painting to the back of the trees). What do you think this
symbolises?
the colours to the colours that they can see in the painting.

Science
Living things idea 1
Talk about seed growth. If available, share a video with students. Ask students:
What does it look like right after seeds are planted?
What emerged first?
What do seeds need to grow? (water, sunlight, food source)
Share with students that the growth of a sunflower plant is just the same. Sunflowers have fascinated
artists for many years.
2. Visit the Philadelphia Art Museum
(http://www.philamuseum.org/collections/permanent/59202.html?mulR=12995) to view one of
Van Goghs sunflower paintings. Allow the docent to explain the artwork to the students (use audio).
Build Knowledge
1. If you have a copy, read 'Van Gogh and the Sunflowers. Use the book to introduce Van Gogh and his
artwork to students.
2. Explore sunflower artwork of Vincent Van Gogh using the gallery in the Build slide in the Resource
Carousel above. Using a few pieces of Van Goghs artwork, ask students:
What is similar in these paintings?
What is different?
Why do you think Van Gogh found sunflowers to be art-worthy?
Why do you think he painted similar pieces?
3. Discuss the life cycle of a sunflower. If available, From Seed to Sunflower (Lifecycles) by Gerald Legg
to explain the lifecycle. Have students complete the 'Parts of a Sunflower' worksheet located within
the Resource Carousel from the Nebraska Sunflower Project.
Apply
1. Plant sunflower seeds. In one or more containers suitable for the size sunflower selected, grow a
few sunflower plants. Follow the instructions on the seed packet. Because sunflowers require space
and deep soil, it is best not to have each student plant his or her own plant, unless there is an outdoor
garden plot available.
2. Observe and record the growth of a sunflower. Using the 'Student Journal Worksheet' located
within the Resource Carousel, have each student observe, measure, and record the growth of the
sunflower each day. Concurrently, have the student journal about his or her own activities each day.

3. Create a growth graph. Plot time on the x axis and height on the y axis. This can be created during
the recording process or at the completion of recording growth.
4. Create sunflower artwork in the style of Van Gogh. Place a vase with several sunflowers (real or
artificial) inside it in the centre of the room. Arrange desks or tables in a circle around the vase. Have
students fold a 12 x 18 piece of art paper in half, creating two drawing areas, each 9 x 12. Using
pencils, coloured pencils, charcoal, or pastels, have each student draw the vase and sunflowers from a
location in the classroom. After a given period of time, perhaps 15 minutes, have students rotate to a
new desk or location. From this new location, each student will create a second piece of artwork in the
second area on the art paper. After the second drawing, ask the students:

How are your two drawings the same?


How are they different?
Did Van Goghs work (or the work of another artist) influence your artwork?

Reflect
1. Write a poem in two voices. Ask the students to use their 'Student Journal Worksheets' referenced
earlier as a guide. The two voices will be the sunflower and the student. The voices will alternate with
each line. For example:
The sun warmed my soil.
I grew impatient waiting for your arrival.
I emerged but was all alone.
I learned to dance on my toes today.
I danced in the sunlight.
I watched you reach for the sun.
I am growing quickly.
Today I measured you and me. Were both sprouting!
and so on.
2. Create a sunflower exhibit. Post the artwork and poetry for students to view. Ask students:
How are the sunflower art pieces the same?
How are they different?
What similar things did you observe about the growing sunflower?
What different things did you observe?
What role did your personal journaling play in your creative writing?
How did it feel to write a poem in two voices?

What other living things could you observe and write about in a similar manner?
How does knowing scientific information about your subject make your artwork stronger?
Lesson from https://artsedge.kennedy-center.org/educators/lessons/grade-34/Sunflowers#Instruction

Living things idea 2


Eat your fruit

Eat your fruit is a classic observational drawing lesson with a twist and a motivation...you eat your subject matter. I
feel Eat your fruit could be used from K-12. Seriously. This is a great way to examine sequencing with younger
students. I think it would make a nice tie-in to K-2nd students who are talking about tracking the series of events in a
story. You could do only three drawings. One with the fruit at the start, one with the fruit with a bite or two gone
and one with the leftovers of the fruit.

After doing this lesson several times I think 6 "cells" is the best # for a middle school attention span and class length.
I also favour coloured pencil, watercolour pencil or crayon as the media for colouring. When doing this lesson you
need to eat and draw on day one. You WILL run out of time if you eat, draw and colour (unless you have a double
block period). So there is an issue of when you go to add colour the next class your fruit is no longer around. I have
found three possible solutions for this issue.
1. Have a new piece of fruit for the student to look at for colour
2. Have the student photograph their fruit before they start to eat it and once when you can see the inside colours
3. Make the students make notes to themselves about what colours they observe while doing the day one drawing.
Have them lightly mark highlights and shadows. Basically artist journal approach.
I use this lesson to really push for shadow, highlight and shading to show form.

OH YEAH! Beware if you use grapes...the kids will take FOREVER to draw them. Also drawing the skin texture of
oranges can drive a lot of students to the breaking point.... if you want an interesting internal texture I suggest a kiwi
instead.
Of course if you have some students who need a challenge break out the watercolour or acrylic paints. I had these
two young ladies work in acrylic paint last spring and they made some nice fruits.

Built environments idea 1

After studying the work of Fauves artists and particularly the landscapes painted by
Andr Derain, the students have produced some images inspired by the style of this
artist. Pupils have photographed some areas of their town (Mezzo Lombardo) and a
photocopy in black and white was used as the basis for the interpretation of colour in
the landscape. The aim was to completely change the colours of the landscape using oil
pastels and pure colours in sharp contrast. The drawing was then marked with a black

line.

Built environments idea 2


A great lesson for teaching about sustainable environments (HSIE links) and built environments. Have students use
various recycled materials to design a city scape. Consider the needs of people and places and their design.

Built environments idea 2 with forces


Students will learn about the function and form of levers. Students will gain a deeper understanding of
the function of levers by viewing the mobiles created by sculptor Alexander Calder. They will build a
simplified mobile, experiment with balancing levers and discuss finding equilibrium
1. Introduce a simple machine called a lever. Explain that levers are often used to do work with less
effort, such as lifting heavy objects. Draw an image of or visit a see-saw on the playground. Use the
see-saw to point out or demonstrate the following vocabulary:
Fulcrum: a fixed point
Load: weight on one arm of the lever
Effort: force applied to move the other arm of the lever
Equilibrium: balance when the load and effort are equal

2. Discuss the three types of levers. Project or hand out Lever Worksheet #1 that can be found within
the Resource Carousel. Explain the three types of levers. Act out or use props to demonstrate each
type if necessary.
3. Have students explore the three types of levers. In pairs, student should continue to read and
investigate more about the three types of levers. Then, they should complete Lever Worksheet #2. If
possible, bring in objects or photos that correspond to the ones listed on the worksheet. Use the Lever
Worksheet #2 Answer Key provided to review Lever Worksheet #2 with the class.
Build Knowledge
1. Explain the relationship between levers and mobiles. Explain that a mobile is a cascade of levers.
Each lever is suspended from above and has objects or other levers suspended from its ends.
2. Show the sample mobile you made to the class. Point out how the mobile is made up of a series of
levers in equilibrium. Levers and objects hanging from mobiles are placed so that all parts of the
mobile are balanced. Point out the fulcrums and arms of the levers.
3. Demonstrate potential and kinetic energy on a mobile. Explain how a mobile has potential energy
when it is still. Demonstrate and discuss how potential energy converts to kinetic energy by lightly
blowing on the mobile and vice versa when there is no air current.
4. Have students explore the concepts behind building a mobile. Students should create virtual
mobiles by arranging and rearranging objects to try and find a balance.
5. Project or display images of the mobiles of Alexander Calder. Show images of his hanging mobiles
and standing mobiles. Explain that mobiles are kinetic sculpturesthree-dimensional works that
include moving elements and a balance of objects. Note how the objects appear to float in space.
6. Discuss how mobiles are a form of art. Elicit from students what they like or dislike about Calders
work, and why. Ask students what comes to mind when looking at the mobiles. Show Calders
Constellation, 1943 mobile, but do not reveal the title of the work. Ask students what they think the
piece is titled and why. After some discussion, reveal the title, and ask students if they think Calder
was effective in communicating a constellation.
7. Have students explore the work of Alexander Calder. Explain to students that Calders mobiles were
informed and inspired by his knowledge of physics, mathematical concepts, the cosmos, and
astronomy. Before Calder enrolled in art school, he had received his mechanical engineering degree, a
decision influenced by his fascination with construction and mechanical apparatuses and machines.
Apply
Students will practice balancing a simplified mobile. Provide a visual demonstration and verbal
instructions for the steps below.
1. Build the arm of the mobile. Students should tie a string around the middle of a ruler (this may need
to be taped to the ruler to hold it in place). Tie or tape the loose end of the string to a sturdy place,
such as the edge of a desk, so that the ruler is dangling in mid-air.
2. Attach cups to the mobile. Using scissors or a pen, poke a hole in the rim of a paper cup, insert a
string through the hole and knot it so that end stays in the hole. Do the same to the other paper cup

(using the same size string). Tie the loose ends of the strings so that each cup is hanging from a
different end of the ruler.
3. Balance the mobile. Place various amounts of small objects in the cups in an effort to find
equilibrium. Encourage students to experiment with the position of the fulcrum, the weight of the
loads in the paper cups, and the lengths of the strings.
4. Make observations. Students should complete the Mobiles Worksheet, that can be found within the
Resource Carousel, as they experiment and take notes on what happens as they alter factors in their
mobiles.
Reflect
1) Using their notes from the Mobile Worksheet, ask students to share their findings. Discuss the
following:
What was challenging about finding the proper balance?
What did they notice about changing the position of the fulcrum?
What did the notice about altering the weight of the loads?
What did they notice about changing the lengths of the strings?
Lesson from https://artsedge.kennedy-center.org/educators/lessons/grade5/Alexander_Calder_Master_of_Balance#Instruction

Properties of materials
Youll need a canvas (the one shown is 24x12)
a hot glue gun (and extra glue)
crayons (for this 24 wide canvas I used most of the colours from a 96 crayon pack, as well as two 8 crayon packsbuy more than you think youll need)
a heat gun (available from most craft stores, sold near stamping
supplies, or gift wrap/cellophane)

Step 1- Quickly sort the crayons by colour. You will likely not want to
include any browns, black or grey.

Step 2- Line up the crayons by colour, then fine tune the exact order youd
like the different shades. Line up the crayons next to the canvas, so you
know exactly how many youll need
to fit the length of the canvas.

Step 3- Begin hot gluing the crayons to the canvas. I chose to lay the crayons so the name of the colour was
showing. Apply enough glue to attach 3 or 4 crayons, lay those crayons down, and then add more glue, and so on.

Step 4- Once all the crayons are glued on, cover your work area with paper, and
lean the canvas up against a
support (such as a case of canning
jars) =)

Step 5- Begin heating one section of the crayons with the heat
gun. Hold the gun about 12 inches from the crayons. It will take a
couple minutes for the crayons to begin to melt.
*A note about using a heat gun vs. a blow dryer. I have seen melted crayon projects using a blow dryer, but it is
much more difficult to control the direction of the melted wax. With a blow dryer
the wax tends to fly in all directions, not just drip down. A heat gun produces
hotter heat, and blows the air with less force. Using a heat gun (instead of a blow
dryer) seems to cut down the total time of the melting process by at least half. As
is, it will take 45 minutes or so to melt the
crayons (using a canvas of similar size). I think
attempting this project with a blow dryer would
be quite frustrating. As always, feel free to
experiment Im just sharing my
recommendations.

Step 6- Continue directing heat at a section of crayons, and use the air and heat as needed to direct the wax down
the canvas.

Step 7- Continue working a section at a time. The total time for melting
the crayons on this canvas (24 wide) was about 45 minutes.

Step 8- When all the crayons have melted, and dripped down, pick up
the canvas from your work area. Scrape off any excess wax from along
the bottom edge of the canvas, and then use the heat gun as needed to
melt the wax along the edge of the canvas.

Earth & Space


Phases of the moon
Material:
- 12" x 18" Black Construction Paper
- Tape
- Q-Tips
- White & Black Tempera Paint
- Sponges
- 4 Small Paper Plates Per Child
- Scissors
- Glue
1. Cut one piece of construction paper in half lengthwise and tape edges together. You should have one
long 6" x 36" piece.
2. Q-Tip white paint all over to resemble stars.

3. Cut out centres of plates.

4. I made a worksheet, but you can easily dictate the directions or draw on a
board how each circle should be cut. You should have two crescents, one cut
in half and one left as a whole.

5. Sponge paint each piece with white and a little bit of black to add
texture and craters.

6. When dry, place in the correct order and glue. Again, I had a worksheet
for the students to refer to, but you can easily have this directed on the
board.

Lesson from http://art-paper-scissors.blogspot.com.au/2012/03/phases-of-moon.html

Assessment
Child Based Assessments:
- Observation of students while they are
engaged in Visual Arts activities (and make
notes).
- Discussion with students, teachers, and
parents by expressing ideas and opinions, it
can develop critical appraisal skills and selfevaluation strategies.
- Questioning of students while they are
engaged in an activity at the end of the course
(dont overuse this strategy).
- Display ALL students artwork as often as you
can! Rotate the artwork often. This promotes
continual evaluation by the teacher,
themselves, other students, and parents.
Displaying artworks help develop critical skills
and leads children to become sensitive to and
aware of art.

Assessment of Visual Arts Learning


Assessment strategies need to link
to outcomes
Strategies should be creative and
innovative
Art is not about the end product
its an ongoing process of gathering
evidence.
Its easy to find positive aspects in
a childs work
Encourage experimentation, a
positive attitude, willingness to learn, and
try new materials and ideas

Art lessons should be joined, and need to


flow on from one another

Restricting the materials (e.g. only using


- Treasure boxes each child uses a box in
certain colours) can produce much more
which to keep sample of artwork that he/she
interesting artworks.
treasures. Boxes can be brought out to share
with others at conference time. The teacher
can add notes to the students boxes giving notes on their work. Great way of
storing 3D artworks.

- Art folders construct a large folder from two pieces of coloured cardboard by
stapling the edged to form an envelope. Each child adds their own portrait or
photo to the front. Simple table on the front can be used to indicate the contents
collected in each month.
- Questionnaires can be used to ascertain likes and dislikes, and previous
experience with subject matter. A survey will prove useful for future planning. To
evaluate a particular session, a self- evaluation sheet can be developed.
Teacher Based Assessments:

- Testing can be oral, written, informal or formal


- Folders labelled manila folders for each child with s sheet for comments or a
checklist. Ass occasional samples or photocopies of childrens artwork.
- Picture records take photos of childrens artwork and of some finished pieces
of work. Place in a scrapbook with a page for each child. The teacher can write
captions and pages can be used as a means of reporting to parents.
- Card files label a card for each child. Make entries at appropriate intervals on
skills mastered, needs, interests, or special merit.
- Peer group assessment based on predetermined and clearly understood
criteria.
- Checklists add or delete items according to your students needs.

Resources & References


http://artsedge.kennedy-center.org/educators/lessons.aspx
http://www.deepspacesparkle.com/art-and-literature/
http://doartimagineexplorecreate.blogspot.com.au/2011_01_01_archive.html
http://applesloveorangespdx.blogspot.com.au/
http://www.kinderart.com/across/
http://www.oberlin.edu/amam/asia/sculpture/documents/vocabulary.pdf

Professional Reading
The Qualities of Quality Understanding Excellence in Arts education Project Zero, Harvard graduate
School of Education
Art and Literacy - Luis Camnitzer http://www.e-flux.com/journal/art-and-literacy/
How the Arts Unlock the Door to Learning -BY MARIKO NOBORI http://www.edutopia.org/stw-artsintegration-reform-overview
Use Arts Integration to Enhance Common Core Unknown - http://www.edutopia.org/blog/core-practicesarts-integration-susan-riley
The Arts in the Elementary Classroom: A Visual And Performing Arts Content Guide http://www.ccsesaarts.org/CCSESA_FILES/ElementaryToolkit.pdf
Using The Visual Arts To Harness Creativity - Dr Frances Alter
http://web.education.unimelb.edu.au/UNESCO/pdfs/ejournals/alter-paper.pdf
Art Talk: Developing Visual and Verbal Literacy
http://www.communityplaythings.com/resources/articles/2006/art-talk-developing-visual-and-verballiteracy
Visual Art as Critical Thinking http://www.edutopia.org/blog/visual-art-critical-thinking-andrew-miller

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