Art and The Elementary Core

Educational Resources from the Springville Museum of Art
Kindergarten
A series of lesson plans designed to help Kindergarten teachers use art as a tool to teach Utahs Core Standards.
Lee Udall Bennion, Snow Queen: Portrait of Adah, 1992, oil on canvas
Support for educational resources provided by:
All lesson materials are for educational purposes only and are copyrighted by the Springville Museum of Art.
Springville
Museum of Art
The Power of Art
An elementary school that treats the arts as the province of a few gifted children, or views them only as recreation and entertainment, is a school that needs an infusion of soul. The arts are an essential element of education, just like reading, writing, and arithmetic. William Bennett, Former US Secretary of Education
Art is a powerful teaching tool.

Recent academic research supports what many teachers already know, arts education helps close the achievement gap, improves academic skills essential for reading and language development, and advances students motivation to learn. Yet for many educators it has become increasingly difficult to make time for the arts in their classrooms.
We can help.
The Springville Museum of Art is excited to announce a new series of lesson plans designed to help educators use art as a tool to teach core subjects like language arts, math, social studies, and science. Each lesson in this packet incorporates Utahs core standards, and historically and artistically significant images from the Springville Museum of Arts permanent collection. We have redesigned our lesson plans to be simple, easy to use, and appropriate for each grade level.
Additional Resources
The following educational resources and programs are available, for little or no cost, to Utah educators. Art Talks: Our museum outreach educators will come to your school and provide interactive classes for students, training for teachers, and materials for classroom use. Posters: These 18 x 24 full-color fine art posters feature art from the Museums permanent collection The back of each poster includes information about the artist, artwork, and curriculum connections. Postcard-Size Image Sets: This educational postcard set includes 59 full-color images from the Museums permanent collection. Each postcard includes information to help students engage with the artwork through learning, looking, asking and creating. Museum Tours: You are invited to come and visit the museum with your class. We provide guided tours, preand post-visit lesson plans, and subsidized bus transport (to qualified schools). All tours must be scheduled at least two weeks in advance. Evenings for Educators: Learn how to implement arts education in your classroom through hands-on workshops and special presentations. Evening for Educators events happen during the school year at museums and galleries throughout the state
Contact Us!
Our education staff is eager to help you harness the power of art in your classroom. Dont hesitate to contact us to ask questions, schedule tours, order materials, or to arrange an Art Talks visit. For more information visit www.smofa.org or call 801-489-2727.
Art Talks Rachel Stratford Outreach Coordinator RSTRATFORD@springville.org General Information Jessica Weiss Associate Curator of Education JWEISS@springville.org
Educational Materials and Tours Julie Hall Teacher Coordinator JHALL@springville.org
Social Studies and Math

Springville
Museum of Art
We are All Similar and Different
Kindergarten
Objectives
Look carefully at portraits of people. Discuss how individuals are similar and different. Create self-portraits that highlight unique qualities. Graph the similarities and differences in class.
Introduction
Select several portraits from the Images from the Museum section of this lesson. Show students two portraits at a time and ask them to look carefully at how the people in the artwork are similar and how they are different. Students can share their observations as part of a group discussion or with a partner. Help students connect their observations with their own unique qualities. Give prompts like, If you have red hair like the little girl in this picture put your hand on your head, or If you have blue eyes like this little boy in this painting blink your eyes. Spend time discussing the students answers, and then repeat the activity with a new portrait. Help students understand that all people have similarities and differences.
Learning Activity
After looking at the artwork students will make a simple selfportrait. Explain that a self-portrait is a picture someone draws of him or herself. Simple self-portraits can be made using pre-cut skin-toned construction paper ovals. Model for students how they can choose yarn or paper that matches their hair color and glue it to their oval. Invite students to think about their own eyes, nose, and mouth. (It would be great to use small mirrors if you have them). Let students draw their eyes, nose and mouth on the oval. Make sure they put their name on their self-portrait. The self-portraits will be used in the following graphing exercise. You may want to laminate or store their finished portrait so you can use the portraits throughout the year.
Lee Udall Bennion, Snow Queen: Portrait of Adah, 1992, oil on canvas
Materials
Portraits of people (Images from the Museum) Construction paper, crayons, yarn, and glue. Graph of characteristics (e.g., Boys and Girls graph) Small hand mirrors (optional)
Images from the Museum

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. Lee Udall Bennion, Snow Queen: Portrait of Adah Stephanie Deer, Sometimes Less is More....But Not Today Gary E. Smith, Farm Boy, with Brown Cap James T. Harwood, Boy and Cat: My Little Son, Heber James Robert Barrett, Camille, Seated
Graphing Activity
Use each students simple self-portrait as a graphing tool as you continue to discuss how individuals are similar and different. On a bulletin board or butcher paper you can create simple graphs such as Boys and Girls, Hair Color, or Eye Color. For each graph use the students self-portraits to represent them. For example, when using the Boy and Girl graph you could ask each student to place his or her self-portrait under the label that best represents them. Then as a class you could count the number of self-portraits on each side of the graph.
Utah Core Standards

Social Studies: K: Standard 1: Objective 1 Identify how individuals are similar and different Math: Content: K.MD.B.3 Classify objects into given categories; count the numbers of objects in each category and sort the categories by count. Math: Content: K.CC.C.6 Identify whether the number of objects in one group is greater than, less than, or equal to the number of objects in another group.
Springville
Museum of Art
Social Studies and Math

We are All Similar and Different (continued) Kindergarten
Follow up with comprehension questions like, Do we have more boys or more girls in our classroom? Throughout the school year you could repeat this activity with a different graph each time. This will give you an opportunity to reinforce and assess students understanding.
Teaching Tip: Asking Good Questions

When talking about art with students it is important to ask openended questions. Try to avoid questions that have one right answer. Instead, help students think critically about the artwork by asking questions like: How does this painting make you feel? Why do you think the artist painted this person? If you were the artist what would you have done differently? What is your favorite thing about this painting? What do you dislike about the painting?
Conclusion
Revisit the images from this lessons introduction. Have the students choose a portrait and explain how their self-portrait is similar to or different from the chosen image. This could be done as part of your gathering time, in small groups with the teacher, or as a simple center writing project.
How are these two people similar? How are they different?
James T. Harwood, Boy and Cat: My Little Son, Heber James, 1910, oil on canvas
Stephanie Deer, Sometimes Less is More...But Not Today, 2010, mixed media
Springville
Museum of Art
Language Arts and Visual Arts

Animal Alphabet Book Kindergarten
Objectives
Identify letters and their sounds Use identification skills to create an animal adjective drawing. Make connections between letter sounds and animal names.
Introduction
Begin the lesson by reading Dr. Seusss ABC: An Amazing Alphabet Book by Dr. Seuss. Before you read, ask students if they can find a rhythm pattern in the words of the book. As the book progresses invite students to guess the next letter and say the words with you. When you have finished reading the book, explain to students that they will work together to make an alphabet book as a class just like Dr. Seusss book. Show students an animal artwork from the Images from the Museum section of this lesson. Ask students if they know the animals name (e.g., rhinoceros). Then ask them to help you figure out what letter the animals name starts with. Once you have identified the letter, use the rhythm of the Dr. Seuss book to practice brainstorming descriptive words that begin with the same letter as the animals name. For example, if you used James Christensens Rhinoceros you could say, Big R, little r, what begins with R? Really, rough, rhinoceros...R, r, R. After you have modeled the process, let the students help you come up with other descriptive words for the rhinoceros and then repeat the process with other animal images.
James Christensen, The Rhinoceros, 1981, acrylic on board (detail)
Materials
Dr. Seusss ABC: An Amazing Alphabet Book by Dr. Seuss Paper Pencils Crayons Animal Artwork (Images from the Museum)
Learning Activity
Next, help students create alphabet animal drawings. Here are two ideas for creating an animal alphabet drawing: Draw an animal using a letter. Choose an animal name and identify the letter the name starts with. (E.g., Letter B and Butterfly). Start by writing the uppercase letter on paper and then add details like wings, color, antennae, eyes, and a background to make the letter look like a butterfly. Ask students to name the butterfly using the same Dr. Seuss rhythm (e.g., Big, Beautiful Butterfly). Assign each child in the class a letter and let them draw a picture featuring an animal whose name starts with that letter. Encourage students to fill up the page and add details.

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. James Christensen, The Rhinoceros Carel Brest van Kempen, Lizard Relay: Jaquarundi with Green Iguanas and Banded Basilisks Silvia Liz Davis, Guest Paul Salisbury, Riders on the Range
Utah Core Standards

English Language Arts: Literacy: L.K.1a Print many upper- and lowercase letters English Language Arts: Literacy: L.K.6 Use words and phrases acquired through conversations, reading and being read to, and responding to texts. Integrated Core: K: Standard 1: Objective 3:a Identify and express ideas, information, and feelings in a variety of ways (e.g., draw, paint, tell stories, play, make believe, dance, sing).
Conclusion
When the drawings are complete use the Dr. Seuss rhythm to share the pictures as a class. Completed drawings can then be assembled into a classroom alphabet book or books for individual students.
Springville
Museum of Art
Science and Visual Arts

Oh, What Do You Do in the Summertime? Kindergarten
Objectives
Compare and contrast seasonal activities. Recognize that seasons change in a predictable way. Use art to depict a favorite season.
Introduction
Begin the lesson by gathering the children at the carpet to sing the first verse of Oh, What Do you Do in the Summertime? or a similar song about summertime activities. Oh, what do you do in the summertime, when all the world is green? Do you fish in a stream, or lazily dream on the banks as the clouds go by? Is that what you do? So do I! Invite the children to sing with you if they know the words. When you are finished singing the verse, ask the children what activities they like to do in the summertime. When the children have shared their favorite summertime activities tell them you are going to show them four different pictures. Ask them to look carefully at each picture and decide which artwork is a picture of summertime. If they know which picture shows summertime activities they should indicate with a signal, like a thumbs up. Invite students to share their answers. Talk with the students about the picture they chose. Ask some simple questions: What is going on in the picture? How are the people dressed? Are there leaves on the trees? What makes it look like summer?
John Held Jr., By the Beautiful Sea, 1924, gouache and tempera
Materials
Four seasonal artworks showing each season Die cuts of a sun, a fall leaf, a snowflake, and a flower Colored construction paper Scissors Glue sticks Construction paper crayons or regular crayons

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. Gregory Olsen, Kite Flying: Portraits of Britton Roney and Nate Olsen John Held Jr., By the Beautiful Sea Graydon Foulger, Pumpkin Patch Calvin Fletcher, Wash Day in Brigham City
Talk to the students about the three other artworks you have displayed. Ask the students if they are summer pictures or if they show another season. Talk briefly about the seasons they represent. Some artworks like Wash Day in Brigham City may fit into more than one season. Use the conversation to help students understand that seasons change.
Utah Core Standards

Science: K: Standard 2: Objective 3: a Observe and record that weather changes occur from daytoday and weather patterns occur from season to season. Science: K: Standard 2: Objective 3: b Communicate ways weather can affect individuals. Integrated Core: K: Standard 1: Objective 3: a Identify and express ideas, information, and feelings in a variety of ways (e.g., draw, paint, tell stories, play, make believe, dance, sing).
Learning Activity
Once you have decided which season is represented in each picture have the students help you put the images in seasonal order. Start with your current season. For example, if you were in autumn you could show the students the die cut paper leaf and attach it to the autumn picture. Talk about how in autumn the leaves change color and fall off the trees. That is why autumn is
Springville
Museum of Art

Oh, What Do You Do in the Summertime? (continued) Kindergarten
rain using blue crayon or blue pieces of paper. They could make a sun with a big yellow piece of construction paper. Model just enough of the activity to get them started, but dont show them how to make the whole picture. Encourage them to add details like flowers, animals, snowmen, or people.
sometimes called fall. Show the students the other die cut symbols and ask them what happens after the leaves fall. Next, attach the snowflake to the winter artwork. Continue until you have placed all of the pictures in the proper order.
Learning Activity
When you have finished putting the pictures in order tell the students that they are going to make their own artwork about their own favorite season, using construction paper and glue. Model the art activity for the students. Start with a blue piece of paper. Show students how they can use a strip of green or white paper to make the ground look like snow or grass. Glue one of the pieces of paper to the bottom of your picture. Next, show students how they can make a tree. They can either tear or cut strips of brown paper and glue them onto their picture to make a trunk and branches. Then they can add green leaves or colored leaves to their tree, or leave the tree bare for winter. Finally, ask students to help you think about the weather. During winter there may be snow. Show them how they can make snow with white crayon, or pieces of white paper. They could make
Assessment
When the students have finished their artwork create a display area using the artwork from the beginning of the lesson. Ask the students to put their artwork next to the artwork that matches their season. Students could share their artwork with the class and discuss what activities their artwork shows.
Extension
As a class you could write new verses to the song Oh, What Do You Do in the Summertime? for each season. For example: Oh, what do you do in the wintertime? When all of the world is white Do you play in the snow or go watch a show or sled down a hill so high! Is that what you do? So do I!
Gregory K. Olsen, Kite Flying: Portraits of Britton Roney and Nate Olsen, 1993, acrylic on canvas
First Grade
A series of lesson plans designed to help first grade teachers use art as a tool to teach Utahs Core Standards.
Douglas J. Braithwaite, Toys and Tools, 1964, oil on canvas
Springville
Museum of Art
The Power of Art

We can help.
Contact Us!
Springville
Museum of Art
Science, Language Arts, and Visual Art

Discovering the Properties of Everyday Objects First Grade
Objectives
Analyze objects and their properties. Make predictions about weight, texture, and buoyancy. Complete scientific experiments to test predictions. Create an artwork and an informative writing piece about an everyday object.
Introduction
Begin the class by showing your students the painting Toys and Tools, by Douglas Braithwaite. Ask students some questions about the objects in the painting: Which object in the painting do you think is the heaviest? Which item do they think is the lightest? How can you know without actually weighing the item or holding it in your hand?
Douglas J. Braithwaite, Toys and Tools, 1996, oil on canvas
Talk about how the appearance, size, and texture of objects help us make predictions. We can guess that the thumbtack doesnt weigh very much because it is so small. The wrench probably weighs more than the pencil because it is silver and shiny and looks like it is made of metal. Emphasize that our observations help us make predictions. Explain to students that they will be making predictions about the objects in the painting, and then they will test those predictions in their classroom using similar objects.
Materials
Image of Toys and Tools, by Douglas J. Braithwaite Objects from the painting (thumbtack, stacking toy, palette knife, pencil, string, socket wrench, pliers) Tub of water Predictions worksheet Other everyday items to be used in a still life Paper Crayons, markers, colored pencils, etc.
Prediction
As a class or in centers complete the predictions worksheet. This can be done by modeling chart completion for one object, or discussing one object at a time and letting the students circle their own prediction. Remind students that there are no right answers. They are just trying to make their best guess based on their own observations.

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet Douglas J. Braithwaite, Toys and Tools
Experimentation
Next, bring out real-life objects that are similar to the ones shown in the painting. Explain to students that they will now have the opportunity to test their predictions. This may be best accomplished by setting up a small experimentation station as a center. Each day during the week students may test a different prediction from their worksheet in the experimentation station. Students could, Feel the objects and record their texture. Use a tub of water to see if objects float or sink. Line objects up from lightest to heaviest. Sort objects by material (wood, metal, plastic).
Utah Core Standards

Science: 1: Standard 3: Objective 2:a Sort, classify, and chart objects by observable properties, e.g., size, shape, color, and texture. Science: 1: Standard 3: Objective 2:b Predict measurable properties such as weight, temperature, and whether objects sink or float; test and record data. English Language Arts: Literacy: W.1.2 Write informative/explanatory texts in which they name a topic, supply some facts about the topic, and provide some sense of closure. Integrated Core: Objective 3 Develop and use skills to communicate ideas, information, and feelings.
As students test their predictions they should sort objects and then mark their charts with a smiley face or a frowny face to show whether their prediction was correct.
Springville
Museum of Art
Science, Language Arts, and Visual Art

Discovering the Properties of Everyday Objects (continued) Example First Grade
To assist students with sorting the objects you may want to create a simple sorting sheet for each experiment. For example, for the flotation experiment you could have a laminated sheet of paper divided into two sections, float and sink. After the students test an object they can place it in the correct section.
Drawing and Writing

Before the writing portion of this lesson you should review the names and spelling of each of the objects in the painting. You can simplify the names to make them grade appropriate (e.g., knife, toy, wrench, pliers, string, tack, pencil). Set-up a drawing and writing center where students can draw their own still life of the tools and toys from the painting. Students do not have to draw every item, but they should choose at least three items. Students should carefully observe the items and should accurately record the relative size, shape, color, and texture. Students should create a written label for their artwork explaining one of their predictions and what they actually observed. You may need to assist students in writing their label, or create a fill in the blank label.
I thought the toy would sink because it looks heavy. But the toy floated.
Conclusion
At the end of the unit come back together as a class and discuss your experiment test results. Discuss each object and let students share with you what they observed. You could also invite students to share their drawings with the class. Display students artwork in the hallways along with the classes predictions and observations.
Prediction Worksheet Circle your prediction

Object Is it heavy or light? What is it made of? How will it feel? Will it float or sink?
Toys and Tools
Heavy Knife Light
Metal Wood Plastic Cotton Metal Wood Plastic Cotton
Smooth Bumpy Hard Soft Smooth Bumpy Hard Soft Smooth Bumpy Hard Soft
Float Sink
Heavy Light Toy Heavy Light Pencil Heavy Light Wrench Heavy Light Tack Heavy Light Pliers Heavy Light String
Float Sink
Metal Wood Plastic Cotton
Float Sink
Smooth Bumpy Hard Soft
Float Sink
Smooth Bumpy Hard Soft
Float Sink
Metal Wood Plastic Cotton Metal Wood Plastic Cotton
Smooth Bumpy Hard Soft Smooth Bumpy Hard Soft
Float Sink
Float Sink
Springville
Museum of Art
Math and Visual Arts

Using Tangrams to Make Shapes and People First Grade
Objectives
Follow verbal directions to color and cut handout. Identify shapes. Identify properties of various geometric shapes. Make composite shapes out of smaller tangram shapes. Make tangram people and other objects out of the shapes.
Preparation
Make copies of Tangram sheet. Prepare crayons and scissors.
Introduction
Explain to students that you will be playing an ancient Chinese game called tangrams. Tell them that the tangram is made of 7 shapes. Pass out copies of the Tangram Template sheet along with crayons. Have the students color in the bottom right triangle red and tell them they can color the other shapes any other color they want (this will make cutting it out easier). When the students are finished coloring the shapes, pass out scissors. Tell students to cut each shape in the square out. Have them find the line that goes all the way across two opposite corners. Have them cut from one of those corners to the other. Then tell them to cut off the red triangle. From there, students should be able to cut the rest of the shapes easily by making single straight cuts.
Carlos Andreson, Still-Life with Guitar, 1950, oil on board
Materials
Copies of Tangram Template sheet (one per student) Crayons Scissors

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. Donald Penrod Olsen, Chelsea VI Lee Udall Bennion, Snow Queen: Portrait of Adah H. Lee Deffebach, George II James C. Christensen, The Rhinoceros Robert Barrett, Camille, Seated Carlos Andreson, Still Life with Guitar
Learning Activity
1. Ask students to identify the shapes that they have cut out. You can even have them categorize them into piles as there are a few triangles. Have students count how many sides and how many corners each shape has. If you havent discussed different shapes before, take this time to talk about the characteristics of triangles, squares, rectangles, trapezoids, and parallelograms. Show large images of each shape and point out the number of corners, sides, etc. Ask the students if they can find examples of those shapes around the room. 2. Challenge students to make bigger shapes out of the shapes they have. Prompt them, Can you make a square out of other shapes that you have? Try using two triangles. Can anyone make a square out of three triangles? Parallelograms, trapezoids, and squares can all be made out of the shapes they have. 3. Explain that tangrams are pictures that are made out of the seven shapes they have on their desk. Sometimes they are people, animals, or flowers. And sometimes they are just new, interesting shapes. Have the students try to make more things out of their shapes. Use prompts such as, Try to make a dog or See if you can make a flower allowing for time for students to work on each one. Remind students to rotate shapes to see how they can work together. Note: true tangrams dont overlap, but it probably doesnt matter that much in this case.
Utah Core Standards

Math: Content: 1.G.A.2 Compose two-dimensional shapes (rectangles, squares, trapezoids, triangles, half-circles, and quarter-circles) or three-dimensional shapes (cubes, right rectangular prisms, right circular cones, and right circular cylinders) to create a composite shape, and compose new shapes from the composite shape. Math: Content: 1.G.A.1 Distinguish between defining attributes (e.g., triangles are closed and three-sided) versus non-defining attributes (e.g., color, orientation, overall size); build and draw shapes to possess defining attributes.
Visual Arts: Standard 1: Objective 2: c Develop manipulative skills (e.g., cut, glue, throw, catch, kick, strike).
Springville
Museum of Art

Using Tangrams to Make Shapes and People (continued) First Grade
4. Show students the images from the Images from the Collection section of the lesson. You can show images one at a time, or pass out the postcard size images listed to different groups. After each group has made their picture, you can rotate the postcards to other groups. Have the students try to make tangram pictures of Chelsea VI, Still Life with Guitar, Guest,The Rhinoceros, Adah, Camille, the girl from Dreaming of Zion, etc. 5. Give students time to make up their own pictures out of their seven shapes. Talk to students about how visual artists see the world in shapes. As artists, they can think about which shapes they would use when they draw things like houses, dogs, people, etc. It might be good to mention that artists dont limit themselves to the shapes used in tangram puzzles, but that they also include organic shapes as well.
Extension
After you have done this lesson once, you can use it as a center activity. Students can use the shapes to play a counting game. Provide a pair of dice, and some shapes (more durable shapes can be cut out of craft foam sheets) for each student. Add a sheet of paper with various numbers from 1-12 on it, and a marker. Instruct students to roll the dice to get a number. If they roll an 8, they should use 8 shapes to make a picture. Once they do that, they can mark off the number 8 on their paper. They should keep going until they mark off all numbers on their paper. Make the game harder by typing out numbers (five) and using their representations 9).
Assessment
Review the shapes again; ask students to show you a triangle in the middle of their desk. Walk around the room to make sure students have the right shape. Do the same with a square, rectangle, trapezoid and parallelogram. This can be done during the lesson, or at the end. Have students tell you about the characteristics of each shape.
Donald Penrod Olsen, Chelsea VI, 1980, acrylic on canvas (detail)
source: activityvillage.co.uk/tangrams
Springville
Museum of Art
Social Studies and Language Arts

Making Books of Your Community First Grade
Objectives
Discuss the elements that make up a town. Learn to make simple books. Write and illustrate a book about their own town.
Process
Begin the lesson by reading Harold and the Purple Crayon to the class. Before you read explain that the story is about a little boy who goes on an imaginary adventure to many different places. Ask students to pay attention to the different places Harold visits. When you have finished reading the story ask students to tell you some of the places that Harold visits (e.g., a road, a field, an ocean, a boat, a beach, a park, a mountain, a hot air balloon, a house, a city, his room). Explain to students that they will making their own books about an imaginary adventure through their own community. Show the class 3 or 4 select artworks from the Images from the Museum section of this lesson. Ask students what parts of the artworks remind them of the community they live in and which parts are different from their community. Take some time to talk about the different elements of a community (e.g., the types of buildings, the people, the landscape). As you talk about the different community elements invite students to connect those elements to their own community. For example, you could ask What buildings do we have in our town? Are they tall like Harolds city, or small like his house? or Do we have mountains in our town? It may help students to write a list on the board, or to draw simple symbols on the board to represent the elements of your community. This discussion will prepare students for the next portion of the lesson.
Alma Brockerman Wright, Quai Pontoise, 1930, oil on canvas (detail)
Materials
Images of artworks showing communities and towns Harold and the Purple Crayon by Crockett Johnson Good quality drawing paper, 12 x 18, one sheet per student Sketch paper Pencils and crayons Scissors

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. Louise Farnsworth, Capitol from North Salt Lake Dennis Von Smith, Keeper of the Gate Paul Davis, State Street Doyle Shaw, Manti Temple Alma B. Wright, Quai Pontoise
Create
Have the students make a simple book. Their books should have at least 6 pages. Each student should choose five real places in their town they might want to visit on their imaginary adventure. Invite them to imagine something that might occur at that location (e.g., I went to the park and had a picnic). Once they have chosen 5 places, give them time to write a simple narrative. For example, they may write: I walked to the library Then I saw a bird in the park I looked at art in the museum I stopped at the police station Then I went to the mall I felt so tired I walked back home.
Utah Core Standards

Social Studies: Standard 2: Objective 3 Name school, neighborhood, Utah state, and national symbols, landmarks, and documents English Language Arts: Literacy: RL.1.7 Use illustrations and details in a story to describe its characters, setting, or events. English Language Arts: Literacy: RL.1.9 Compare and contrast the adventures and experiences of characters in stories
Springville
Museum of Art

Making Books of Your Community (continued) Assessment
When the students have completed their books return as a class to the artwork you shared at the beginning of class. As you look at the artwork talk again about the elements of community found in each artwork. While you talk about the elements ask students if they included a similar element in their illustrations. For example, you could say This community has mountains in the background, did anyone in our class put mountains in their story? Then invite students to share their illustration.
First Grade
Students should then practice drawing illustrations for their story. They should make pencil sketches of the buildings, people, and landscapes they might find in those places. Instruct students that their last illustration in their journey should be their own home or bedroom. Emphasize that they are an important part of their town and this adventure, and to include themselves in each illustration. Once students have completed their final drawings they can illustrate their books. When they are finished with the inside of their books, students can make a drawing for the cover, putting their name on as author. NOTE: It can be fun - but not necessary - for students to illustrate their books in the style of Harold and the Purple Crayon. On the first page they could draw themselves with a crayon in their hand. Then, making sure the lines dont stop, they should draw the five places on the five pages. It is helpful to demonstrate for students how they can keep the lines connected from page to page.
Math Extension
Categorize and classify the places that the students chose to illustrate. You could ask, How many people in our class drew the library? As a class you could count each person and then compare what parts of the town were drawn most and which parts were drawn least.
Dennis Von Smith, Keeper of the Gate, 1989, oil on canvas (detail)
Springville
Museum of Art

A Little Blue and a Little Yellow First Grade
Objectives
Explore two different childrens books. Answer questions about key details in a text. Understand basic color theory as it pertains to color mixing. Compare and contrast works from the Springville Museum of Art with artworks found in various childrens books. Create a unique painting that will relate to the books they read, and the artworks they explored. Present artworks to the class, along with a brief story about their creation.
Introduction
Begin by reading Little Blue and Little Yellow by Leo Lionni to the class. As you read, ask questions about key details in the text and invite students to identify words and phrases that suggest feeling. When finished, invite students to retell the story, including major events and key details. Especially ask them to identify what happened when little blue and little yellow got together. Then read Chameleons Colors by Chisato Tashiro. What problems did the Chameleon encounter? How did he deal with those problems? Invite students to identify parts of the book that suggested feeling, and appealed to the senses. What did both of these books have in common? They both used colors in unusual ways. Explain that there are books that tell stories, and books that give information. These books told stories, but they also taught some fun facts. What types of things did we learn from reading these stories? (Basic color theory, simple habits and characteristics of a chameleon, etc.)
Karl G. Ackerman, The Blackbird that got into the Garden, 1993, oil on canvas (detail)
Materials
Childrens Books: Little Blue and Little Yellow by Leo Lionni, and Chameleons Colors by Chisato Tashiro Corn Syrup and food coloring Paper plates Q-tips Animal Crackers Crayons and Paper Watercolors

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet Karl G. Ackerman, The Blackbird that got into the Garden Mabel Pearl Frazer, Jungle Birds James C. Christensen, Rhinoceros James C. Christensen, Fantasies of the Sea Donald Penrod Olsen, Chelsea VI Joseph Evan Ostraff, Albino Trout Silvia Liz Davis, Guest Korry R. Bird, Sunny Day
Learning Activity
Inform students that they will apply the knowledge they learned from the books. 1. Pass out paper plates and Q-tips to each child. On the plates, place a pile of animal crackers and a small puddle of clear corn syrup. 2. In the corn syrup, place three tiny drops food coloring, in each of the primary colors. Be careful to drip the colors in separate parts of the puddle so they do not mix right away. 3. Show students how they can mix primary colors to make secondary colors. Encourage them to make the connection that little blue and little yellow make little green. 4. As they mix the colors, invite students to paint the animal crackers with the colored corn syrup. Encourage students to create multi-colored animals just like their friend the Chameleon. As they paint and eat, ask students to pay attention to what happens when they mix different colors together. Did they make
Utah Core Standards

English Language Arts: Literacy: RL.1.1 Ask and answer questions about key details in a text. English Language Arts: Literacy: RL.1.2 Retell stories, including key details, and demonstrate understanding of their central message or lesson. English Language Arts: Literacy: RL.1.6 Identify who is telling the story at various points in a text. Integrated Core: Standard 1: Objective 3: b Express how colors, values, and sizes have been controlled in artworks to create mood, tell stories, or celebrate events.
Springville
Museum of Art

A Little Blue and a Little Yellow (continued)
or formulate an opinion during the discussion. For the painting, the teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five = Magnificent, Four = Great, Three = Good, Two = Standards were not met, One = Needs Improvement. Possible criteria may include: quality work, shows evidence of repetition and variation, includes one organic shape in the form of an animal, background space was aesthetically divided, paper space is completely filled, and project shows evidence of creativity.
First Grade
any unexpected discoveries? Did they invent any new species of animals?
Discussion
As students are experimenting with the food coloring, display the images from the Museum listed in this lesson. Each of these works was chosen because they have a connection to one or both of the books read. Some of the works are depictions of animals, some artworks are overlapping shapes, and some have interesting mixed colors. 1. Divide the white board in half and write Little Blue and Little Yellow on one side, and Chameleons Colors on the other side. Have students decide which artworks match the story line or the ideas found in each of the books. Are there any artworks that could fit into both categories? Are there any that dont really fit into either category? 2. Show students that artists solve problems in a variety of ways. Some of the artists have drawn or painted in very realistic ways, and others have chosen more abstract shapes and designs to portray their idea.
Variations
In small groups, have students write a simple story like those read in the beginning of the lesson. Then divide the story so that each person in the group can illustrate a portion of the story.
Extensions
Investigate a diverse array of animals in their natural habitat, and display those animals around the room. Focus on animals that traditionally have unusual colors or patterns in the wild.
Create
Using the Springville Museum artworks as a springboard, explain that students will have the opportunity to create their own animal design, much like the Chameleon, or James Christensen, or any of the other artists listed. Students will choose an animal to draw. They can choose a real animal, or they may choose to do an adaptation of an animal. Have students draw on large paper with crayon, adding pattern, repetition, and diverse color. When they have finished, have students paint various colors of watercolor over the crayon. Explain that the crayon acts as a resist, and it pushes away the watercolors. When their paintings are complete, have students establish a title for their creation, and a short story to accompany their masterpiece. If students are unable to write their stories, they can be recited to the class as an alternative. Place animal paintings in a class gallery and have students compare/contrast the student works with the artworks from the Springville Museum of Art.
Assessment
During the discussion component, the teacher should carefully monitor class participation, being careful to involve the whole class in some way. A simple checklist next to the class roll will ensure that each student is given the opportunity to participate
Silvia Liz Davis, Guest, 1994, wood sculpture
Second Grade
A series of lesson plans designed to help second grade teachers use art as a tool to teach Utahs Core Standards.
Gary Ernest Smith, Farm Boy, with Brown Cap, 1990, oil on canvas
Springville
Museum of Art
The Power of Art

We can help.
Contact Us!
Springville
Museum of Art
Social Studies and Visual Arts

Making Maps of Your Community Second Grade
Objectives
Discuss the landmarks and features of a community. Learn about different types of maps. Create an artistic map of the students community.
Preparation
Before the lesson, hide a copy of Keeper of the Gate by Dennis Smith, and a geographical map, somewhere in your classroom. On the white board or on a poster board create a simple map of your classroom. Include and label important classroom landmarks such as the teachers desk, cupboards, rug area, drinking fountain, etc.
Introduction
Help orient students to the classroom map by pointing out the different landmarks. Next, put a red X where you have hidden the two items. Ask students to use the classroom map to deduce where the items are hidden. Students could raise their hands and answer, or they could take turns looking for the items. When the items are found show them both to the students. Point out that one item is a traditional map and the other item is a painting created by an artist. Ask students to share with the class what elements they see on the map. For example, students may see roads, parks, mountains, buildings, lakes, etc. Next, ask students if they see any of the same features in the painting. Ask students if they think the painting is a map? Why or why not? (There are no right answers) Help students see there are many different kinds of maps. Some maps we use for direction, some maps help us find things, and other maps show what our community looks like or feels like.
Dennis Von Smith, Keeper of the Gate, 1989, oil on canvas (detail)
Materials
Simple map of your classroom (on white board or on paper) Geographical map of your community Images from the Museum Various art materials (depending on the activity you choose)
Learning Activity
Choose one of the following activities to help your students make a creative map of their community: 1. Class Collage Map: Because people make up much of what is important in a community, start your map by gluing phone book pages from your town on a large sheet of cardboard. Use thinned white glue, mod podge, or acrylic medium and allow pages to dry. Next, project a map of your community on the phone pages and have students color in the lines with black marker. Talk about the people in your town. Have students share how long their family has lived in the town and where they lived beforehand. Have students bring copies of photographs of their families, family trees, or genealogy charts. For children who do not have photos to bring, have old magazines of assorted kinds that the students can cut words or pictures from. These photos and other items

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet Dennis Von Smith, Keeper of the Gate Sophie Soprano, 24th of July Parade, Spring City
Utah Core Standards

Social Studies: Standard 3: Objective 1 Identify common symbols and physical features of a community, and explain how they affect peoples activities in that area. Integrated Core: Standard 1: Objective 3: a Express personal experiences and imagination through dance, storytelling, music, and visual art
Springville
Museum of Art
Social Studies and Visual Art

Making Maps of Your Community (Continued) Second Grade
3. Birds Eye Community: Have students make a light pencil sketch of a birds eye view of their favorite part of their community. Students could print off a map from Google Earth or Google Maps. Then they should finish the sketch with paint or another medium. Use this assignment to teach the students a new medium or process or to gain practice in one they have not yet mastered. 4. 3-D Community: Have the class make a 3-D map on a large sheet of cardboard with small boxes for important buildings. Students can cut architectural details from magazines and collage those to the boxes. Use clay, salt dough, or paper to create landscape elements and add detail. 5. Cardboard Buildings: Have the class make buildings from large cardboard boxes (see below). The class can make a map of their community using the cardboard buildings. Divide the class into groups and have each group responsible for one building. Students must first sketch their building and decide on the basic shape. They can then choose a box or boxes and decide how to assemble the building. Small boxes and tubes can be chimneys, additions, decorations, etc. Students can use paint, paper, or a combination, to finish the buildings.
can be glued to the background. Then add other places that are important to the children in your class such as churches, parks, ball diamonds, restaurants, etc. You may want to limit this to one item per child. As the class makes the collage, remind them to apply their knowledge of the elements and principles of art. 2. My Way to School Map: Students will make a drawing depicting the various landmarks they pass on their way to school each day. Begin by using a long narrow sheet of paper. Students could begin by drawing their house on one end, and their school on the other end. Help students brainstorm all of the things, places, and people they pass on their way to school. Do they ride a bus? Do they drive in a car? Do they walk? Students should draw their route to school as a sequence of events. This project would be ideal as a multi-day project. Each day you could ask students to write down landmarks, buildings, people, or natural features they see. Then when they get to class have them add those items to their drawing. You could also create a non-linear map, in which students need to pay attention to and record the twists and turns on their way to school.
Creating Cardboard Buildings To make a building with a peaked roof, cut two opposite flaps into isosceles triangles. Fold the other two flaps inside the box. Cut a rectangle of cardboard for the roof that is the length of the box plus 3-4 and the length of the top two sides of the triangle plus 4-6. On the wrong side, draw a line down the center, where the roof peak will be. Score the line with a knife. Lay something like a sturdy yardstick along the score mark, and bend one side up along the mark. To make the roof removable, glue two pieces of heavy bamboo skewer in the peaks of the triangles, with 1 showing. If you are using corrugated cardboard, you can push one end of the skewer piece in between the layers of cardboard. (You can cut the skewers easily with pruning shears.) Make holes in the roof which correspond to the skewer positions remember to account for the overhang of the roof. Then simply slip the roof over the skewers. To help the buildings stand up while being used, fold the bottom flaps in so each overlaps the previous one and then tuck the last flap under the first. Students can paint or glue colored paper to the buildings and then add architectural details using paper, small boxes, or odds and ends of trim.
Springville
Museum of Art

Hairdos and Happy Endings Second Grade
Objectives
Read Stephanies Ponytail by Robert Munsch. Answer questions about key details in a text. Understand who, what, where, when, why, and how. Create artwork based on a fictional story. Recount stories and determine central messages. Investigate artworks and learn how to read a painting.
Introduction
Begin by reading Stephanies Ponytail, by Robert Munsch to the class. As you read, ask questions about key details in the text. When finished, invite students to retell the story, including major events and key details. Use the Stephanies Ponytail worksheet to help students re-tell the story. Show Bald Stephanie to begin, and place random features on her face. Ask students to give a thumbs up, or thumbs down to signify if the features are (or are not) a part of the story. For example, if you show Stephanie with enormous ears and fangs, students should give a thumbs down. If you show Stephanie with a ponytail out the front, students should give a thumbs up. Ask students to determine the central message of the story. Discuss what happens in society when we blindly follow trends set by others. Is it always a good idea to do things that are popular or trendy? What are the dangers of following others instead of thinking for yourself? Have students identify the who, what, where, when, why, and how in Stephanies Ponytail. Have students describe how characters in a story respond to major events and challenges.
Stephanie Deer, Sometimes Less is More...But Not Today, 2010, mixed media
Materials
Stephanies Ponytail, by Robert Munsch Stephanies Ponytail Worksheet Who, What, When Worksheet Paper and pencils Oil pastels or paint

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Stephanie Deer, Sometimes Less is More...But Not Today Judith Ann Mehr, Grandma was a Storyteller Jeanne Leighton-Lundberg Clark, Entertaining Favorite Ladies II Brian Kershisnik, Flight Practice with Instructor Joseph Henry Sharp, Playing the Game
Learning Activity
Explain to students that they will have the opportunity to create Alices Ponytail or Billys Beard. In other words, students will have a chance to create a character in a new fictitious story that is loosely based on Stephanies Ponytail. Pass out the Stephanies Ponytail worksheet. Have students cut out, color, and glue different pieces onto Stephanie so that she becomes someone else. When they are finished, have a few students share their new Stephanies with the class. What are her attributes? What is her story?
Utah Core Standards

English Language Arts: Literacy: RL.2.1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text. English Language Arts: Literacy: RL.2.2 Recount stories, including fables and folktales from diverse cultures, and determine their central message, lesson, or moral. Integrated Core: Standard 1: Objective 3: a Express personal experiences and imagination through dance, storytelling, music, and visual art.
Discussion
Explain the phrase a picture is worth a thousand words. Because one picture can tell a whole story viewers can have lots of different ideas about what is actually happening. Show the artwork entitled Sometimes less is more But Not Today by artist Stephanie Deer. Make the connection that the character
Springville
Museum of Art

Hairdos and Happy Endings (continued) Assessment
During the discussion component, the teacher should carefully monitor the thumbs up/thumbs down responses to ensure that students are responding accurately. The teacher will assess the Stephanies Ponytail worksheet, and the Who, What, When worksheet, looking for completion and creativity. For the painting, the teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement. Possible criteria may include: quality work, shows evidence of story line, includes a connection to one of the professional artworks displayed, paper space is completely filled, and project shows evidence of creativity.
Second Grade
Stephanie from Munschs book would really enjoy this artists rendition of a hairdo. Invite the class to answer the who, what, where, when, why, and how as they apply to this painting. What type of story is unfolding here? Who is the character in the painting? Display the artworks listed in this lesson around the classroom. Have each student choose a painting that appeals to them and answer the who, what, where, when, why, and how as they apply to the painting they chose. Have them use the worksheet provided. You may also have students work together in groups. Once they have completed their worksheets, have students draw a picture of their own that tells the story of what comes next, or what happened before. Students can first draw in pencil, and then finish with paint or oil pastels. Display the artworks and have students see if they can match the student artwork to the artwork from the museum.
Variations
In small groups, have students write a simple story like those read in the beginning of the lesson. Then divide the story so that each person in the group can illustrate a portion of the story.
Hairdos and Happy Endings
How to Read a Painting
Who? What? When? Where? Why? How? What happens next? Or, what happened before?
Springville
Museum of Art

Graphing Types of Artwork Using Postcard Sets Second Grade
Objectives
Learn about four different types of artwork (landscape, portrait, still life, and abstract) In small groups categorize artwork postcards by type. Create graphs of artwork by type. Create an artwork that fits into one of the four categories.
Introduction
Begin the lesson by writing four categories on the board: landscape, portrait, abstract, and still life. Read the words on the board and ask students if they know what the words mean. Students may know the meaning of some words and not others. Talk about each word and let the students share what they know about that word. Then share some additional information that will help clarify each category (see key vocabulary at the end of this lesson). Next, help the students make the connection that all of these words are types of artwork. Tell them that you need their help putting some artworks in the right category. Show each of the following images and have students help you place each one in the right category. As you place images talk about why it fits in that category. Chelsea VI by Donald Olsen (abstract) The Mountain Stream by John Hafen (landscape) Symbols of the Orient by Carol Petit Harding (still life) Camille, Seated by Robert Barrett (portrait)
Robert Barrett, Camillle, Seated, 2002, charcoal on paper
Materials
Postcard-Size Image Set Drawing materials Estimation worksheet Graphing worksheet Types of Artwork worksheet 4x 6 pieces of card stock

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Donald Penrod Olsen, Chelsea VI John Hafen, The Mountain Stream Carol Petit Harding, Symbols of the Orient Robert Barrett, Camille, Seated
Some images may be confusing or seem to fit in more than one category. Encourage students to think about what is most important in each picture. For example, If there is a landscape that has people in it, are the people big and important, or are they small and distant? What is the main subject of the picture?
Estimation Activity (optional)

Tell the students that you have a large stack of 50 postcard-size images from the Springville Museum of Art. Give each student an estimation sheet and ask them to estimate how many postcards in the stack will be landscapes, portraits, still lifes, and abstracts. You should probably model this process with the class, showing how to subtract the number they estimate from 50, then finding a new total. Help students understand the total of their guesses should be 50.
Utah Core Standards

Math: Content: 2.MD.D.10 Draw a picture graph and a bar graph (with single-unit scale) to represent a data set with up to four categories. Solve simple puttogether, take-apart, and compare problems using information presented in a bar graph. Math: Content: 2.OA.A.1 Use addition and subtraction within 100 to solve one- and twostep word problems involving situations of adding to, taking from, putting together, taking apart, and comparing, with unknowns in all positions, e.g., by using drawings and equations with a symbol for the unknown number to represent the problem. Integrated Core: Standard 1: Objective 3: a Express personal experiences and imagination through dance, storytelling, music, and visual art.
Graphing Activity
Next, divide the students into five groups. Give each group 10 random postcards from the set, and a graphing worksheet. As a group they should look at each image and decide what category it belongs in. Then they should mark their graphing worksheet to
Springville
Museum of Art

Graphing Types of Artwork Using Postcard Sets (continued) Discussion
Talk about your findings. Which type of artwork is the most common? Which type of artwork is the least common? Why? Let the students share their ideas about why there would be more of one type than another.
Second Grade
keep track of how many postcards fit into each category. To increase participation and organize the experience you may want to assign tasks to each member of the group. One or two students could complete each of these tasks: Curator: Shows their group one postcard at a time and then places the postcard on the Types of Artwork worksheet. Recorder: Records the information on the worksheet. Reporter: Shares their findings with the class.
Learning Activity
Conclude the activity by allowing students to create their own postcard size artwork. Let them choose their favorite category of artwork and then use a variety of materials to create their own landscape, portrait, abstract, or still-life. When all of the students have completed their artwork, you can make a new graph of the class artwork by category.
When the groups have finished graphing their images, invite each group to present their findings to the class. When groups present their findings they should add their images and their totals to the class graph on the board. For example, Brian and Nikki in group one could present how many landscapes their group found. They would say they had 3 landscapes and then bring the landscape postcards to the board and stick them to the board under the landscape heading (making a large class graph). Then they would add their three postcards to the total number of landscapes, and come up with a new class total. For example, if there were already 12 landscapes and they added three more they would complete the problem 12 + 3 = 15. To check for accuracy you could count the number of postcards on the board to see if the number of postcards matches the new total. At the end of the activity, after each group has presented their findings, the class should be able to see how many landscapes, abstracts, still lifes, and portraits are in the postcard set. They can look at each category and see if anyone in the class estimated correctly.
Assessment
During the activity component of this lesson the teacher should carefully monitor group work. The teacher will assess the estimation worksheet, and group graphing worksheets looking for completion and accuracy. For the artwork, the teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement. Possible criteria may include: quality work, shows understanding of type of chosen type of artwork, paper space is completely filled, and project shows evidence of creativity.
Key Vocabulary
Landscape: Landscapes are works of art that feature scenes of nature: mountains, lakes, gardens, rivers, etc. They can be oil paintings, watercolors, gauche, pastels, or prints of any kind. Still Life: a painting or drawing of an arrangement of objects, typically including fruit and flowers and objects contrasting with these in texture, such as bowls and glassware. Abstract: Abstract art can be a painting or sculpture that does not depict a person, place, or thing in the natural world -- even in an extremely distorted or exaggerated way. Therefore, the subject of the work is based on what you see: color, shapes, brush strokes, size, scale and, in some cases, the process Portrait: Portraits are works of art that record the likenesses of humans or animals that are alive or have been alive. Curator: a person who is in charge of the things in a museum, zoo, etc. Source: www.merriam-webster.com/dictionary
Carol Petit Harding, Symbols of the Orient, 1992, pastel (detail)
Types of Artwork Place each postcard in the correct category
Still Life
Landscape
Portrait
Abstract
Types of Artwork Graph

Starting at the bottom of each column color in one rectangle for each postcard in each category.
Type of Artwork
Number of Postcards
Still Life
Landscape
Portrait
Abstract
Types of Artwork Estimation Game

Estimate how many postcards will be in each category. There are 50 postcards, so the total of all your guesses must equal 50.
How many still lifes are in the postcard set? My estimate is : ____________
Write an equation showing how many postcards are left. For example if you estimated 10 still lifes. Your equation would say: 50 (postcards) - 10 (still lifes) = 40 __________ - ___________ = ____________ Still Life How many landscapes are in the postcard set? My estimate is : ____________
Write an equation showing how many postcards are left. __________ - ___________ = ____________
Landscape How many portraits are in the postcard set? My estimate is : ____________
Write an equation showing how many postcards are left. __________ - ___________ = ____________
Portrait How many abstracts are in the postcard set? My estimate is : ____________
Write an equation showing how many postcards are left. __________ - ___________ = ____________ Abstract Add up your estimates for each type of artwork to find the total number of postcards. The total should equal 50. _______________
Springville
Museum of Art

Im Being Eaten by a... Second Grade
Objectives
Understand habitat and ecosystems. Understand the food chain. Create a habitat artwork that shows drama or tension.
Introduction
Show the class the image of Lizard Relay and ask students to identify what is going on in the painting. You could ask questions like: What do you think is happening in this picture? What animals do you see? Do you think the jaguarundi will catch one of the lizards?
Talk a little bit about the food chain. Explain that all animals depend on other plants, animals, and insects for food. While looking at the painting ask the students to identify the parts of the food chain. The jaquarundi eats the lizards, but what do lizards eat? What eats the jaquarundi? Let students take turns choosing an animal from the artwork (seen or unseen). Then as a class think of what predators might eat the chosen animal. You could sing a few verses of Im being eaten by a ... to the tune of Im being swallowed by a boa constrictor. Substitute animals from the artworks and let the students come up with verses. For example, Im being eaten by a green iguana, green iguana, a green iguana, etc. (If you arent familiar with this song you can find it on YouTube.)
Carel Brest van Kempen, Lizard Relay: Jaquarundi with Green Iguanas and Banded Basilisks, 1991, oil on board (detail)
Materials
Paper and pencils Research materials Planning Page (at the end of this lesson) Paper and colored pencils for the artwork Images of animals in survival situations (see Images from the Museum)
Discussion
Next discuss the artwork itself. Ask the students how the artwork makes them feel. If they cant articulate it themselves, help the students realize that the sense of being caught in a moment when things are happening creates tension and interest in the painting. Give the students information from Carel Brest van Kempens biography (included in this lesson). Make sure you include his statement that the artist likes to show lots of stuff chasing other stuff, as he puts it. Next, let the students discuss other artworks in small groups (see Images from the Museum). Ask the students to come up with three ways the artwork is similar to Lizard Relay and three ways it is different from Lizard Relay. There are no right answers about these artworks; the students just need to think and to justify their answers. You can help students learn to discuss without getting upset by chiming in with an occasional response such as, I didnt notice that part of the painting, I think I agree with you. Help them see that the give and take can be fun.

Images are available as individual full-color posters, in postcardsize image sets, and digitally at the end of this packet Carel Brest van Kempen, Lizard Relay Phillip Henry Barkdull, Seagulls on Utah Lake or The Gulls
Utah State Core Curriculum

Science: Standard 4: Objective 1 Tell how external features affect an animals ability to survive in its environment Science: Standard 4: Objective 2 Identify basic needs of living things (plants and animals) and their abilities to meet their needs. Integrated Core: Standard 1: Objective 3 Develop and use skills to communicate ideas, information, and feelings.
Springville
Museum of Art

Im Being Eaten by a... (Continued) Second Grade
Learning Activity
Assign students to research a particular environment and find out what animals, birds, insects, or other kinds of life might be interacting in that environment. Next, they will plan a possible scene that would have tension or drama and be based on real behaviors that might be observed in that environment. You can have them use the planning page or just plain paper. Students can do the research and planning as individuals or as small groups. After the students have completed the planning page, they can produce the artwork. If you have colored pencils, they are a good medium to use. Students should work on representing the animal faithfully, so the artwork is both beautiful and useful as a scientific image.
Assessment
Before students begin their artwork have them help you create a list of criteria based on both science and art. (Studies have shown that student performance is improved when they participate in establishing the criteria for an assignment.) Use a checklist to record participation in the class discussion and either assign completion points for the planning page or rate it using whatever scale you typically use.
Phillip Henry Barkdull, Seagulls on Utah Lake or The Gulls, 1930, oil on canvas
Artist Biography
Carel Brest van Kempen was born in Murray, Utah in 1958. He says he has been fascinated with drawing ever since he could hold a pencil, and his drawing focused on nature from the very beginning. Carel calls himself an amateur biologist and ecologist, both of which are important in his artwork. The fact that he studied biology, not art, influences his art in ways that make it unique. Although Brest van Kempen is a wildlife artist, he is not a typical western wildlife artist. He studied in Central and South America and more than half his work is of tropical animals. Brest van Kempens drawings and paintings are carefully drawn, with themes that involve ecology and how animals relate to their environment; they are stories about how animals live. As a wildlife artist, Brest Van Kempen tries to represent nature; lots of stuff chasing other stuff, as he puts it. Although his work is evolving, Carel is sure it will always involve nature. His sense of fun comes through in his work. Some of his paintings are whimsical and some have darker themes. Often these paintings feature animals with their prey in a tense moment. Carels experience in tropical areas has given him the background to create realistic settings for his dramas, including details of the animals natural habitats and other animals that would be in the environment. He is gratified when he sees someone whose eye is caught by a painting and goes closer and closer, to see the detail. Carel feels his paintings are successful if they are interesting from a distance and also have qualities that draw people near to them.
Tension in Art Planning Page Name________________________________________ Date________________________

Chosen environment (kind and place)
What lives in this environment? Mammals
What do they eat and what eats them?
Birds
Reptiles
Insects
Other
Plants
Describe a possible scene that has tension:
Third Grade
A series of lesson plans designed to help third grade teachers use art as a tool to teach Utahs Core Standards.
Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah, 1928, oil on canvas
Springville
Museum of Art
The Power of Art

We can help.
Contact Us!
Springville
Museum of Art
Language Arts and Visual Art

Illustrating Fantasy Narratives Third Grade
Objectives
Explore the world of fantasy through reading a story. Understand how illustrations can help tell a story. Create a three-part narrative artwork. Use temporal words to create a narrative title.
Introduction
Read and show students the book Tuesday by David Wiesner. Discuss the illustrations in the book, focusing on the sequence of events, by asking questions such as the following: What is the first unusual thing that happened in this book? Have you ever seen frogs on flying lily pads? What happened next? How do the illustrations help us understand the story? What happens at the end of the book?
Talk to student about how the artist mainly used the illustrations in his book to tell the story. Ask them if they think the things that happened in the books could really happen, or if they are imaginary. Explain that art based on imaginary ideas is called Fantasy Art. Show the class some fantasy art from the Images from the Museum section of this lesson and have students identify what is realistic and what is not realistic about the image. Ask students to imagine what happened right before, and right after, the scene depicted in the artwork.
James Christensen, Fantasies of the Sea, 1985, acrylic on board (detail)
Materials
Tuesday by David Wiesner Images of fantasy paintings (see Images from the Museum) Paper, pencils, or pens Crayons and other colored mediums
Learning Activity
Explain to students that they will now tell their own imaginary story using only pictures. Each student will create their own artwork depicting an imaginary event in three parts: the beginning, the middle, and the end. The only words they will use will be a carefully chosen title that uses temporal words (e.g. Just Before Midnight). Talk about the title of David Wiesners book and the way he uses time and temporal words to narrate the story. Give students time to brainstorm a title. Give them some examples of temporal words to get them started (see chart below). Encourage them to write down at least five different ideas using 5 different temporal words. Here are some examples: After the Storm While Everyone Was Sleeping Before My Mom Came Home

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet James Christensen, The Rhinoceros James Christensen, Fantasies of the Sea Brian Kershisnik, Flight Practice with Instructor
Utah Core Standards

English Language Arts: Literacy: W.3.3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. English Language Arts: Literacy: W.3.3c Use temporal words and phrases to signal event order. English Language Arts: Literacy: RL.3.7 Explain how specific aspects of a texts illustrations contribute to what is conveyed by the words in a story (e.g., create mood, emphasize aspects of a character or setting). Visual Arts: Standard 4: Objective 3: a Use a visual arts form as a help in expressing an idea in a nonart subject.
Temporal Words
Springville
Museum of Art
Language Arts and Visual Art

Illustrating Fantasy Narratives (continued) Third Grade
5. Students should use the whole paper and carefully use detail and color to complete their drawings. 6. Students will add a title to their artwork using temporal words.
Learning Activity
Once students have decided on an interesting title they can begin their illustrations. 1. Look at the illustrations in David Wiesners book again. Point out to student some of the illustrations that are divided into three sections. Students will use a similar format. 2. Students should divide a scrap piece of paper into three sections. The sections do not have to be equal. This can be achieved by using a ruler to draw a single vertical line from the top edge of the paper to the bottom edge. Then students should draw a horizontal line from one side of their paper until it intersects the vertical line. 3. At the top of each section they should write beginning, middle, and end respectively. In each section, students will sketch an idea for their artwork. Their sketches should show a clear sequence of events. 4. Once they have finished their preliminary sketches students can begin working on their final drawings. The final drawing should include three sections, similar to the planning sheet, but should not be labeled.
Assessment
Have the students turn in rough draft with their finished artwork. Give them completion points or assign points based on gradelevel appropriate criteria. Make sure students know what the criteria are before they begin the assignment. For example, 1. The artwork should be divided into three sections 2. The illustrations should include details that help tell the story. 3. The whole drawing should be colored in. 4. The title is neatly written and easy to read.
Literacy Extension
Use this lesson as an introduction to writing fantasy narratives. Students could write narratives based on their own artwork or the illustrations created by their classmates. They could also write narratives using fantasy images from the Museum as inspiration.
Brian Kershisnik, Flight Practice with Instructor, 2000, oil on canvas
Springville
Museum of Art

Discovering and Drawing Quadrilaterals Third Grade
Objectives
Understand and identify quadrilaterals. Create an artwork using various quadrilaterals. Compare and contrast artworks from the Springville Museum of Art. Evaluate artworks based on criteria that students compose.
Introduction
Pass out the Quadrilateral Worksheet and discuss the definition and attributes of quadrilaterals. In order to emphasize that quadrilaterals come in different shapes and sizes, visit: www.mathsisfun.com/geometry/quadrilaterals-interactive.html. This web site allows you (or students) to stretch and tweak different quadrilaterals. As you demonstrate the many variations of a quadrilateral, have students draw examples in the spaces provided on the worksheet. Show students the artworks from the Springville Museum of Art listed in this lesson and ask them to identify the quadrilaterals. Remind them that quadrilaterals can take on a number of different identities. Show students that many of the artworks contain shapes that are almost quadrilaterals, but be careful to note that traditionally quadrilaterals encompass straight lines.
Jacqui Biggs Larsen, Cottage Industry, 1997, mixed media
Materials
Quadrilateral worksheet Paper Oil pastels Rulers Dice (one die for each student)
Learning Activity
1. Pass out dice to each person and explain that students will be creating an artwork using different kinds of quadrilaterals. Each number on the die relates to one of the quadrilateral shapes on the worksheet. 2. Students must roll the die 30 times and each time they will add a shape to a large sheet of paper. Have the students use rulers to emphasize that quadrilaterals have straight lines. 3. Remind them that their shapes do not need to be identical to those found on the worksheet. In many cases they can be shorter, taller, thinner, fatter, and so forth. Encourage students to overlap shapes and combine them in a variety of ways. As students are rolling the dice, remind them to continue to correctly identify the quadrilateral shapes that they encounter. 4. When students have finished their compositions, invite students to color in the quadrilaterals using oil pastels. As they color in each shape the colors will overlap creating new colors. Encourage students to look to the professional examples from the Springville Museum of Art for ideas and inspiration. 5. When students have finished drawing, pin the drawings up around the room and critique them. What do they have in common? What are the differences?

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet Jacqui Biggs Larsen, Cottage Industry James Christensen, Rhinoceros Edith Taylor Roberson, Channel Three Louise Richards Farnsworth, Captiol from North Salt Lake Lee Udall Bennion, Snow Queen: Portrait of Adah Donald Penrod Olsen, Chelsea VI
Utah Core Standards

Math: Geometry: 3.G.A.1 Understand that shapes in different categories (e.g., rhombuses, rectangles, and others) may share attributes (e.g., having four sides), and that the shared attributes can define a larger category (e.g., quadrilaterals). Recognize rhombuses, rectangles, and squares as examples of quadrilaterals, and draw examples of quadrilaterals that do not belong to any of these subcategories. Visual Arts: Standard 3: Objective 2: d Create a work of art that uses a similar subject matter, symbol, idea, and/or meaning found in a significant work of art.
Springville
Museum of Art

Discovering and Drawing Quadrilaterals (continued) Third Grade
Assessment
During the discussion about quadrilaterals, the teacher will monitor student progress by identifying correct and incorrect quadrilaterals on the worksheet. For the painting, the teacher will discuss and evaluate student thought processes and execution of those processes on a scale of 1-5. Five=Magnificent, Four=Great, Three=Good, Two=Standards were not met, One=Needs Improvement. Possible criteria may include: quality work, shows 30 different quadrilaterals, quadrilaterals are drawn correctly, ruler was used correctly, paper space is completely filled, and project shows evidence of creativity.
Donald Penrod Olsen, Chelsea VI, 1980, acrylic on canvas
Edith Taylor Roberson, Channel Three, 1981, acrylic on board
Quadrilateral
Rectangle
What is a Quadrilateral? A flat shape with four straight sides Properties

4 right angles, opposite sides are equal 4 right angles, 4 equal sides 2 pairs of parallel sides, opposite sides equal. Parallelogram with 4 equal sides Two sides are parallel Two pairs of adjacent sides of same length.
Square
Parallelogram
Rhombus
Trapezoid
Kite
Springville
Museum of Art
Science, Social Studies, and Visual Arts

Phases of the Moon Third Grade
Objectives
Develop a scientific and cultural understanding of the moons phases Understand the cultural significance of the Lunar Calendar Research the names and meanings of moon phases in Native American lore and mythology. Create an original work of art which interprets a cultural meaning of a moon phase.
Introduction
Start your discussion of the moon by showing the students three works of art that feature the moon. Ask the students to identify the moon in each picture. Point out that the moon looks different in each picture. Ask them what differences they see. Why would the moon look different in each picture? Does the moon actually change shape and color? Let students share their ideas.
Demonstration
Explain to students that the moon is always the same shape and color. However, the moon looks different to us on earth depending on the time of day, the atmosphere, the season, and the light from the sun. The moon is always a sphere, like a ball. Sometimes we see the whole moon and it looks like a full circle. Sometimes we only see part of the moon because the earth is blocking the light from the sun. The earths shadow covers up part of the moon. Use the black circle (earths shadow) and the yellow circle (moon) to demonstrate how the earths shadow covers part of the moon to create the different phases. Help children understand the cyclic nature of the moon, which is divided into 4 basic parts: New moon (where you see no moon at all) First quarter (only half of the moon can be seen) Third quarter (only half of the moon can be seen) Full moon (the entire moon can be seen)
Wulf Barsch, The Valley of the Sun and the Moon, 2000, oil on canvas (detail)
Materials
Moon artwork (see Images from the Museum) Scratch paper Pencils One black circle and one yellow circle Circular, silver, take-out lids (can be requested or purchased at restaurants like Cafe Rio or Costa Vida) Colored permanent markers

Images are available as individual full-color posters, in postcardsize image sets, and digitally at the end of this packet Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah Alfred Lambourne, Twilight Near the Mouth of the Jordan, Utah Wulf Barsch, In the Valley of the Sun and the Moon
Discussion and Experimentation

Your moon phase lesson should discuss the orbits of the earth and moon. The moon orbit around the earth is about 28 days and is the basis of lunar calendars. Explain how the positions of the earth, sun, and moon affect the phases of the moon. Explain that the moon can be seen both day and night, and sometimes we dont see it at all. Keep it fun and interesting for the students. Remember that students will understand the phases of the moon better (and enjoy the lesson more) if you use a variety of teaching tools such as hands-on experiments using flashlights and playground balls,
Utah Core Standards

Science: Standard 1: Objective 1 and 2 Describe the appearance of Earth and the moon. Describe the movement of Earth and the moon and the apparent movement of other bodies through the sky. Social Studies: Standard 1: Objective 3: d Compare perspectives of various communities toward the natural environment. Visual Arts: Standard 4: Objective 3 Use a visual arts form as a help in expressing an idea in a nonart subject
Springville
Museum of Art
Science, Social Studies, and Visual Arts

Phases of the Moon (continued) Third Grade
having students act out the orbits, diagrams, and pictures, as well as verbal explanations.
Learning Activity
Once the science of moon phases has been discussed, explored, and understood, it is time to learn about the cultural meaning of the moon. Ask students if they have ever heard of a blue moon or a harvest moon. Explain that different cultures all over the world use names to describe the moon when it looks a certain way, or appears at a certain time of the year. The moon phases are predictable so many cultures have used them as a calendar. Some American Indian tribes had a different name for the full moon that occurred each month. The name was used for the moon through all its phases until another full moon arrived. Share one or two American Indian moon names with the students. Talk about the time of year and why the Indians would have given the moon that name. Give students time to research American Indian cultures and their moon meanings (see American Indian Full Moon Names Handout). The handout is just a starting point. Students could google Full Moon Names or American Indian Moon Names.
Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah, 1928, oil on canvas (detail)
Creative Activity
Let students choose a full moon name and a phase to render as a personal art project. Give each student a cardboard take-out lid. Students should trace around the lid onto scratch paper creating a circle. This will allow them to plan their moon picture. Emphasize that students need to show a distinct phase of the moon. The moon illustration should also have something to do with its name and meaning. Make it personal by asking, What do you think a Hunters Moon would look like? When students finish planning their moon picture, let them begin working on the shiny side of their take-out lid. They can use a dull pencil to carve into the surface creating texture. They can work from the back of the lid to create a raised embossed effect. Students can also use colored permanent markers to add color to their moon.
Assessment
Students should write a brief description of their moon artwork. The description should include the name of their moon, the phase of the moon, what culture it represents, and why they choose it. Work can be assessed for completion, accuracy, and creativity.
https://fretzreview.wikispaces.com/allieclairemoonphases+-+blue
Phases of the Moon

American Indian Full Moon Names
Choctaw
January: February: March: April: May: June: July: August: September: October: November: December: Cooking Moon Little Famine Moon Big Famine Moon Wildcat Moon Panther Moon Windy Moon Crane Moon Womens Moon Mulberry Moon Blackberry Moon Sassafras Moon Peach Moon
Cherokee
January: February: March: April: May: June: July: August: September: October: November: December: Cold Moon Bony Moon Windy Moon Flower Moon Planting Moon Green Corn Moon Ripe Corn Moon Fruit Moon Nut Moon Harvest Moon Trading Moon Snow Moon
Dakota Sioux
January: February: March: April: May: June: July: August: September: October: November: December: Moon of the Terrible Moon of the Raccoon, Moon when Trees Pop Moon When Eyes are Sore from Bright Snow Moon when Geese Return in Scattered Formation Moon When Leaves are Green, Moon to Plant Moon When June Berries are Ripe Moon of the Middle Summer Moon When All Things Ripen Moon When the Calves Grow Hair Moon When Quilling and Beading is Done Moon When Horns are Broken Off Twelfth Moon
Find more information by visiting the following websites: farmersalmanac.com/full-moon-names moonconnection.com/full-moon-names home.hiwaay.net/~krcool/Astro/moon/moonnames.htm
Fourth Grade
A series of lesson plans designed to help fourth grade teachers use art as a tool to teach Utahs Core Standards.
Maynard Dixon, Road to the River, Mount Carmel, Utah, 1940, oil on board
Springville
Museum of Art
The Power of Art

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Springville
Museum of Art
Language Arts and Social Studies

Pioneer Mountains and Valleys Fourth Grade
Objectives
Describe Utahs geographic attributes. Observe and describe Utahs landscapes. Explore the concept of point-of-view. Write a poem about a Utah landscape from the point of view of a pioneer coming into the Salt Lake Valley for the first time.
Introduction
Show students C. C. A. Christensens artwork Handcart Pioneers First View of Salt Lake Valley. Before you share the title of the artwork ask the students to share their ideas about what is going on in the painting. Generate discussion by asking some questions about the artwork: Who do you think these people are? Where are they going? Where do you think they came from? Can you tell how they feel at this moment? Are their feelings different?
Once students have shared their ideas, share the title of the artwork. Ask them if knowing the title changes their feelings about the painting, or helps them understand it better. Share a little information about the artist C. C. A Christensen (see artist biography at the end of this lesson). Christensen joined the LDS church in Denmark and eventually traveled by handcart to the Salt Lake Valley. Emphasize that the journey across the plains was full of difficult terrain and weather. Pioneers had to cross rivers, climb mountains, and descend into steep valleys. Ask students if they have ever gone on a long journey (hike, road trip, airplane ride, etc.) How did they feel when they finally arrived at their destination. Ask a few students to share their experiences. Invite students to imagine getting up almost every morning and walking all-day for three months. How would they have felt as they climbed the final hill? What would the pioneers have felt as they saw their final destination? Would they have shouted for joy? Would they have been disappointed? Would they have felt exhausted? Would they have cried? Share some actual reactions from pioneer journals. For example, Orson Pratt: We could not refrain from a shout of joy, which almost involuntarily escaped from our lips the moment this grand and lovely scenery was within our view.
Carl Christian Anton Christensen, Handcart Pioneers First View of Salt Lake Valley, 1890, oil on canvas
Materials
Postcard-size images of Utah landscapes Note pads and pencils to write down observations Paper, scissors, crayons, markers

Images are available as individual full-color posters, in postcard-size image sets, and digitally as a supplement to this packet. C. C. A. Christensen, Handcart Pioneers First View of Salt Lake Valley
Utah Core Standards

Social Studies: Standard 1: Objective 1 Classify major physical geographic attributes of Utah. Social Studies: Standard 2: Objective 1: b Explore points of view about life in Utah from a variety of cultural groups using primary source documents. English Language Arts: Literacy: L.4.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
Springville
Museum of Art
Language Arts and Social Studies

Pioneer Mountains and Valleys (continued) Fourth Grade
My long journey ends with one daunting mountain I see the beautiful valley before me and cheer Clear blue lakes, tall pines, and new friends welcome me home Each line can be placed in the book near the feature it describes. Students should spend time decorating the book. They can use colored pencils, watercolors, or crayons.
Wilford Woodruff: Brigham Young expressed his satisfaction in the appearance of the valley and declared This is the right place, drive on. Alma Eldredge, The Utah Farmer, 1922: I came over Little Mountain and down Emigration canyon, riding on a pony...My impression of the valley was that it seemed strange. It was surrounded by high mountains and no signs of any one living therein, and the large blue object in the west seemed a strange thing.
Assessment
Students should be assessed according to the following criteria. They can be rated on a scale of 1 to 5. Did they use descriptive, geographic, and emotive words in their poem? Did they write their poem from the point of view of a pioneer entering the Salt Lake Valley? Did they complete their mountain and valleys book? Did they participate in class discussion?
Learning Activity
Explain to students that they will write a poem from the point of view of a pioneer coming over the mountains and into the Salt Lake Valley. If appropriate take the students outside, or give them postcardsize images of Utah landscapes from the Springville Museum of Art. Tell the students that they are a pioneer, who has just walked 1,200 miles. When they come over the final hill they see the landscape surrounding them, or the landscape on the postcard. What are their impressions and feelings? Encourage the students to take notes, make sketches, and write down a variety of words. They should include at least 5 words in each of the following categories: Descriptive: words that describe shapes, colors, and forms. Geographic: words that describe features in the landscape such as mountains, valleys, peaks, canyons, rivers, etc. Emotive: words that describe how the landscape makes them feel.
Example: Open Book
Example: Closed Book
Carl Christian Anton Christensen

C. C. A. Christensen was born in Denmark in 1832. He studied painting and toy making at the Academy of Art in Copenhagen. In 1850, he became a member of the Church of Jesus Christ of Latter-day Saints (LDS) and served an LDS mission to Vest-Sjelland, Denmark. After returning home, he and his wife, Elsie Scheel, traveled to Nauvoo, Illinois, where they purchased a handcart and traveled by foot to Utah. He arrived in Utah with the Danish flag flying from his cart, his trousers flapping in tatters about his legs. During his trek, Christensen made many sketches of the scenery and what happened along the way. Later, he painted scenes like Handcart Pioneers First View of Salt Lake Valley, which shows the handcart pioneers climbing Little Mountain in Emigration Canyon. Near the top, they could see Salt Lake City for the first time, and they became very excited, waving their hats and handkerchiefs.
Create
When students have finished observing the landscape they can begin making a mountain and valleys book. Each student needs a piece of paper that is long and skinnythe size can vary. Students will fold the paper in thirds, so the ends of the sheet overlap each other. Students can decide how much they want the paper to overlap. After sketching ideas on scratch paper, students should lightly draw the silhouette of mountains and valleys on their paper and then cut along the line (see example at right). Remind students that they can cut more off if they need to, but they cant replace cut paper. After cutting out the silhouette, they can check the shapes and make any adjustments they want to. Once the book is finished students can combine their descriptive words, geographic words, and their emotive words to create a simple poem. For example the poem could read,
Springville
Museum of Art
Science and Visual Art

Who Needs Sagebrush? Fourth Grade
Objectives
Understand the meaning of the word habitat. Create artworks that demonstrate an understanding of the interdependence of life in a habitat. Demonstrate an understanding of foreground, middle ground, and background.
Introduction
Show students a piece of sagebrush or picture of sagebrush. Ask the students how many of them know what kind of plant it is. Ask the students what they think of sagebrush. Then pass out the Who Needs Sagebrush? Worksheet. When the students have completed the worksheet, go over it with them. Discuss their guesses and reveal the correct answers (See teachers copy of the worksheet) Next, show the class the image of Ode to Sagebrush, by Arlene Braithwaite. See if the students can identify any of the plants, animals, or insects in the artwork. Indian Paintbrush Beckers White Butterflies Indian Rice Grass Garden Spider Grasshopper Scorpion Sage Grouse Sage Thrasher Pygmy Rabbit Sagebrush Vole Yarrow (the white flower) Lupine (the blue flower) Bees Beetle Ladybug Ferruginous Hawk Great Basin Rattlesnake Sage Sparrow Sagebrush Lizard Pronghorn Antelope
Arlene Braithwaite, Ode to Sagebrush: A Hidden Picture, 2003, pastel (detail)
Materials
Piece or pictures of sagebrush (see Images from the Museum) Copy paper and pencils Large sheets of drawing paper Colored pencils or other colored media Books, Internet, other research materials Who Needs Sagebrush? worksheet and teachers guide Research Worksheet
Read the words that go around the outside of the artwork to the students. Before you read ask students to consider what message the artist is trying to send to people who view this artwork. Our eyes burn from clouds of dust blowing across the sand and cheatgrass landscape, once a thriving sagebrush steppe. When the sage canopy disappeared, the future of the myriad insects, reptiles, birds, mammals, and humans living on this land was sealed. In webs of life it is easy to overlook the unglamourous, like the sagebrush. The importance of these unflashy anchors for entire communities only becomes apparent when they are gone. Help the students understand any parts they find confusing. Ask the students why they think the artist may have felt so strongly about sagebrush. Ask the students to make a list of things that might be harming the sagebrush steppes (you can make the list on the board or have them work in small groups).

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Arlene Braithwaite, Ode to Sagebrush: A Hidden Picture Valoy Eaton, Antelope Paul Salisbury, Riders of the Range
Utah Core Standards

Science: Standard 5: Objective 2 Describe the common plants and animals found in Utah environments and how these organisms have adapted to the environment in which they live. Visual Arts: Standard 2 The student will analyze, reflect on, and apply the structures of art.
Springville
Museum of Art

Who Needs Sagebrush? (continued) Fourth Grade
If they need help, ask leading questions. A few possibilities are: Development of land for housing Overgrazing by cattle Wildfires Cars and trucks and other vehicles Explain to the students that one of the important facts about habitats and ecosystems is they are made up of many interdependent partschanges in one component, such as the number of sagebrush plants, will affect the other components such as plants, animals, and insects. Ask the students to look at the image again to see if they can figure out ways the different parts of the sagebrush steppe work together. Help them only as needed by pointing them in the right direction or adding small bits of information.
Valoy Eaton, Antelope, 1971, oil on masonite
Learning Activity
In this portion of the lesson students will create their own habitat artwork after researching a specific habitat. Begin by asking the students to look at the image from an artistic perspective instead of from a scientific perspective. In what ways is this piece an effective artwork? Talk specifically about the concepts of foreground, middle ground, and background. Ask students what is different about each of these parts of the artwork. For example, the plants in the foreground are bigger, brighter, and have more detail than those in the middle ground. Look at the detail on the sagebrush in the front of the painting as compared to those behind it. Compare the size of the hawk to the beetle in the front. Also look at the detail in the dirt as compared to the lack of detail in the mountain ridge in the background of the painting. Ask students to use these art techniques in their own work. Students can research a habitat using books, the internet, or by observing a particular ecosystem in the area. During their research they should compile information about what plants, animals, birds, insects, and other life forms live in the ecosystem and how they interact and depend on each other. You may choose to have them use the Research Worksheet included in the lesson materials. Students should then choose one small portion of the ecosystem to depict, perhaps 3-7 life forms. Students should then plan their artworks, making changes and editing their sketches at least three times. Next, students should make a light sketch of the larger artwork. As they work on the planning, remind students to use what they know about the elements and principles and what they discovered about foreground, middle ground and background. Students should write a brief statement about their depiction of a habitat and the relationships among the plants, animals, and insects they chose to depict. Students can incorporate the text into their artwork or they can make a separate artist statement, which should also have their name, a title, and the habitat they have depicted.
Assessment
Have students turn in their Who Needs Sagebrush? worksheet. They should receive credit if they completed the worksheet. They should also turn in the Research Worksheet. Students will self-assess their artworks using the assessment worksheet included at the end of this lesson.
Who Needs Sagebrush?

Below is a list of statements about sagebrush Put a T by any that you think are true, or a F by any that you think are false
Name________________________________________________________ 1. Sagebrush are like weeds; they grow in lots of places we dont want them to. 2. Land with sagebrush on it has more problems with wildfires than land with juniper trees. 3. Pygmy rabbits like to live where the sagebrush are pretty close together. 4. Indian Paintbrush (a flower) use the roots of sagebrush to help provide the nutrients and water they need. 5. Sage Grouse use sagebrush for food, shelter from predators (other animals that want to eat them) and to make snow caves that keep then warm in the winter. 6. Bears use sagebrush to line the caves they hibernate in. 7. One scientist counted 83 different kinds of spiders that live in areas with lots of sagebrush. 8. Pronghorn antelope eat sagebrush in the winter. 9. One kind of vole (kind of like mice with short tails) eats sagebrush leaves and bark as well as wheat grass and lupine, which grow near sagebrush. 10. Four kinds of birds are sagebrush obligates (that means they cant survive without sagebrush and the other plants that grow near sagebrush). 11. One kind of lizard lives in areas with lots of sagebrush so much that its called a sagebrush lizard. 12. Sagebrush can release chemicals that talk to other parts of the sagebrush plant. 13. Sagebrush blooms in the late summer or early fall when there isnt as much pollen or nectar for insects. 14. Great Basin rattlesnakes eat sagebrush berries. 15. More than 170 species of birds and mammals live in areas with sagebrush, including black-tailed jackrabbits, prairie falcons and golden eagles.
Who Needs Sagebrush? (Teachers copy)

1. Sagebrush are like weeds, they grow in lots of places we dont want them to. The answer may depend on who you arebut students may discover sagebrush is more helpful and important than they think. 2. Land with sagebrush on it has more problems with wildfires than land with juniper trees. FalseAlthough sagebrush burns, areas where juniper and pinion pine trees have invaded have more problems because the trees provide more fuel for fires than sagebrush does. 3. Pygmy rabbits live where there is a lot of sagebrush. True Sagebrush are so important for pygmy rabbits that they are also sagebrush obligates 4. Indian Paintbrush use the roots of sagebrush to help provide the nutrients and water they need. True Indian Paintbrush grow their roots right into sagebrush rootsthey are partially parasitic (use another plant to live on) 5. Sage Grouse use sagebrush for food, shelter from predators (other animals that want to eat them) and to make snow caves that keep then warm in the winter. True Sage grouse eat sagebrush and other plants in the summer, but in the winter they only eat sagebrush, and they like the small cave-like spaces that snowdrifts make on sagebrush. 6. Bears use sagebrush to line the caves they hibernate in. FalseBears dont need anything but their fur to keep them warm in winter. 7. One scientist counted 83 different kinds of spiders that live in areas with lots of sagebrush. True - Scientists did a study to find out about the spiders that live in and around sagebrush. 8. Pronghorn antelope like to eat several plants that grow around sagebrush in summer and sagebrush in winter. True 9. One kind of vole (kind of like mice with short tails) eats sagebrush leaves and bark as well as wheat grass and lupine, which grow near sagebrush. True Its called the sagebrush vole. 10. Four kinds of birds are sagebrush obligates (that means they cant survive without sagebrush and the other plants that grow near sagebrush). True Sage Grouse, Brewers Sparrow, Sage Sparrow, and Sage Thrasher 11. One kind of lizard lives in areas with lots of sagebrush so much that its called a sagebrush lizard. True It looks a lot like a Western fence lizard, which many of the students will have seen. 12. Sagebrush can release chemicals that talk to other parts of the sagebrush plant. Truea scientist just did experiments that proved this. 13. Sagebrush blooms in the late summer or early fall when there isnt as much pollen or nectar for insects. True 14. Great Basin rattlesnakes eat sagebrush berries. FalseBut Great Basin rattlesnakes do live in sagebrush steppes. 15. More than 170 species of birds and mammals live in areas with sagebrush, including black-tailed jackrabbits, prairie falcons and golden eagles. True
Habitat Research
Name Chosen Habitat Where is it found in Utah? Date
Animals that live in this habitat
What do they eat?
What do they need for shelter?
Plants that live in this habitat
Insects in this habitat
What plants do the insects need?
Other life forms
What threatens this habitat?
What are the most important parts of the habitat?
Who Needs Sagebrush?

Habitat Artwork Assessment
Name Date
Circle the face that shows how well you did each item I completed the Habitat Research worksheet I turned in the worksheet with my artwork My artwork shows at least 5 things that belong in the habitat My artwork shows something about how the habitat works together (For example: animals sheltered by or feeding on plants) I used different textures to help depict parts of the habitat I created depth in my artwork through overlapping, color, and detail I included a statement about the relationships in the habitat I made a label with my name, the title, and what the habitat is Overall my work is
Great!
Okay
Bluh!
J J J J J J J J J
K K K K K K K K K
L L L L L L L L L
Totals for each column
Grade
Springville
Museum of Art

Drawing Inside the Box: Angles, Lines, and Perspective Fourth Grade
Objectives
Discuss perspective in artwork. Practice measuring and adding angles. Create a boxed-in artwork using lines and angles.
Introduction
Note: Prior to this lesson students should have a basic understanding of angles, and how to use a protractor to measure angles. Begin by showing the class James Christensens artwork The Rhinoceros. Ask students to take a moment to look carefully at the artwork and to think about where the rhinoceros is. Ask a few questions like, Is the rhinoceros inside or outside? How can you tell? Students may say the rhinoceros looks like he is stuck in a room. They may also think he is outside because of the moon and the bird. Take time to point out the cracks in the walls and the rhinoceross shadow on the wall. Ask the students how they think the rhino feels? Point out that there are some other clues the artist gives us to help us understand that the rhino is stuck in a small room. Explain that even though this painting is flat2-dimensionalthe artist uses straight lines and angles to give the painting depth. These lines make it look like the rhino is stuck inside a box or a room. When an artist creates depth in an artwork it is called perspective. Explain to students that during todays lesson they will practice using angles and lines to create their own boxed-in artwork. But first they need to understand how to use lines and angles to create perspective in their own drawings.
James Calvin Christensen, The Rhinoceros, 1981, acrylic on board
Materials
Large image of James Christensens The Rhinoceros that you project and trace over. Copies of Angles and Artwork Worksheet Rulers Paper, Pencils Crayons, markers, or watercolor
Learning Activity
Using a dry erase marker or vis-a-vis marker help the students identify some important lines in the painting. Begin by pointing out the large rectangle wall behind the rhino. Ask a student to come trace the rectangle in the picture. Explain that the rectangle is just a flat two-dimensional shape. But artists can give it depth by adding lines from the edge of the artwork to the rectangles corners. Ask students to come trace the lines from the edge of the artwork to the corner of the rectangle. Point out that when two lines share a common endpoint they

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. James Christensen, The Rhinoceros
Utah Core Standards

Math: Measurement and Data: Geometric Measurement: C.5 Recognize angles as geometric shapes that are formed wherever two rays share a common endpoint, and understand concepts of angle measurement Math: Measurement and Data: Geometric Measurement C.6 Measure angles in whole-number degrees using a protractor. Sketch angles of specified measure. Visual Arts: Standard 2: Objective 1: a Identify evidence of depth, shadow, color, and mood in artwork.
Springville
Museum of Art

Drawing Inside the Box: Angles, Lines, and Perspective (continued) Fourth Grade
form an angle. In this case when the lines meet the rectangle they form several angles. Remind students that in previous lessons they have learned how to label, measure, and calculate missing angles. You may want to review these concepts with the class. Next, distribute the Artwork and Angles worksheet. Give students time to complete the worksheet individually or in small groups. When the students have finished, review the worksheet as a class, using the large reproduction of James Christensens painting as a reference. When you review the last corner on the worksheet ask students to point out where they found new angles. Many students will probably have noticed that the checkerboard floor is full of lines and angles. Point out that the floor in the painting helps create the illusion of depth in the room. Using a ruler show the students how all of the lines on the floor lead to a single point, called a vanishing point. Line the ruler up with the vertical lines on the floor and draw a line that continues past the floor and through the rhino (see image at right). As they create their own perspective artwork they will need to choose a vanishing point.
Step-by-Step Drawing Instructions
Creative Activity
Now that the students understand a little more about how angles and lines create perspective help them create their own boxed-in artwork. Give each student a piece of paper and ask them to go through the steps with you. Let them know that they will have time to add detail, and be creative, but that you will walk them through the steps of drawing the box. 1. Begin by drawing a rectangle in the middle of the paper. Show students that if they make their rectangle small their room will seem long and narrow. If they make their rectangle big, their room will seem shallow and tall. 2. Next have students make a vanishing point in the middle of their rectangle. 3. Students should use a ruler to line up their vanishing point with each corner of their rectangle. They should draw a straight line from the vanishing point, through the corner and to the edge of the paper. Then they can erase any lines inside the rectangle. Repeat with all corners. 4. Demonstrate how to make a checkerboard floor. Line up your ruler with the vanishing point and draw lines from the vanishing point to the bottom edge of the paper. Erase any lines inside the rectangle. Then draw horizontal lines from side to side. 5. Invite students to put an animal in their room, to add interesting details, and to color in their picture with crayons, markers or watercolor.
Step 1
Step 2
Step 3
Step 4
Step 4
Step 5
Assessment
The Artwork and Angles Worksheet should be graded for accuracy and completion. Students should also be given a participation grade related to their participation in the class discussion. Rate students artwork on a scale of 1-5 based on completion and correct use of lines and angles and completion.
Artwork and Angles

Follow the directions in each corner to discover the angles in the artwork.
Corner 1: In this corner of the painting there are many angles. Label each angle as acute, obtuse, straight, or right. A. ____________ B. ____________ C. ____________ B
Corner 2: Use a protractor to measure the three angles in this corner.
A C
D F E
D. ___________ E. ____________ F. ____________
G. 90 degrees H. 130 degrees I. ____________ H I
Corner 3: In this corner use the measurements of angle G and angle H to find the measurement of angle I. Do not use a protractor.
Corner 4: Trace at least 3 other angles in this painting. Label each angle with the letters J, K, and L.
Springville
Museum of Art

Making Your Mark on the Market Fourth Grade
Objectives
Investigate growth in Utahs economy. Recognize the competitive nature of todays business world. Create a business name and sign that will attract customers. (This will become the booth sign for the 4th Grade Fair.)
Introduction
Show the picture of Lehi Mill, by Glen Turner. Ask students some questions about the artwork. What do you think this is a picture of? Can you tell what time period it shows? Are there clues that can help us guess the time period? What purpose do you think this building might have been used for?
Frank R. Huff Jr., Drive-Inn, Salt Lake City, 1997, oil on canvas (detail)
Tell students that the name of this picture is Lehi Mill. Does knowing the title help us understand anything new about the building in the painting? Explain that this picture shows a historic flour mill in Lehi, Utah. The picture was painted in 1940. Explain that in 1940 the Lehi Mill was probably the only mill in the area. In a small community everyone would know where it was, and what it was. So they didnt need a big sign on the building. Ask the class if they have seen the present day Lehi Mill. Show them a modern-day photograph (included in this lesson) and ask them what changes have taken place in the appearance of the mill. Give the students time to observe and share their answers. Explain that for a long time there were no other buildings around the Lehi Mill, but today it is surrounded by businesses. Discuss how communities and businesses change as towns grow.
Materials
Scratch paper and drawing paper Pencils and erasers Color mediums (crayons, markers, watercolor, etc.) Rulers Font samples Photographs of business signs A color wheel if available

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Glen Turner, Lehi Mill Paul Howard Davis, State Street Frank R. Huff Jr., Drive-Inn, Salt Lake City
Discussion
Show students the painting State Street by Paul Howard Davis. On a busy street like State Street, why is it important for a business to have a sign? Discuss the various components of a business sign. Discuss the purpose and importance of each component. Show some photographs of local businesses and their signs. Ask the students which signs they think are the most interesting or eye-catching. Next, show students the painting Drive-Inn, Salt Lake City, by Frank R. Huff Jr. Tell student the title and then talk about what information could be put on the blank sign. What is the purpose of the star? Discuss what other symbols or icons could have been used on the sign. Take some time to discuss the importance of symbols, color, and words using the local business signs. You may want to include a discussion of complimentary colors.
Utah Core Standards

Social Studies: Standard 2 Student will understand how Utahs history has been shaped by many diverse people, events, and ideas. Social Studies: Standard 2: Objective 3: Investigate the development of the economy in Utah. Visual Art: Standard 1 Explore and refine the application of media, techniques, and artistic processes, learn to use new tools and materials and apply them in personal work Visual Art: Standard 4: Objective 3 Recognize the connections of visual arts to all learning.
Springville
Museum of Art

Making Your Mark on the Market (continued) Assessment
You can use the following questions to assess student participation and achievement for this lesson. To what extent did students understand the changes in the economy from the 1930s and 40s to the present day? How well did they incorporate the use of symbols or icons? Did students thoughtfully choose colors to create a design that would attract attention? How did the design of this students sign demonstrate the students understanding of the competitive nature of the business world?
Fourth Grade
Learning Activity
Talk to the students about how the 4th Grade Fair will be their opportunity to create their own business. Talk about the idea of competition. What things can they do to help them compete with the other businesses? How can a well-made sign help them be more competitive? Explain to students that they will be designing a sign using symbols, text, and color to represent their business. Pass out the scratch paper and pencils and have students create at least three possible designs for their business (booth) using various fonts, color schemes, and symbols. If they have not decided what they are going to sell, have them just use their name as the business name. When they have finished sketching ask students to choose their best design. Next, students should complete their final design on drawing paper. Let students choose their own color medium (crayons, markets, colored pencils, etc.) They should use a ruler when drawing the letters unless they are printing from a computer. Have students use their designs to make posters at home or in class for their 4th Grade Fair booths.
Extensions
Have students research companies that are based in Utah or have been started by Utahans. Students could try to answer the following questions and then complete an informative report. Why does the Governor want companies to establish their businesses in Utah? Why would a business want to bring their company to Utah? How does having more business in Utah effect the economy?
Paul Howard Davis, State Street, 1979, oil on canvas
Additional photographs of local business are available in the images portion of this packet.
Making Your Mark on the Market

Business Sign Fonts
Use the following fonts a guide for the lettering on your sign.
Fifth Grade
A series of lesson plans designed to help fifth grade teachers use art as a tool to teach Utahs Core Standards.
Cover Image: Helen Lee Deffebach, George II, 1967, mixed media
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Museum of Art
The Power of Art

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Springville
Museum of Art

Shaping Utahs Surface Fifth Grade
Objectives
Complete scientific experiments about weathering and erosion. Examine geological formations depicted in artworks. Create a geological artwork. Understand foreground, middle ground, and background.
Introduction
Show the students Cockscomb, Near Teasdale, by V. Douglas Snow. Explain to students that the picture shows a large rocky outcrop near the artists home in Teasdale, Utah. Teasdale is in the middle of the state. Ask the students if they see anything unusual or interesting about the outcrop. What does it remind them of? Next, show the students John B Fairbanks artwork The Great White Throne Through the Saddle. Explain that Fairbanks artwork also depicts a large rocky outcrop in Utah. This particular formation is found in Zion National Park in Southern Utah. Ask the students to look at both pictures and to compare and contrast the rocky formations. Students will probably notice differences and similarities in color, shape, and size. Encourage students to look carefully at the foreground, middle ground, and background of each painting. Utahs landscape is constantly being changed and shaped by the effects of weathering and erosion.
V. Douglas Snow, Cockscomb, Near Teasdale, 1985, oil on canvas
Materials
Postcard-size images of Utah landscapes Paper Materials for the experiments (see experiments) Photographs of Utah landscapes Crayons Watercolor paper Watercolor sets Brushes Salt
Demonstration
Explain to students the differences between mechanical weathering, chemical weathering, and erosion. You can use a piece of paper to illustrate the differences. 1. Mechanical Weathering: Mechanical weathering occurs when rocks physically break down, but their chemical content does not change. Demonstrate mechanical weathering by tearing a piece of paper into smaller pieces. 2. Chemical Weathering: Chemical weathering occurs when a chemical change occurs within at least some of the minerals in a rock. This can lead to a change in rock color or texture. You can demonstrate chemical weathering by lighting a piece of paper on fire. The paper changes from paper to ash. 3. Erosion: Erosion has to do with the movement of weathered material from one area to another. For example, sediment in the Grand Canyon is moved downstream by the Colorado river. Blow on the paper fragments or ash to demonstrate this concept. Ask the students what other natural forces besides water might contribute to weathering and erosion. Correct answers include but are not limited torain, floods, wind, acid rain, fires, mud slides, rivers, sunlight, etc...

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. John B Fairbanks, Great White Throne through the Saddle V. Douglas Snow, Cockscomb, near Teasdale
Utah Core Standards

Science: Standard 2: Objective 1 Describe how weathering and erosion change Earths surface Science: Standard 2: Objective 3 Relate the building up and breaking down of Earths surface over time to the various physical land features. Visual Arts: Standard 1: Objective 1: a Differentiate between foreground, middle ground, and background in the production of artwork.
Springville
Museum of Art

Shaping Utahs Surface (continued) Art Making Activity
Students will complete a crayon resist watercolor depicting a Utah landscapes. They should research prominent landscapes and gather pictures for inspiration, but should not just copy a photograph. Point out to students that all landscapes have a foreground, middle ground, and background. Help students identify each area using a landscape painting. Students should begin the art-making process by making at least 4 preliminary sketches of their planned landscape. Once their planning sketches are complete, they should choose their favorite and begin their final artwork. Students will lightly draw their artwork on watercolor paper with pencil and then use crayon to add areas of thick color or texture. Once the crayon is complete students can use watercolor to finish their painting. The students can watercolor directly over the crayon, and the crayon will resist the watercolor. Students can also sprinkle salt over the watercolor creating a chemical reaction. Students should write a label that has a title for the landscape, their name, and a brief explanation of how weathering and erosion helped create the landscape they depicted.
Fifth Grade
Experimentation
Complete the following experiments as a class or in centers to understand mechanical weathering, chemical weathering, and erosion. For each of these experiments students should formulate a question, write a hypothesis, record their observations, and write a conclusion 1. Sugar Cubes and Gravel (mechanical weathering) Students will put two sugar cubes in a jar and add a couple spoonfuls of gravel. Students should shake the jar for two minutes and record their observations. Then students should shake the jar for three more minutes and record their final observations. 2. Water and Antacid Tablets (mechanical weathering and erosion) Students will place two antacid tablets (one crushed and one whole) on a tray. Slightly elevate one side of the tray, then pour water from the elevated side so that it comes into contact with the antacids. Students can record their initial observations, and their record their observations after 10 minutes. 3. Water and Vinegar on Limestone (chemical weathering) Use two clear plastic cups. Place a piece of limestone or chalk in each cup. Pour vinegar in one cup and water in the other. Use the same amount of liquid in each cup. Make sure students label the cups. Record initial observations, and observations after 10 minutes. 4. Vinegar and Copper Pennies (chemical weathering) Use two clear plastic cups. Place a penny in each cup. Pour white vinegar in one cup and brown vinegar in the other cup. Use the same amount of vinegar in each cup. Record initial observations, and observations after 10 minutes. 5. Water and Steel Wool (chemical weathering) Place steel wool inside a clear plastic cup, and cover it with water. Record observations after 20 minutes, and then record observations after 24 hours. When students have completed these experiments discuss their hypotheses, observations, and conclusions as a class.
Assessment
Students should be assigned points for class participation, completion of experiments, artwork completion, and for creating a label that explains weathering and erosion.
Background
Learning Activity
Give students an opportunity to connect their new understanding of weathering and erosion to artwork depicting Utahs landscapes. Divide the class into small groups and give each group a postcard of a Utah landscape. Ask the students to write a hypothesis about how the landscape was formed focusing on the processes of mechanical weathering, chemical weathering, and erosion. Students should provide evidence from the artwork to support their hypothesis. Once students have developed a hypothesis they should share their artwork and ideas with the class.
Middle ground
Foreground
John B Fairbanks, The Great White Throne Through the Saddle, 1919, oil on canvas
Springville
Museum of Art
Language Arts, Visual Arts, and Dance

Using Art as a Springboard for Writing and Movement Fifth Grade
Objectives
Look closely at works of art. Use a painting as a springboard for movement. Use the dance elements of time, space, and energy Explore movement.
Introduction
Start by showing the class a work of art like Storm Spirits on Horizon #6, by Lee Ann Miller. Invite the students to look closely at the artwork. Generate conversation by asking some questions. What do you think is happening in this artwork? What is the mood of the artwork? How does the artist use color to create a mood? How does the artist use lines to create a mood?
As a class make a list of colors, and shapes from the artwork. Ask students to think about the different colors in the artwork and to assign a movement or motion to the color. The following questions can help get hesitant kids started. What kind of energy would the color red have? How would red move through space? Is red a color that has small or large movements? Does it change levels or stay the same? How fast or slow is red?
Lee Ann Miller, Storm Spirits on Horizon #6, 1977, watercolor (detail)
Materials
Abstract artwork (see Images from the Museum) Paper A large open space, free of obstacles. Art materials (optional)
Once students have explored the colors of the artwork through movement talk about shape. Ask students to combine their movements so that students are dancing gray squares or red swirls. Next, students will apply their movement exploration to a language arts activity.

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Lee Ann Miller, Storm Spirits on Horizon #6 Donald Penrod Olsen, Chelsea VI V. Douglas Snow, Cockscomb, near Teasdale
Learning Activity
1. Begin by asking students to fold an 8.5 x 11 piece of paper into a fan with four columns. This can be accomplished by folding the paper in half once, and then in half again. Students will work on one side of the paper and only look at one section at a time. 2. With the fan closed, begin making a list on the first column. Instruct students to look at an artwork and to make a vertical list of four colors found in the painting. 3. Fold the first column over so that the students cant see what they have written. Move to the second column, and make a vertical list of four shapes found in the painting. Add an ed to the end of the shapes so that they become adjectives such as circled, squared, triangled, etc. 4. Fold the previous column and make a vertical list of four body parts. (The body parts do not have to be represented in the
Utah Core Standards

Literacy: Vocabulary Use and Acquisition: 5.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Dance: Standard 2 The student will identify and demonstrate movement elements in performing dance. Dance: Standard 3 The student will improvise, create, and respond to movement solutions in the art form of dance. Visual Arts: Standard 3: Objective 1: b Explore the meanings of nonrepresentational significant works of art.
Springville
Museum of Art
Language Arts, Visual Arts, and Dance

Using Art as a Springboard for Writing and Movement (continued) Fifth Grade
8. Students will create a sequence of movements inspired by their phrase. This may be done by interpreting the image as a whole or by making a movement for each word in the image. The body part mentioned will be the initiating or central focus of the phrase. 9. Students can work in small groups to put their phrases together into a simple dance. As they work, remind students to think of ways they can use space, time, and energy to portray their phrase. 10. Once this part of the exercise is completed the dancers should perform their compositions for each other or to the class. This part of the activity can be fun and silly. But all students will benefit from establishing class guidelines about appropriate behavior as they share their dances.
painting) Its best to have a list which includes both large body parts (legs, arms, head) and small ones (fingers, lips, toes). When students try to be too clever here (with a list of teeth, earlobes, armpits, eyeballs) they defeat the purpose of the exercise. 5. After folding the previous list over, make a final vertical list of ing words on the next column. These may be inspired by the painting although not actually represented. These ing words should be action words (laughing, spiraling, running, poking spinning, etc.).
Yellow Ovaled Arm Jumping Turning Falling Twisting
Example of word fan:
Purple Orange Black
Rectangled Toe Circled Triangled Head Finger
Conclusion
Once students have completed their dances return to the painting. Briefly discuss how the student dances were similar to or different from the artwork they represented. Let students discuss their experience and share their individual phrases and movement sequences with the class.
6. Unfold the fan and draw a line across all columns connecting the first words in each list, then the second words, etc. Students will create phrases such as: a blue squared leg laughing, or a purple circled pinky spiraling. 7. Have students choose their favorite word phrase from their fan.
Assessment
Students should receive points for participation in class discussion, completion of their word fan, dance participation, and appropriate classroom behavior during the performances.
Douglas P. Olsen, Chelsea VI, 1980, acrylic on canvas (detail)
Springville
Museum of Art

Child Labor: A Process Drama Exploration Fifth Grade
Objectives
Understand the problems of child labor during the industrial revolution. Understand the establishment of child labor laws . Participate in a process drama, a choral reading, and journal writing.
Introduction
Begin by showing students two pictures: Snow Queen: Portrait of Adah by Lee Udall Bennion and Anaemic Little Spinner in North Pownal Cotton Mill by Lewis J. Hine. Ask the student to look carefully at each picture. Explain that these portraits are both of real children: Adah and Addie. Ask the students to compare and contrast Adah and Addie. Have them speculate about when each girl lived and what her life was like. Talk about the clues in the portrait that help us understand more about each girl. Explain that Adahs childhood was much like childhood today. She got to make paper snowflakes and she had a favorite toy. Adahs mother painted this portrait of her while she was safe and happy at home. Addies childhood was very different. She lived in a time when children had to work very hard in factories instead of playing and going to school. Factories employed young children and often did not treat them well. Her picture was taken while she was at work at a cotton mill. Ask the children to look carefully at Adah and Addies faces. How do they think each girl feels? Let the students share their thoughts. Next, tell the students that they are going to participate in a process drama to help them understand how it felt to be a child worker in a factory, like Addie. (In a process drama the teacher instructs students, enters the drama as a character, and acts as the narrator.)
Left: Lee Udall Bennion, Snow Queen: Portrait of Adah, 1992, oil on canvas (detail) Right: Lewis J. Hine, Anaemic little spinner in North Pownal Cotton Mill, 1910, photograph
Materials
Photographs by Lewis W. Hine of child workers available at www.lewishinephotographs.com Declaration of Dependence by the Children of America in Mines and Factories and Workshops Assembled by Alexander J. McKelway (at the end of this lesson). Chair for each student Portrait of Anaemic Little Spinner in North Pownal Cotton Mill by Lewis Hine

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Lee Udall Bennion, Snow Queen: Portrait of Adah
Utah Core Standards

Social Studies: Standard 5: Objective 2 Assess the impact of social and political movements in recent United States history English Language Arts: Literacy: W.5.1 Write opinion pieces on topics or texts, supporting a point of view with reasons and information. Theater Arts: Standard 4: Objective 1 Analyze and explain how the opposing wants and needs of the protagonist and the antagonist in a dramatic presentation are similar to and different from ones own wants and needs when in conflict with others in real life. Visual Arts: Standard 4: Objective 3: a Collaborate in small groups to discover how works of art reveal the history and social conditions of our nation.
Learning Activity
1. Tell the students that they will now experience a little of what a typical day was like for children working in a cotton mill. Have the children set up the chairs in rows to make an imaginary cotton mill. Explain that their chair represents the machine they are assigned to work on. 2. Instruct children to lie down as if they were asleep. 3. Next, blow a whistle to wake them up and tell them its time for work. Hurry the children into the factory, each child in front of one chair. Have each child choose a distinct factory action they would like to make (pulling, pushing, lifting, etc.) 4. To make the setting more realistic, you could play a tape with
Springville
Museum of Art

Child Labor: A Process Drama Exploration Discussion
Once you have finished the narration, students can stop working. Ask students how they felt after working in the cotton mill for only four minutes. Invite students to share how they felt after hearing the stories of what happened to some of the children.
Fifth Grade
factory machine sound effects. Have the children repeat their chosen motion for four minutes without stopping. 5. For the first two minutes act as news reporter while the children work. Tap the children on the shoulder and ask them questions about how they feel. 6. After two minutes, the lights will turn off because it is getting late in the day. Children will keep moving the entire time. Teacher will act as a narrator and describe a few accounts of what happened in the factories as children are working.
Role Play or Writing

After the class discussion about working in the factory discuss some of the reasons child labor existed. Even though we think child labor was horrible some people at the time thought it was necessary, and beneficial. Divide the class in half and ask one half to act as supporters of child labor (factory owners, outsiders, parents and children) and the other half of the class to act in opposition to child labor (parents, children, outsiders, legislators, religious leaders, etc.) Students can write an opinion piece representing their viewpoint, or can debate the idea as a class.
Narration
Choose one or two of the following stories to share with your students. You may also want to research the topic and find your own stories. A Philadelphia paper, some few years ago, contained the story of a little girl, Sarah, who worked for $3.00 a week in a woolen mill in a that city. The floors of woolen mills are always slippery with wool grease. The child slipped, and thrusting out her arm, she was caught in the cogs of an unguarded machine. Her right arm was broken in seven places from her wrist to her shoulder. No automobile was called. Sarah walked nearly a mile to the nearest hospital. Her arm was so jaggedly chopped up that it didnt mend straight, and she was crippled for life. Children were blinded by splintering glass, were struck by flying shuttles, mangled in rushing coal chutes, or unfingered in speeding box factories. The boys under 16 have twice as many accidents as the men; while the girls under 16 have three times as many accidents as the women. One little girl had a simple narrative: When I first went to work at night, she said, The long standing up hurt my feet, and my back pained all the time. Mother cried when I told her how I felt, and that made me feel so bad that I didnt tell her anymore. My eyes hurt always from watching the threads at night. Sometimes I see threads everywhere. When I look at other things, I see threads, running across them. Sometimes the threads seem to be cutting into my eyes. Another little girl, who had quit the work, spoke feelingly of the hardships, The tangles were always harder when I was tired. I had to twist back the reel a long time till all the tangles were gone. The big girl who had charge of our department used to scold me and the overseer said he would discharge me if I couldnt do better. Then my head would ache something awful. A little girl said she was always afraid, afraid to go down the long aisle between the snarling machines, afraid of the great dark outside.
Choral Reading
Lead students through a choral reading of the declaration at the end of this lesson plan. Explain to the students that different states began to pass laws against hiring young children in 1848. But many states continued to have child labor and each state differed in their restrictions. The first national law was not passed until 1916. In 1913, Alexander McKelway who was a presbyterian minister, a journalist, and a child labor activist wrote this declaration in behalf of children everywhere.
Conclusion
At the end of this lesson invite the children to record in their journals how their life is different from the life of a child during child labor. Students should write about their typical day and then compare it with the typical day of the factory children. Have the children write a reaction to the process drama.
Assessment
Students should be given a participation grade for the process drama and class discussion. Grade any written work according to your standard classroom criteria.
Springville
Museum of Art

Child Labor: A Process Drama Exploration Fifth Grade
Declaration of Dependence by the Children of America in Mines and Factories and Workshops Assembled by Alexander J. McKelway, 1913
All: Group 1: Person 1: Person 2: Person 3: Person 4: Person 5: Person 6: All: Group 2: Person 7: Person 8: Person 9: Person 10: Group 1: Group 2: Group 1: Group 2: All: All: We, Children of America, are declared to have been born free and equal, and yet we are in bondage in this land of the free; are forced to toil the long day or the long night, with no control over the conditions of labor, as to health or safety or hours or wages, and with no right to the rewards of our service, therefor be it resolved That childhood is endowed with certain inherent and inalienable rights, among which are freedom from toil for daily bread; the right to play and to dream; the right to the normal sleep of the night season; the right to an education, that we may have equality of opportunity for developing all that there is in us of mind and heart. That we declare ourselves to be helpless and dependent; that we are and of right ought to be dependent, we hereby present the appeal of our helplessness that we may be protected in the enjoyment of the rights of childhood. That we demand the restoration of our rights by the abolition of child labor in America.
Springville
Museum of Art
Math and Visual Art

Math and Mystery Masterpieces Fifth Grade
Objectives
Estimate the actual size of prominent artwork from the Springville Museum of Art. Understand the concept of scaling or resizing. Use division and multiplication to determine ratio. Create a class mystery masterpiece based on an artwork from the Springville Museum of Art
Introduction
To begin the lesson spread postcards out on a table top. Invite students to come view the images and to pick one image they like. Ask them to refrain from looking at the back of the postcard. Explain to the students that each postcard represents an actual artwork from the Springville Museum of Art. Point out that all of the postcards are the exact same size. Then ask the students if they think the actual artworks are all the same size? Why or why not? On the white board create three columns labeled small, medium, and large. Ask the students guess whether the actual artwork is small, medium, or large. Take a few minutes to discuss why they think their artwork fits into the category they selected. Explain to students that it almost impossible to tell how big a painting might be just by looking at a postcard. An artwork that seems really small might actually be huge! Ask students to take their postcard and to look at the back. Point out that on the back of each postcard there are measurements of the actual artwork. All measurements are in inches. Talk briefly about some relative sizes to give students some context for the measurements (e.g., 12 inches is the length of a ruler, etc.)
Gary Ernest Smith, Youthful Games, 1984, oil on canvas (detail)
Materials
Postcard-Sized Image Set Poster board or butcher paper pre-cut to the dimensions of the artworks listed below. Number artworks from 1-8. Rulers and measuring tapes Pencils, crayons, colored pencils, or markers. Poster cut into 30 equal sections (label the backs) Paper cut into 30 equal sections (label the backs) A classroom grid (explanation in lesson)

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Sven Birger Sandzen, Moonrise in the Canyon, Moab, Utah Louise Farnsworth, Capitol from North Salt Lake Carlos J. Anderson, Still-Life with Guitar Lee Anne Miller, Storm Spirits on Horizon #6 Donald Penrod Olsen, Chelsea VI Gary Ernest Smith, Youthful Games Gary Ernest Smith, Farm Boy, with Brown Cap Dennis Von Smith, Keeper of the Gate
Learning Activity
Next, hang the pre-cut poster board or butcher paper around the classroom. Divide students into eight groups and give each group a postcard that corresponds with one of the pre-cut papers. Ask the students to use the measurements on the back of their postcards to guess which pre-cut paper is the actual size of their artwork. Once the groups have guessed they can use a ruler or measuring tape to see if they are correct. Students may be surprised to see that the actual artwork is very large or very small.
Utah State Core Curriculum

Math: Content: 5.NF.B.5a. Interpret multiplication as scaling (resizing), by: Comparing the size of a product to the size of one factor on the basis of the size of the other factor, without performing the indicated multiplication. Visual Arts: Standard 2: Objective 2: d Improve accuracy in proportion in works of art. Measure and use a ratio between two objects or between a part to its whole.
Math Activity
Talk about the concepts of scale and ratio with students. The artwork on the postcards and the artwork represented by the precut paper share a common ratio. The ratio of one side to another is the same regardless of image. For example, you could say that the actual artwork is 3 times, or 5 times, or even 12 times the size
Springville
Museum of Art
Math and Visual Art

Math and Mystery Masterpieces Fifth Grade
of the postcard. Model for students how they can figure out the scale of their artwork compared to the postcard. 1. First, the students should decide which dimension is the horizontal measurement and which dimension is the vertical measurement. They can do this easily by looking at their image and determining which side is longer. Then they should check to see if the horizontal side of the artwork is longer or shorter than the vertical side of the artwork. 2. Next, measure the sides of the image on the postcard (not including the white border). Have students write this measurement down. 3. Divide the dimensions of the actual artwork by the corresponding measured dimensions of the postcard-size images. 4. Once the calculations are complete the students should be able to say that the actual artwork is x times bigger than the postcard. (E.g., The artwork Keeper of the Gate is approximately 11 times bigger than its postcard. This ratio is represented as 1:11)
A B C D E
Creative Activity
Next, introduce the art-making activity. Explain to students that they will be working as a class to recreate an artwork from the museum using scale. The artwork is a mystery masterpiece because each student will only be able to look at one small piece of the artwork. The class will not know which artwork they are creating until all of the pieces come together. Tell students that you have divided a poster of an artwork from the museum into 30 equal pieces. Explain that you have also cut a blank piece of paper to the actual size of the matching artwork and cut it into 30 pieces. Each student will receive a piece of the poster (labeled on the back with a number and letter) and a blank piece of paper that is 1/30th of the actual size of the artwork. Students should look carefully at their piece of the poster and draw it onto the blank piece of paper, carefully matching color, line, and texture. When students have completed their portion of the artwork they can add their piece to the classroom grid. (The classroom grid can be created on paper, on a white board, or on a wall using masking tape. It should be the same dimensions as the actual artwork and should be divided into 30 equal pieces). As students place their pieces on the grid they will begin to see the classs mystery masterpiece take shape.
Did their group correctly calculate the scale of the artwork to the postcard? Did they actively participate in their group? Did they complete the art-making activity?
Variation
Rather than trying to create a somewhat realistic reproduction of an artwork, students could create an abstract mystery masterpiece. This is best accomplished when the teacher draws the major contour lines of an artwork onto the artwork-size paper using a projector and a thick black marker. When the paper artwork is cut into pieces student will have black lines on their piece. Instruct students to decorate the piece however they would like. The only rules are they cannot cover up the black lines, and they must fill in all of the white space. Pieces are then reassembled on the grid creating an abstract interpretation of the original artwork.
Literacy Extension
Use the postcard-size images as prompts for a writing activity. Students can use the historical and biographical information available on the back of each postcard to learn about the artwork. Next, they can write a brief opinion piece about the artwork, using the following questions: What do you like about the artwork? What do you dislike about the artwork? What does the artwork remind you of? Did the actual size of the artwork surprise you? Why?
Assessment
Students should be assessed according to the following criteria. Did they participate in class discussion? Did their group match their postcard to the correct paper?
Sixth Grade
A series of lesson plans designed to help sixth grade teachers use art as a tool to teach Utahs Core Standards.
Nicholas Britsky, New Americas, 1974, oil on board
Springville
Museum of Art
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Springville
Museum of Art

Creating Imagery Using the Game Taboo Sixth Grade
Objectives
Explore point-of-view. Use descriptive detail, sensory language, and figurative language. Evaluate artistic subject matter and themes.
Introduction
Ask the students if they have ever played the game Taboo. Explain that in the game of Taboo you have to describe a object, thing, or idea without using certain taboo words. The point is to get your team to guess the word you are describing. If you say one of the Taboo words you get buzzed! Ask for some brave volunteers to help demonstrate the game. Demonstrate using 2 or 3 actual cards from the game taboo, or make your own. Have one student at a time describe the word on the Taboo card while the class tries to guess the word. After the demonstration tell the students that for todays lesson they will be playing the game Taboo using artwork from the Springville Museum of Art. They will be coming up with a list of taboo words, writing descriptions, and trying to match descriptions to artworks.
Minerva Teichert, Hereford Roundup, 1956, oil on canvas (detail)
Learning Activity
1. Begin by letting each student choose an artwork from the postcard-size image set . 2. Once students have selected an image, they should examine it carefully, and write the name of the artwork, and 6 taboo words on a post-it note. Remind students that these taboo words should be obvious, descriptive words. For example if there is a cowboy in the picture one of the taboo words should be cowboy. 3. Students should stick their post-it note to the back of the postcard and then return the postcard to the front of the classroom. 4. Once all of the postcards are returned to the front of the classroom each student should choose a new postcard. It cannot be the image they chose before. 5. Students will now write a two paragraph description of the artwork they selected. They must not use any of the taboo words attached to their postcard. Discuss how to use descriptive detail and figurative language. Remind students that they should use words and imagery that will help someone guess which artwork they are describing. Make sure that each student writes his or her name on the back of their description. 6. When students have finished writing their description, they should trade with a neighbor and check each others descriptions to see if the author accidentally used any taboo words.
Materials
Postcard-size image set Buzzer 2-3 Taboo cards (from the game or homemade) Paper Pencils or pens Post-it notes

Images are available as individual full-color posters, in postcard-size image sets, or digitally as a part of this packet. For this lesson you can use any artwork. We recommend using our postcard-size image set which includes 59 works of art from the Springville Museum of Arts permanent collection.
Utah Core Standards

English Language Arts: Literacy: W.6.3d Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events. English Language Arts: Literacy: L.6.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Visual Arts: Standard 3 The student will choose and evaluate artistic subject matter, themes, symbols, ideas, meanings, and purposes.
Springville
Museum of Art

Creating Imagery Using the Game Taboo (continued) Sixth Grade
7. Once the descriptions have been checked all of the students should turn in their descriptions. 8. Next, each student will receive one of their classmates descriptions and try to match it to the postcard it describes. You could hang postcards around the room or on the board and have students place their description next to the postcard they think it corresponds to. 9. Have each student check to see if the description that they wrote is correctly matched to the postcard they described.
Conclusion
When students have finished the learning activity talk about the experience. Ask a few students to share descriptions they thought were well-written. Ask students some questions to generate discussion, such as: What was hard about this activity? What kinds of descriptions made it easier to find the right postcard? Why is it important to use a variety of descriptive words as a writer? How does this exercise apply to artists?
Student Example
(Picture was a photograph of the Sydney Opera House) Taboo words: purple, lights, water, bridge, buildings, blue, tall, dome(s). Looking out at the vibrant lavender sky that blankets us, I want to get there soon. Up ahead of the vessel lies a spectacular twinkle of sparks in the dusk like stars that litter the ground. I can hear shouts and laughter from the city, but more prominently, sounds of music reverberate off the structure ahead. Its like a crystal being shoved out of the ground- jagged and sharp. Its as if the setting sun had leaked through the ceiling and into the construction, setting it alight with its power, and leaving the rest of the world to sink into violet.
Assess
Assign points to students based on the following criteria. Did the student participate in class discussion? Did the student write 6 taboo words? Did the student write a descriptive text without using taboo words? Did the students writing demonstrate use of detail, figurative language, and descriptive language?
Springville
Museum of Art

An Alien in My Own World Sixth Grade
Objectives
Define what alienation means. Analyze different ways people feel alienated. Critique a work of art that shows themes of alienation. Decipher the significance of certain symbols. Create an artwork that explores the commonalities between two different objects or ideas that seem unrelated.
Introduction
Choose four students to act out a lunchroom skit. The four students will be sitting at one table to eat their lunch. They should act very friendly with each other like they are best friends. Either the teacher or another studentwho is confidentshould act out the part of a brand new student on their first day at a new school. Lunch time is always the most intimidating and scary time for a brand new student. The students eating at the table should act disinterested in this new student when the student asks to sit with them. Perhaps some comments could be made about them being different then the other students, or that they arent friends, so they cant sit with them. The new student should then shy away and find a seat alone. Following the skit have the class discuss what kinds of feelings this new student may have felt as he/she entered the lunchroom and came in contact with these students. Ask if any of them have ever felt like the new kid. Have students share ideas about how the student should have been treated. Discuss with the class the meaning of the word alienation. Websters dictionary defines alienation as a withdrawing or separation of a person or a persons affections from an object or position of former attachment. Explain how a new student may feel alienated or alienate them from a situation that seems unwelcoming.
Nicholas Britsky, New Americans, 1974, oil on board (detail)
Materials
Image of Nicholas Britskys New Americans (see Images from the Museum) Props for the lunchroom skit Pencil Paper Variety of art postcards (postcard-size image set) Drawing paper Paint

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. Nicholas Britsky, New Americans Gary Ernest Smith, Farm Boy, with Brown Cap
Discuss
Have students take out a piece of paper and write down everything they think of when they think of America. Then show students the image by Nicholas Britsky, titled New Americans. Show the image for a full minute and have students observe as closely as possible. When the minute is over, remove the image, and then have students describe the image to a neighbor in the best detail the student can remember. What things do they remember from the images that were symbols of America? Show the image again and list everything the students can observe about the image on the board. What is different about the right side of the painting from the left side? Do they portray different moods? Do the members of the family
Utah Core Standards

Social Studies: Standard 4: Objective 1 Analyze how major world events of the 20th century affect the world today. Social Studies: Standard 4: Objective 2 Explore current global issues facing the modern world and identify potential solutions. Visual Arts: Standard 3: Objective 2 Discuss, evaluate, and choose symbols, ideas, subject matter, meanings, and purposes for artworks.
Springville
Museum of Art

An Alien in My Own World (continued) Sixth Grade
seem happy? Comfortable? Excited? Next, have the students write a letter to a friend still living in their native country from the point-of-view of someone in the painting. What does the letter say? What kinds of emotions are portrayed? Is there hope? Is there regret?
Learning Activity
Discuss the art principles of balance, harmony, and unity. Explain that an image may be made up of many people, objects, or ideas that dont seem to have anything in common and yet there can still be balance, harmony, or unity in the artwork. In order for people not to alienate themselves, they must not feel like aliens, they must find commonalities with the world around them. Using this same concept, have students brainstorm two objects or opposing concepts like knives/silly putty, toothbrush/cake, light/ dark, beautiful/ugly, or rich/poor and so on. The challenge for the student is to find a common ground that the two objects share and portray this in a picture. For example, if a student chooses a car and an apple perhaps the apples are portrayed as the wheels of the car because the shape is common. Or if the student chooses light and dark they may show a light switch because it has the power to achieve both. Once the artworks are finished, have students trade pictures with anther peer and then have the peer make a judgment on whether the student was successful at creating unity among objects or ideas that would normally create alienation.
Learning Activity
Have students spend some time researching areas in the world where alienation is happening to entire groups. Many of these groups have become refugees in the United States or in neighboring countries. Students should research why the alienation is occurring (prejudice, wars, land disputes, etc.). Students should also see if they can find out how these refugees are being accepted in their new countries. Do the refugees feel alienated? Students should type up their findings and make suggestions of how to improve the situation of refugees.
Gary Ernest Smith, Farm Boy, with Brown Cap, 1990, oil on canvas
with different styles began to alienate themselves from the art worldwhat would happen? Would art be as interesting? Have students think about movies, advertisements, video games, magazines, and images they see around them every day of people. Is everyone the same? Are most people they know just like the people they see in the movies? Have the students get into groups of four and come up with four reasons or ways people can feel or make themselves alienated from the rest of the world. Then have the students come up with a solution to prevent the alienation from happening.
Extension
Have students relate the idea of alienation back to art with postcards. Pull a variety of art postcards representing many different mediums and styles throughout history and group them into categories of style or theme. Ask if the students have a favorite style or medium. If they do have favorites, then do they still consider their least favorite images artworks? What if the art world decided that only impressionistic artworks were true art, and then all other artist
Assessment
Use a 1-5 rubric to grade the studio assignment. The discussion should be a participation grade and the letter graded like an essay.
Springville
Museum of Art

Symphony in Color Sixth Grade
Objectives
Demonstrate an understanding of light refraction. Demonstrate an understanding of how light separates into a spectrum of colors. Create an original landscape using the three properties of color: hue, value, and intensity.
Introduction
Show students the artwork Symphony in Colour: Designed Landscape, by Philip Henry Barkdull. Ask students questions about the artwork, such as: What stands out to you about this painting? Why do you think the artist called this painting, Symphony in Colour? What color stands out to you the most? Does color have anything to do with science?
Explain to students that they will be using this artwork as a starting point for todays science lesson. They will conduct some experiments to learn how light separates into various colors, and at the end of the lesson they will make their own artwork demonstrating three important properties of color.
Experimentation
Ask students if they have ever seen a rainbow. Ask some questions about rainbows. When do you usually see a rainbow? What is the weather like? What time of day do rainbows usually appear? What colors do you see in a rainbow?
Philip Henry Barkdull, Symphony in Colour: Designed Landscape, 1930, oil on canvas (detail)
Materials
Pen or pencil for drawing Watercolor sets Good heavy gauge paper Paintbrushes Various materials for the science experiments
Explain to students that two physical phenomena are at work within a rainbow: refraction and reflection. Refraction occurs each time light passes across a boundary from one substance to another, such as from air into water. As light crosses that boundary, the rays bend at different angles depending on the wavelength (color) of light. This is the familiar prism effect wherein white sunlight is broken into a spectrum of different colors from red to blue-violet. The same thing happens in a rainbow: white sunlight enters a raindrop and is broken into different colors heading in slightly different directions. The light is then reflected and magnified off the back of the raindrop and passes back into the air again. The reason that rainbows are somewhat rare is that you will only see them when there is rain in front of you and somewhat in the distance, and the sun is behind you and fairly low on the horizon. Let students know that white sunlight divides into all the colors of the color spectrum (color wheel) when it passes through a raindrop at a certain angle and then reflects off the back of the

Images are available as individual full-color posters, in postcard-size image sets, or digitally as part of this packet. Phillip Henry Barkdull, Symphony in Colour: Designed Landscape
Utah Core Standards

Science: Standard 6: Objective 2 Describe how light can be produced, reflected, refracted, and separated in visible light of various colors. Visual Arts: Standard 2: Objective 1: a Describe the three properties of color: hue, value, and intensity. Visual Arts: Standard 2: Objective 1: b Differentiate and identify colors by value and intensity within works of art.
Springville
Museum of Art

Symphony in Color (continued)

Sixth Grade
Hue is a color or shade. For example, reds, yellows, oranges, etc. Ask students to find similar hues in the painting. Value is the lightness or darkness of a color. Ask students if they can find two colors in the painting that are the same hue but a different value. Intensity relates to how strong a color is. Ask students to identify colors in the painting that are very intense.
raindrops and is magnified to make the beauty we know as a rainbow. Choose one or more of the following experiments to demonstrate the principles of reflection and refraction. The Water Glass Method: 1. Fill a glass with water. 2. Place the glass on a table in front of a sunny window. 3. Place a sheet of paper on the floor. White paper works best. 4. Wet the window with hot water by misting it with a spray bottle. 5. Adjust the glass and the paper until you see a rainbow. The Mirror Method: 1. Place a mirror inside a full glass of water. 2. Make sure the room is dark, and has white walls. 3. Shine a flashlight into the water, moving it around until a rainbow can be viewed. The Prism Method: A great demonstration in rainbow building can be done easily with a prism. A prism can be used to break light up into its constituent spectral colors (the colors of the rainbow). Prisms can also be used to reflect light, or to split light into components with different polarizations. Prisms can be purchased inexpensively from any educational or art supply catalogue. They can be used easily with a flashlight to create a beautiful rainbow projection.
Next, students will use their new understanding of color to create their own rainbow art. Their artwork should demonstrate an understanding of the three properties of color. Have students look at some images or photographs of rainbow. Once they have researched rainbow pictures, have the students create a preliminary sketch. Students should shade in shadows and textures in the drawing. Point out to students that their rainbow does not have to be an arch. It could be a sky full of color like Philip Henry Barkdulls painting. We want to try to get past the symbolic icon of a rainbow. When it comes time to watercolor, here are a few simple hints to improve the effect of the watercolor technique: 1. Use the tip of the brush and use gentle pressure. Do not scrub with the brush. 2. Do not over use the water. Do not go back to the water each time you paint. 3. If you want to mix colors and you probably will, to get a good indigo (blue violet) do not mix on the paper, mix the colors in the mixing tray on the back of the watercolor set.
Art Making Activity

The creation of a rainbow in your class is a real attention getter and sets the mood for the creative thinking necessary to make an interesting drawing and watercolor. When you make a rainbow Identify the colors in the right order: Red, Orange, Yellow, Green, Blue, Indigo, and Violet. The memory device for this is ROY G. BIV. Show students that the color order is the same as the color wheel. Remember that Indigo is made by mixing blue and violet. Return to the artwork from the beginning of the lesson an introduce the color properties of hue, value, and intensity.
Assessment
When students are finished, have them give their artwork a title and describe the science behind how a rainbow is formed. They should use new science vocabulary words such as reflection and refraction. Have students self-evaluate according to criteria you set with them, based on what specific art skills you have been working on in your class.
Springville
Museum of Art
Math and Visual Art

Drawing Proportional Faces Sixth Grade
Objective
Understand the principles of ratio and proportion. Look carefully at faces in artwork. Draw a proportional face using appropriate ratios.
Introduction
Show students Nicholas Britskys New Americans and George II by H. Lee Deffebach. Talk about the faces in each picture. Ask the students a few questions about the artworks to generate discussion, such as: Is there anything unusual about the faces in these pictures? Do the faces look realistic? Why or why not? How are the faces different?
Introduce the idea of proportion. Explain that faces look more realistic when their features are proportional. When features are too big or too small the face begins to look like a cartoon. In the artwork, New Americans, the artist exaggerated some of the features such as the eyes. The artist was not trying to make a realistic face. However, in George II the artist wanted the face to be recognizable as George Washington so she was careful about the size, shape, and placement of his features. Ask the students how an artist knows where to draw a persons features to make their face look realistic. Explain that many artists use the mathematical concept of ratio to help them draw realistic faces. No matter how small or how large a face is the ratio of one feature to another is always the same.
H. Lee Deffebach, George II, 1967, mixed media (detail)
Demonstration
Use the artwork Snow Queen: Portrait of Adah by Lee Udall Bennion to demonstrate the ratios found on the human face. Begin by drawing a vertical line from the top of Adahs head to her chin. Point out that Adahs face is symmetrical, meaning her face is the same on each side of the vertical line. Draw horizontal lines to mark the top of her head and her chin. Next, demonstrate that the eyes are located halfway between the top of the head and the chin. Draw a horizontal line across Adahs eyes to mark the halfway point. Point out that the tops of Adahs ears begin at her eye line. Then draw a horizontal line halfway between Adahs eye line and her chin line. The bottom of her nose should rest on this line. Her mouth line is halfway between her nose and her chin.
Materials
Paper and pencils Images from the Museum Oil pastels, markers, or colored pencils

Images are available as individual full-color posters, in postcardsize image sets, or digitally as part of this packet. Nicholas Britsky, New Americans H. Lee Deffebach, George II Lee Udall Bennion, Snow Queen: Portrait of Adah
Utah Core Standards

Math: Content: 6.RP.A.1 Understand the concept of a ratio and use ratio language to describe a ratio relationship between two quantities. Visual Arts: Standard 4: Objective 1: a Compare/contrast art forms, past or present, in terms of subject matter, culture, and history.
Learning Activity
Now, invite the students to draw with you. Encourage them not to work ahead of the group. They will practice drawing a face correctly, and then they will be able to complete some independent practice. Use this class practice as an opportunity to
Springville
Museum of Art
Math and Visual Art

Drawing Proportional Faces (continued) 1:2 Sixth Grade
quiz the students about the ratios you have just discussed. 1. Begin by drawing an oval that is slightly wider at the top than it is at the bottom. Students should draw their oval so that it fills up most of the page. It is important to work big, so that students can include important details. 2. Once students have completed their oval, ask them what they should draw first. Remind them that a vertical line will help keep both sides of the face even and symmetrical. Lightly sketch a vertical line down the center of the oval. 3. Next, draw the eye line. Ask the students where to put the eyes on the face. Remind them that the eyes are halfway between the top of the head and the chin. Make sure they understand that the top of their head is not their hairline. 4. Draw the eyes on the eye line. Remind students that eyes should look proportional--not too big or too small. Also, help them understand that eyes are not circular, they are shaped more like a football or an almond. 5. Next, ask students where to draw the nose. The bottom of the nose rests on the nose line. The nose line is half way between the eye line and the chin. Encourage them to try different ways of drawing a nose. 6. The next line is the mouth line. The mouth line is half way between the nose line and the chin. The bottom lower lip should rest on this line. Remind the students that everyones lips are different. Use the artwork to point out different shapes and sizes of lips. 7. At this point ask the students what is still missing from their faces. Talk about the position of the ears, eyebrows, and hair. The top of the ears should line up with the eye line. Eyebrows start just about the inner corner of the eye and extend just past the outer corner of the eye. Hair should come from the top of the head, down towards the top of the ears. 8. Finally, talk to students about adding details to make a face unique. Ask them what details they see in the artworks you have shown that help to differentiate one face from another.
1:2 1:4 1:8
Lee Udall Bennion, Snow Queen: Portrait of Adah, 1992, oil on canvas (detail)
for feedback. They could ask questions about whether certain features need to be larger or smaller. When students feel ready they can create their final drawing. Give students a sheet of high quality paper and encourage them to lightly sketch a face in pencil. When they have finished their pencil sketch they can use markers, colored pencils, or oil pastels to finish their artwork.
Conclusion
Once students have completed their artwork discuss their artwork in relationship to the artwork discussed at the beginning of the lesson. Include questions like, What was the hardest part about drawing a face? What was easy for you? Do you think you are better at drawing faces now than you were before? Did knowing the mathematical proportions of the face help you improve as an artist?
Art Making Activity

Before you begin the independent practice portion of the lesson ask students to help you generate criteria to assess their artwork. List these criteria on the board so that the students can reference them. Next invite students to practice drawing independently. Walk around the room and help students adjust their drawings to make them more proportional. Encourage them to ask their neighbors
Assessment
Assess students according to the criteria you generated as a class. Rate their work on a scale of 1 to 5 for each criteria.

Art and The Elementary Core

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Educational Resources from the Springville Museum of Art

Support for educational resources provided by:

The Power of Art

Art is a powerful teaching tool.

Educational Materials and Tours Julie Hall Teacher Coordinator JHALL@springville.org

Social Studies and Math

We are All Similar and Different

Images from the Museum

Utah Core Standards

Social Studies and Math

Teaching Tip: Asking Good Questions

Language Arts and Visual Arts

James Christensen, The Rhinoceros, 1981, acrylic on board (detail)

Images from the Museum

Utah Core Standards

Science and Visual Arts

Images from the Museum

Utah Core Standards

Science and Visual Arts

Educational Resources from the Springville Museum of Art

Douglas J. Braithwaite, Toys and Tools, 1964, oil on canvas

Support for educational resources provided by:

The Power of Art

Art is a powerful teaching tool.

Educational Materials and Tours Julie Hall Teacher Coordinator JHALL@springville.org

Science, Language Arts, and Visual Art

Images from the Museum

Utah Core Standards

Science, Language Arts, and Visual Art

Drawing and Writing

Prediction Worksheet Circle your prediction

Toys and Tools

Heavy Knife Light

Metal Wood Plastic Cotton Metal Wood Plastic Cotton

Metal Wood Plastic Cotton

Metal Wood Plastic Cotton

Smooth Bumpy Hard Soft

Metal Wood Plastic Cotton

Smooth Bumpy Hard Soft

Metal Wood Plastic Cotton Metal Wood Plastic Cotton

Smooth Bumpy Hard Soft Smooth Bumpy Hard Soft

Math and Visual Arts

Carlos Andreson, Still-Life with Guitar, 1950, oil on board

Images from the Museum

Utah Core Standards

Math and Visual Arts

Donald Penrod Olsen, Chelsea VI, 1980, acrylic on canvas (detail)

Social Studies and Language Arts

Alma Brockerman Wright, Quai Pontoise, 1930, oil on canvas (detail)

Images from the Museum

Utah Core Standards

Social Studies and Language Arts

Language Arts and Visual Arts

Images from the Museum

Utah Core Standards

Language Arts and Visual Arts

Silvia Liz Davis, Guest, 1994, wood sculpture

Educational Resources from the Springville Museum of Art

Support for educational resources provided by:

The Power of Art

Art is a powerful teaching tool.

Educational Materials and Tours Julie Hall Teacher Coordinator JHALL@springville.org

Social Studies and Visual Arts

Tension in Art Planning Page Name________________ Date