Jkern Savage Lessonplan

Department of Arts Administration, Education and Policy
UNIT PLAN OVERVIEW

(Revised 2017)
Teacher Candidate Joseph Kern

School St. Joseph Montessori. Grade 6-7
Teaching Visual Storytelling and style

UNIT TITLE through childrens books.
4-5 weeks.
Length of Class Period 40 minute classes twice a week. (Tuesday
and Thursday)
Approximate Number of Students in Each class 12
Beginning Date for this Unit September 10th 2018
Ending Date for this Unit October 5th 2018
ENDURING UNDERSTANDINGS (FROM ODE STANDARDS)
Literacy: As consumers, critics and creators, students evaluate and understand artworks and
other texts produced in the media forms of the day.
Personal Choice and Vision: Students construct and solve problems of personal relevance and
interest when expressing themselves through visual art.
PROGRESS POINTS (FROM ODE STANDARDS)

1. Produce artworks that express and represent their experiences, imagination and ideas
using a range of media including new technologies.
2. Explore a range of art concepts and artworks and construct meaning about the works.
3. Form and express opinions about artworks and apply critical and creative thinking skills
to assess and refine their artworks.
CRITICAL ISSUE / BIG IDEA

A). Anticipatory Set (what do the students already know)
B). Rationale (why is this lesson relevant?)
1. My students should come to this lesson knowing the basics of what is realistic and what
is abstract. Although throughout the lesson itself they will learn about symbolism, they
should be able to identify what is being represented literally in artworks. Students should
have some experience with storytelling in general, be it from being read stories or having
seen them in various forms of media (movies, television, music et cetera). Although they
may not know the significance of symbols and meanings within these quite yet, the
student should know of at least one story.
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2. This lesson is relevant to my students because being able to interpret symbolism is
essential for becoming critical consumers of artwork. As they develop throughout their
lives, with an idea of how to critically analyze and interpret artworks, they will go on to be
able to identify symbols, emotions, themes, and moods within artworks. They will also be
able to appreciate and feel confident in utilizing and observing various styles. In this way,
they will learn to view creative and expressive ways of illustrating and using various
mediums as being equal to more traditional styles.
I find this particularly relevant to this age group, as this is around the age in which
students would begin to show more of an interest in recreational reading along the lines
of reading for the story and the characters within them. Children around this time would
start to seek stories which possibly include characters that may represent them, which
may include situations and places they can imagine themselves in, or about worlds that
can spark their imagination. This is a key step in getting children interested in the
creative arts, not just visual but in all forms of mediums including literature, music, and
film. Through this lesson children will also take an important step against The Crisis of
Realism. The Crisis of Realism is the step along a childs artistic development where
they no longer believe themselves to be good at making art because their art in
particular isnt realistic enough. Although this usually rears its head in a slightly older age
range, introducing children to the idea that it is okay to have a different style, a style less
realistic, can greatly facilitate the diminishing or even the avoidance of this Crisis. The
diminishing and possible avoidance of this is one of my major points to tackle as an
educator in general.
Central Focus (creating, presenting, interpreting, responding, and/or relating art to context)
Ideas of symbolism and creativity are both linked and essential in a childs artistic development.
As they go through their lives, children will encounter a range of art concepts and artworks
which come from various peoples. With the tools, I will provide them with, I will teach them to
apply critical and creative thinking skills to assess and understand meanings behind others
artworks; as well as assess and refine their own works. By teaching them to be critical of all
styles and experiences, I will also teach them to be accepting of, and willing to explore different
and unique styles in their own pieces, letting them know that there is no right or wrong style of
artwork.
Essential Questions (provocative, engaging, critical)
1. How can an image work to tell a story?
2. What makes someones style or story their own?
3. How can text work with images to tell a story?
4. Is there a right way to tell a story?
Possible Integration
My lesson can be integrated throughout a Language Arts class. This is because we are dealing
with stories and storytelling. Throughout the class the Language Arts teacher can discuss
different styles of stories, possibly going into ideas of variations on popular stories. Depending
on how advanced they are they can go into things such as alternate translations, or how a
storys main points can be adapted and seen in future works. We could even do a joint-project,
where they pick a story which theyve first heard about in Language Arts, and then use that for
their project in lesson two/three as I will go onto talk about. In this way, they have a basis of a
story to go off of, which can be elaborated on in a literary sense in their Language Arts class and
visually within my classroom.
DESCRIPTION OF THE ESSENTIAL EDUCATIONAL CONTENT OF THIS UNIT

Lesson One
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Title Assessing students understanding.
Lesson Description Students will be introduced to a variety of stories by Lane Smith. Smith
works to put his own stylistic twist on classical childrens stories which the
children would have already heard of. Through this they will be asked
about the stylistic differences both in the story to its original, as well as the
artworks provided throughout the books. They will then be asked, as a test
to see where they are in their understanding, to draw a picture that may
represent a story they know. This will assess both their artistic skill as well
as their understanding of how an image may represent an idea.
Lesson Two
Title Teaching technique and facilitating creative thinking.
Lesson Description In this lesson, children will be given instruction to improve aspects
understandings of how an image may represent an idea. This will be done
by creating mind maps. Children will think of various stories and we will
work together to pull key words that describe those stories. From those
key words we will elaborate, making connections to similar words until we
reach a fair amount per story. From there, we will discuss how we could
integrate those newly found words into illustrations. During the last half of
this lesson, as well as the next couple of classes as time is needed,
students will work on their projects: Writing and illustrating a small snippet
of their take on a classic story. They will also be handed a rubric, which will
guide how their stories will be graded (There will be separate scales
grading: Illustration, Writing, Participation, and Originality.) While students
are working on their projects in class, I will be walking around observing
their progress, making sure they are on track and asking questions to
foster further creative thought.
Lesson Three
Title Critique and discussion.
Lesson Description As the project has come to an end, we will participate in a silent critique.
Prompts will be written on sticky notes, such as The illustrations tell a
story by_____, One example of symbolism in these illustrations is ____,
and This is original because ____. The students will write down their
thoughts briefly and anonymously, and afterwards I will discuss each
piece, providing both compliments of what the student did well as well as
ideas to further improve upon their works. Their works will be collected,
and will be handed back later with rubrics filled and my comments from the
critique written and elaborated on.
Explain how technology has been used in this unit

Technology will be used by having a projector in order to have the pages from Lane Smiths
book be visible to all students in the class. This is preferable to having physical copies of the
book, as it provides them both bigger and in a better position to be seen. Computers within the
library could also be used to research books which we would not have within our own library,
which the students could check out on their own time for their projects.
LESSON PLAN

School St. Joseph Montessori
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LESSON NUMBER 1
Lesson Title Assessing students understanding.
Length of Class Period Approximately 2 classes: 40 minutes
Beginning Date for this Lesson September 10th 2018
Ending Date for this Lesson September 13th 2018
CONTENT STATEMENT PERCEIVING/KNOWING (FROM ODE STANDARDS)

1PEDescribehowartanddesignelementsandprinciplesareusedinartworkstoproduce
certainvisualeffectsandcreatemeaning.
5PEUseobservations,lifeexperiencesandimaginationassourcesforvisualsymbols,
imagesandcreativeexpression.
CONTENT STATEMENT PRODUCING/PERFORMING (FROM ODE STANDARDS)

3PRGenerateideasandengageinthoughtfulplanningwhensolvingavisualartproblem.
5PREngageinvisualproblemsofpersonalorsocialrelevanceshowingfocusand
persistencetocompletethetask.
CONTENT STATEMENT RESPONDING/REFLECTING (FROM ODE STANDARDS)

4REDefendartisticdecisionsusingappropriatevisualartvocabulary.
2REDescribecontent,meaninganddesigninvariousworksofartusingaccurate,
descriptivelanguageandartspecificvocabulary.
Performance-based Assessment Objectives

1) Students will engage in conversation about several artists stories and Illustrations with
the goal of identifying design elements and principles used that produce and create
meaning.
2) Students will discuss how the various artists illustrations and stories differ from their
stories traditional counterparts, discussing how the artists imagination was used as a
source for his creative expression.
3) Students will draw one example illustration that accompanies a paragraph. These will
reflect a personal twist on either one of the artistss stories or a story which they
themselves bring to the exercise. It will be assessed in order to judge the students
usage of art vocabulary and descriptive language, as to get a gauge for lessons two and
three.
Performance-based Assessment Strategies

(attach assessment documents if applicable)
1) Assessment will be done through my discussing, in a class-wise group, the stories and
illustrations weve gone over. I will provide gentle guidance through ideas of symbolism
and storytelling which I want them to take from it if they do not bring it up themselves,
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however I will put an emphasis on students finding out these enduring understandings
on their own. I will make sure that each student has a chance to contribute to the
conversation, and if they do not I will make an effort to check in with them to be certain
that they do not start in on the project at a disadvantage. In order to assess that they
have fully gotten the information presented students will have to use art-based
vocabulary: using at least two of the following words when discussing the pieces:
Symbolism, Metaphor, Source Material, or Re-imagining/re-creation. If a student does
not come up with this word usage naturally they will be scafolded and guided to think
along those lines to ensure that understanding is there.
2) I will guide discussion about various alterations and stylizations of stories, writing down
any examples my students come up with for such stories were changed imaginatively
and creatively. If examples are few I will bring up some of my own as to have points of
discussion. This will take place soon after my previously mentioned assessment, so I will
again make sure each student has a voice in discussion, and if they do not want to, or
feel unable to speak up I will make an effort to make sure they understand the terms and
concepts discussed. Once again, in order to assess that they have fully gotten the
information presented students will have to use art-based vocabulary: using at least two
of the following words when discussing the pieces: Symbolism, Metaphor, Source
Material, or Re-imagining/re-creation. If a student does not come up with this word usage
naturally they will be scafolded and guided to think along those lines to ensure that
understanding is there.
3) The students drawings and writing will be assessed based upon their application of style
and symbolism. I do not expect students to show mastery of these concepts (although I
will have accommodations for gifted students), this is merely to judge further how much
they have understood concepts of visual symbols, creative expression, and artistic
license when altering a story. Findings from this initial assessment will inform how the
rest of the lesson progresses. Students are to produce at least one illustration along with
a written descriptor/story of at least 5-7 sentences. This length is to encourage the usage
of metaphor and symbolism within their stories.
Academic Language
Vocabulary (define each)
Symbolism The usage of images to represent ideas, concepts, and qualities.
Source Material The original piece (visual art, music, film, et cetera) which a re-imagining is
based off of.
Re-imagining/re-creation An alteration of a story, altered based on the artists own imagination

and personal vision.
Metaphor In writing, a figure of speech in which a word or phrase is applied to represent an

object, action, or idea with which it is not literally applicable.
Additional Language Demands (specific communication task)

Students will discuss concepts of symbolism, metaphor, and recreation as they pertain to
stories. They will do this both one on one with the teacher as well as with their peers in a class-
wide group.
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Students will think critically in order to create a mind-map to plot out a storyline, while the
teacher documents them on a white board or poster paper.
Through mind-mapping students will expand their vocabulary and dig for creative descriptors
and word associations.
Accommodations for Special Populations

I will be writing to accommodate a student with an issue of Emotional Disturbance.
For this lesson I would focus on their need to be in small group settings, as well as them having
extended time for writing portions. Because the student gets frustrated and shuts down if he
doesnt get something easily or has missed the initial instruction, I will offer time before the
main class to explain the concepts of Mind-Mapping to them. In this way the student will be able
to figure out and process the concepts on a more individual level, both diffusing possible issues
he would have at lashing out at fellow students and providing more specific instruction for him. I
would not, however, take him from the main class as he does show signs of getting along with
and leading his peers well. I would simply give him extra time to avoid moments of frustration.
As for the portion where students make their example to judge how far along they are in their
understandings, the student will be given extra time to complete the writing portion and be
sectioned to a small group so he may be able to focus.
To tie this to their measurable objectives this will provide the student opportunities to:
Accept adult decisions/directions without arguing at least 7/10 times
Handle anger, frustrations, disappointment without lashing out at staff or

students 7/10 times
Remain in assigned areas until he has been given permission to move about
70% of the time
Student will select the correct time and place for socializing in 7/10 trials.
Art/Visual Culture Examples (list all artists, artwork or media used)

DiPucchio, Kelly. Everyone Love Bacon. Farrar Straus Giroux Books for Young Readers, 2015.
Gaiman, Neil. Coraline. Harper Collins, 2002.
Gaiman, Neil. The Sleeper and the Spindle. Harper Collins, 2015.
Raicht, Mike. The Stuff of Legend. Vol. 1, Villard Books, 2010.
Schwartz, Alvin. Scary Stories to Tell in the Dark. Lippincott, 1981.
Schwartz, Alvin. More Scary Stories to tell in the Dark. Lippincott, 1984.
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Schwartz, Alvin. Scary Stories 3. Harper Collins, 1991.
Scieszka, Jon. The True Story of the 3 Little Pigs. Viking Kestrel, 1989.
Scieszka, Jon. The Stinky Cheese Man and Other Fairy Stupid Tales. Viking Kestrel, 1992.
Preparations
Materials/Resources for Teacher
Lane Smith books scanned into my computer to be projected for students.
White board w/ various colored markers to map out ideas and concepts drawn from reviewing
Smiths stories and artwork.
Materials for Students
Twelve 8.5 x 11 papers, which students will fold in half horizontally. Half with provide space for
their illustrations, half will provide space for their paragraph.
24 2B pencils
24 HB pencils
24 2H pencils
12 1 point micron pens
12 2-point micron pens
Safety Procedures
Students will be reminded to be respectful of their students as they are themselves. They will be
given options for pencils and pen for this initial lesson, though when their project moves onto a
longer, more in depth piece their available mediums will open up.
LEARNING ACTIVITY
Getting the Classroom Environment Ready
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Day Duration Application Resource
1 Approximately Teacher starts by prepping the books which N/A
5-10 minutes need to be projected onto the screen. Making
before class sure all files are easily accessible and that
they flow easily and without hitches. If there is
a hitch, the teacher is to address this before
the class starts.
1 Approximately As students file in, teacher is to gather N/A
5-7 minutes students in a configuration conducive to
before class looking at the presentation given, as well as
inform the students of what the presentation
will consist of by introducing the basic
concept.
2 Approximately Teacher starts by making sure the pencils N/A
5-10 minutes and paper necessary for the days exercise
before class are available for the students. If any part of
the materials is in disarray the teacher is to
gather and/or organize them. Materials
include 24 2B pencils, 24 HB pencils, 24 2H
pencils, 12 1 point micron pens, 12 2-point
micron pens, and 12 sheets of 11x14 sheets
of white paper. Paper is to be placed at
students work areas, pencils divided up by
table to have access.
2 N/A, teacher is Teacher will have an example of their own of N/A
to do this on the days activity. This will have been
their own time. prepared before class. Example will be left for
substitutes if applicable.
Procedures for the Teaching/Learning Structure (indicate approximate time for each step)
1 Approximately Teacher delivers a lecture on different types See: Art/Visual
15 minutes of story alternatives by showing examples by culture examples.
Lane Smith, Neil Gaiman, Alvin Schwartz, Projector/Projection
and Mike Raicht. Teacher pauses to go over Screen
stylistic differences in each illustration, as well
as how stories are altered or unique to the
authors own style.
1 Approximately Teacher opens dialogue, asking students to See: Art/Visual
10-12 minutes offer some of their own ideas as to what culture examples.
examples they themselves can offer. Projector/Projection
Screen
Examples of questions for scaffolding include:
What storys illustrations have stuck with
you? Have you ever picked up a book or
magazine just because of the cover?
Do you have a favorite story? Has it been re-
imagined? Is the story itself a reimagining?
If students are either reluctant or unsure of
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what to say, teacher will bring examples of
their own to spark or continue conversation.
Movies are a great sparking point, as most
are familiar with them regardless of genre.
2 Approximately Teacher starts by reviewing the concepts that See: Art/Visual

32 minutes were touched on last class: Symbolism, re- culture examples.
imagination, making sure that students
remember and grasp the concepts. The
teacher then takes out their own example,
explaining that the students will now provide
a drawing and small writing excerpt that
reflect a re-imagining of one of their favorite
stories/a story connected to them. While
students are working the teacher will both be
stationed at their desk and walk around,
making sure students are remaining on tasks
and understand the process. Teacher will be
taking mental notes of work styles.
If a student is experiencing issues with the

writing portion, an alternative will be for the
student to deliver their story orally to the
teacher. Teacher will make note of structure
and style of the story to review with their
drawing later during the evaluation
procedure.
Evaluation will include the teacher looking

over these pieces to assess where students
excel or struggle and how to pace the rest of
the lesson based upon this.
Clean-up Procedures (Room, Materials & Work Storage)
1 Approximately Students are asked to put away any notes N/A
1-3 minutes they have taken, but if no notes were taken
no clean-up is needed as it was simply a
lecture. This time will mostly be for settling
any conversations to facilitate a quicker
Closure procedures. Portion.
2 Approximately Students are asked to turn in their works to N/A
4-5 minutes the teachers desk with their names written in
a corner on the front or back. Pencils and
microns are to be placed back where they
were when the class started.
Closure, Review & Anticipation (whats next?)
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1 Approximately Students are told of the following days N/A
3 minutes activity. They will be asked to think of a way in
which they can alter some stories which they
are fans of. They will be told to think of what
stories they connect with or like for next time.
2 Approximately Students are told that they will be working on N/A
3 minutes a longer form of this as the final project.
Vocabulary words such as Mind mapping and
metaphor will be introduced but elaborated on
in lesson 2.
Supplemental Activity
1 N/A As todays lesson is guided no one would be N/A
ahead of the rest of the class, so no
supplemental activity is needed.
2 N/A If a student were to get their drawing and N/A

writing exercise done early they will be asked
to write out how their drawing/writing differs
from their Source Material. They will be
asked to write ways in which they differ and
ways in which they stay the same. Students
will be asked to justify their changes to the
Source Material, as in provide explanations
for what lead them to make said changes.
This will give students insight into critically
thinking about ways changes can be made to
stories and reasons why those changes are
made. This will also provide the teacher an
insight into their cognitive processes.
Teacher reflection focused on the lesson after it has been taught

N/A
LESSON PLAN

LESSON NUMBER 2
Lesson Title Teaching technique and facilitating style.
Length of Class Period Approximately 6-7 classes: 40 minutes.
Beginning Date for this Lesson September 17th 2018
Ending Date for this Lesson September 28th 2018
CONTENT STATEMENT PERCEIVING/KNOWING

2PEDiscoverandarticulatehowthemediaformsofthedayuseartandimagesto
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communicatemessagesandmeaning.
5PEUseobservations,lifeexperiencesandimaginationassourcesforvisualsymbols,
imagesandcreativeexpression.
CONTENT STATEMENT PRODUCING/PERFORMING

2PRExperimentwithavarietyoftechniquesandworkingmethodswhencreatingan
originalworkofart.
5PREngageinvisualproblemsofpersonalorsocialrelevanceshowingfocusand
persistencetocompletethetask.
CONTENT STATEMENT RESPONDING/REFLECTING


1) Students will receive a lecture on brainstorming and creating mind maps in order to
branch out their ways of thinking. We will fall back on usage of stories to do this. As a
whole, we will identify key aspects of these stories, using that as a starting point for our
mind maps. I will guide the students throughout this process in order to have the
discover different ways of thinking to express more creative messages and meanings.
Students will be reinforced to bring their own experiences and imaginations to these
mind maps as sources for visual symbols, images, and creative expression.
2) Students will then be presented with their main project for this lesson: creating a two-
page illustration and writing except based on a re-imagining of a story of their choice.
Students will be handed a rubric (see handout 1) so they know how they will be graded
on their project. There will be a separate grading scale for: Illustration, Writing,
Participation, and Originality. Working on this piece will take up the remainder of this
lesson. The teacher will make themselves available for questions from students
throughout this time, as well as make their presence felt in the classroom by walking
amongst students, observing behaviors and checking for understanding of the concepts
required to complete the project.

1) Assessment for the brainstorming/mind mapping will be purely based on the students
understanding of the concepts presented. Students are to participate in helping the
teacher create multiple mind-maps. For this each student is to contribute at least 3
different branching words, though not necessarily all on the same mind map. Students
may go above three words, but every student should contribute at least 3 in order to
show understanding. If the concepts of elaboration which are facilitated by the mind
mapping exercise are shown to be unclear to the students, the teacher may spend more
time in explaining/scaffolding the proper cognitive techniques so students may properly
engage in the visual problems presented in the lesson, helping them focus on making
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personal connections and thusly keeping focused on the task at hand. Students should
also show growth/depth in their visual art vocabulary during this exercise. This will be
done by the teacher emphasizing that the mind maps help with words and ideas which
can be used for metaphors in their illustrations.
2) Students will be handed a rubric (see handout 1) which will go into further detail on how
they will be assessed in the following areas: Illustration, Writing, Participation, and
Originality. Handout 1 can be referred to for further elaboration, however condensing it
can be seen as: Illustrations will be graded based on craftsmanship and usage of art
based vocabulary (symbolism, storytelling) that we have gone over prior; how it related
to and represents the story. Writings will be graded based on clarity; is the piece clear in
conveying the students idea? (If the student should need special accommodations [i.e.:
an orally delivered story as opposed to a written one] the wording on the rubric may still
be applied, as penmanship is not graded as much as clarity in story). Participation will be
graded based on the students usage of classroom time; was the student on task during
work time? Did the student make the most out of his work time? Was the student being
disruptive or intentionally hindering other students? Originality will be graded using the
vocabulary of Metaphor, source material, and re-imagining which we discussed prior in
class; Does the story presented offer a reimagining of the source material? Are there
noticeable differences in the source material and the students work? Does the students
work reflect any other student in the classrooms work?
Academic Language
Vocabulary
Mind-map/Mind-mapping: The act of starting from a base word and thinking of words which are
associated with it in order to branch off ones thinking. This can be continued for however long
the artist deems necessary.
based off of.

Metaphor In writing, a figure of speech in which a word or phrase is applied to represent an

object, action, or idea with which it is not literally applicable

Students will think critically in order to create a mind-map to plot out a storyline, while the
teacher documents them on a white board or poster paper.
Through mind-mapping students will expand their vocabulary and dig for creative descriptors
and word associations.
Students will have to write out their stories, making sure to incorporate examples of metaphor,
symbolism, and altering the source material. They will have to make sure that their illustrations
compliment and line up with their illustrations.
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For this, the main portion of the lesson, I will have my student be given a small group setting as
well as extended time/preferential seating.
For the first day of lecture, I will offer them the same accommodations as I did with lesson 1.
This includes giving the student the time to come in before class and be instructed on terms and
concepts that will be discussed so that when the main class portion comes they will be familiar
with the terms and less likely to experience frustration, which may lead to their disruptive
behavior. I must again stress that the student not miss the main class period, there must
however be accommodations to get the student familiar with the material before he enter the
group setting.
During work periods he will be kept to a small group so that he may work in a more controlled
environment where he is less likely to cause disruptions. He will be given extra time as needed
to complete his written portion, with the possibility to write less pages with equal
content/understanding (usage of at least 2 discussed vocabulary words).

students 7/10 times
Refrain from interrupting conversations or raise his hand and wait to be

called on in 7/10 trials
Remain in assigned areas until he has been given permission to move about
70% of the time
Select the correct time and place for socializing in 7/10 trials.
Art/Visual Culture Examples

Students will have access to various examples of books with alternative illustration styles such
as:
DiPucchio, Kelly. Everyone Love Bacon. Farrar Straus Giroux Books for Young Readers, 2015.
Gaiman, Neil. Coraline. Harper Collins, 2002.
Gaiman, Neil. The Sleeper and the Spindle. Harper Collins, 2015.
Raicht, Mike. The Stuff of Legend. Vol. 1, Villard Books, 2010.
Schwartz, Alvin. Scary Stories to Tell in the Dark. Lippincott, 1981.
Schwartz, Alvin. More Scary Stories to tell in the Dark. Lippincott, 1984.
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Schwartz, Alvin. Scary Stories 3. Harper Collins, 1991.
Scieszka, Jon. The True Story of the 3 Little Pigs. Viking Kestrel, 1989.
Scieszka, Jon. The Stinky Cheese Man and Other Fairy Stupid Tales. Viking Kestrel, 1992.
Preparations
24 copies of grading rubric (Handout 1. 12 for students, 12 for backups)

48 11x17 sheets of paper. (24 sheets of Bristol paper, 24 sheets of canvas paper)
24 2B pencils
24 HB pencils
24 2H pencils
12 1 point micron pens
12 2-point micron pens
12 brush tip micron pens
24 filbert paint brushes
24 round paint brushes
24 32 oz. containers of paint (4 quart sized containers of Ultramarine Blue, 4 quart sized
containers of Chrome Yellow, 4 quart sized containers of Phthalo Green, 4 quart sized
containers of Fire Red, 4 quart sized containers of Mars Black, and 4 quart sized containers of
Titanium White)
Safety Procedures
Students will be reminded to be respectful of their students as they are themselves. Further
procedures include going over cleanliness with paints and pens if need be, as well as safety
with the sharp points of pencils if need be.
LEARNING ACTIVITY
Day Duration Application Resources
1 Approximately Teacher is to prepare either the white board N/A
5 minutes or whatever they have to write on for the
before class Mind-Mapping lesson. They can prepare one
or two words to branch off of, however future
examples will be thought of by the students
and the teacher together during class time.
1 Approximately Teacher is to make sure the resources of N/A
5 minutes various books are present and accessible
before class upon the classrooms bookshelves. If they
are scattered or in disarray the teacher is to
fix them.
1 Approximately Teacher is to make sure that the various N/A
5 minutes mediums (paper, pencils, pens, paints,
before class brushes) are easily accessible and ready for
use by the students.
2 Approximately Teacher is to make sure that students works N/A
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5 minutes are in an easily accessible place for the
before class incoming students. If the materials have been
moved or have been displaced due to
students in other classes, the teacher is to
move them to their respective areas.
fix them.
fix them.
fix them.
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fix them.
fix them.
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1 Approximately Teacher is to guide students along the N/A
14-16 minutes process of mind-mapping, explaining to the
students the concept of it. Students will
brainstorm based off of a root word, thinking
of words which they tie to them and associate
with them, eventually as their words build off
of associated words they will see that their
thinking can easily become more abstract
and differentiated from the root word. The
teacher will start off with a root word which is
given, however after one or two examples
(depending on how quickly the students
grasp the concept), the students will pick their
own root words which are associated with the
idea of creating re-imaginings of stories.
For students with special accommodations

individual attention and different standards for
their mind-map may be included and applied.
1 Approximately Students are then going to be introduced to N/A

18 minutes their final project: They are to create 2
images based upon a reimagining of a story
of their choosing along with a written excerpt
exploring the story with which they are
illustrating. For the rest of this class period as
well as the rest of this lesson period
(approximately 2 weeks) they are to work on
this in class. The teacher will make
themselves available throughout the class to
both answer questions and observe that
students are fully grasping the concepts
which they are working with. The teacher is
also to observe that the students are properly
participating within class, managing materials
correctly, and offer refills of materials if they
are needed.
2 Approximately Teacher is to guide students through getting N/A
30-32 minutes their projects. After students retrieve their
work from the prior day they are to retrieve
any materials which they should need to work
on their projects and get to work.
The teacher will make themselves available

by roaming throughout the room, making his
presence known and checking to make sure
that students are on task and understanding
the core concepts of the lesson. If the teacher
is at their desk, they are to be working on
P a g e | 17
evaluating students work and participation
through notes, or reviewing previous works.



Teacher will stress that this is the last

assigned week for this project, and that
students should begin wrapping up
production of their pieces. It is at this time
that the teacher will gauge whether or not the
P a g e | 18
class needs more time (Just because the
student asks for more time does not mean
that they need more time, extra time will be
given based on students progress as judged
by the teacher).
If extra time is given, repeat the process for

day 2-5 for however long is deemed
necessary. However, extra time is not to
exceed 4 more class periods.

As this is the last class period for their work,

students are told to either fix their work if they
are working in graphite, or to make sure it is
dry for the next class period if wet. They are
told to spend their last portion of their work
time mounting their pieces on board.
1 Approximately Students are to clean up their brushes if they N/A
4 minutes happened to work with them for that day,
wash any pallets cap the markers, and return
all brushes; pens; and pencils to their
containers. Students are directed to place
their projects into the containers which house
them (i.e.: Drying racks/portfolio shelves)
2 Approximately Students are to clean up their brushes if they NA

4 minutes worked with them for the day, wash any
pallets, cap their markers, and return all
brushes; pens; and pencils to their
containers. Students are directed to pace
them (i.e.: drying racks/portfolio shelves)
P a g e | 19
4 Approximately Students are to clean up their brushes if they NA
their projects into the teachers inbox in order
to fully turn them in. Projects will be brought
out again next class period in order to be
critiqued, however the finished, fixed, dry and
matted piece is to be handed in by the
periods end. (i.e.: drying racks/portfolio
shelves)

1 Approximately Students are told to anticipate working on the N/A
2 minutes projects for the upcoming days so that they
know when they come to class that they are
going to continue working.
2 Approximately Students are told to consider their progress N/A
2 minutes from that days work and think about their
next steps in their process for the next class
period. They may be encouraged to
brainstorm on their own time at home, and
are reminded that revisions are never
discouraged if they should come up with
alterations to ideas mid-project.
3 Approximately Students are told to consider their progress NA/
P a g e | 20
6 Approximately Students are told to think about their story as N/A
2 minutes a whole. They will be presenting it in class
the following period to the teacher as well as
to the class. Students are told both to think
about how they would want to elaborate on
their piece, and also how to critically consider
other students pieces within the class. As
this class period is on Thursday, this would
ideally* give students the maximum about of
time between class periods to formulate their
thoughts on their project.
1 Varied As the majority of this day is lecture, there N/A
should not be a need for supplementary
activities. However, if the student should
need extra briefing on the ideas of mind-
mapping they shall be granted extra time to
work on the concept. If the student is
accelerated in this terminology, they may
begin working on their project early.
P a g e | 21
2-6 Varied Although the student should not be done by N/A
this step, if the student either has finished his
project in this time they will be granted the
ability to work on the supplemental activity.
Students are to research an example of a re-
imagining of a piece of art, literature, film, or
music that they show interest in and explain
how the re-imagining plays off of the source
material. There will be a written and
illustrated portion of this supplemental
activity: Students are to write about how the
creator has re-imagined it to reflect their own
imagination and/or life experiences, pointing
out specific examples of alterations and
creative expression. Students will critique
how effective they were in implementing
those changes, choosing to either defend or
oppose the artistic decisions using
appropriate visual art vocabulary. Through
this they shall be describing the content,
meaning, and design through the work, again
using accurate and descriptive language/art-
specific vocabulary. This will offer the student
further insight into how artists can take and
change a source material and will also
provide meaningful learning by
supplementing real-world activities into the
lesson. The illustrated portion of this
supplemental activity will be to provide an
example of how they can portray the re-
imagining. The teacher will give the student
free reign of the mediums with which they
can do this in: If they are critiquing a song
they may deliver this portion through music, if
they are critiquing a painting they may paint,
if they are critiquing a piece of literature they
may write in that style and so on. This is to
have students experiment with a variety of
techniques and working methods to create a
unique work of art, they will also gain insight
into different artists process by possibly (but
not forcibly) making it in their medium.

N/A
LESSON PLAN

P a g e | 22
LESSON NUMBER 3
Lesson Title Critique and discussion.
Length of Class Period 1-2 class periods of 40 minutes.
Beginning Date for this Lesson October 1st 2018
Ending Date for this Lesson October 5th 2018
CONTENT STATEMENT PERCEIVING/KNOWING

1PEDescribehowartanddesignelementsandprinciplesareusedinartworkstoproduce
certainvisualeffectsandcreatemeaning.
2PEDiscoverandarticulatehowthemediaformsofthedayuseartandimagesto
communicatemessagesandmeaning.
CONTENT STATEMENT PRODUCING/PERFORMING

3PRGenerateideasandengageinthoughtfulplanningwhensolvingavisualartproblem.
6PRIntegrateelementsofartanddesigntosolveinterdisciplinaryproblem.
CONTENT STATEMENT RESPONDING/REFLECTING

1REExplainwhatmakesanobjectaworkofartusingarangeofcriteria.
Students will be lead through a Silent Critique. They would have been told at the end of
the pervious class to think about their pieces in order to explain their projects, as well as
appropriate and critical questions to ask of their peers works. Students will describe
content, meaning, and design in their peers works through their Silent Critique
questions. In order to do this, prompts will be written on sticky notes which will be
available on the teachers desk for students to pick up and leave on pieces. The sticky
notes will contain the visual art vocabulary which we have been going over in class to
show students being able to use and build upon these works to explain the works. Each
student is to choose from three sticky notes of different questions, and each piece is to
have no more than three sticky notes assigned to it.
As the writings will be anonymous their assessment for this portion will mainly be based
on how they respond verbally during the critique: Their ability to talk about their own
works to the teacher and their peers. This will be categorized under participation in the
rubric. Verbally students will be tasked with communicating the messages and meanings
P a g e | 23
behind their works, describing the elements and principles used to create that meaning
and how it is reflected in their written pieces. Their piece will be judged on the guidelines
in the rubric (see handout 1). Their verbal explanations will be taken into account while
grading. The teacher will check for understanding of art-based vocabulary by making
sure that, when they explain their piece, they are using at least two of the following
words: Symbolism, Metaphor, Source Material, or Re-imagining/re-creation. To show
students that their voices are heard, their comments will be addressed in the comments
section. Students will be given the opportunity to discuss their grade to supplement any
instructions left in the comments on the rubric on how to improve their future works.
Academic Language
Vocabulary
Silent Critique: A critique which is done in a way that especially helps students who may have
difficulty being critically verbally in front of peers. This provides students a chance at leaving
anonymous comments, so they can comment without feeling the stress of sounding wrong
about their assessment.
based off of.

Critical thinking/questions/ideas Not necessarily negative, rather types of ideas and questions
that lead to discussion. Critical options should be open ended and not be answerable or
responded to in short

Students will have to effectively describe and defend their stylistic choices both in their artwork
and their writings. They will be discussing this with both the teacher and their peers.
Students will have to show an understanding of our artistic vocabulary by working with the
words/phrases scaffolded into conversation for critique on the sticky notes.

For the critique portion of this, since it is a silent critique the student will be given critique time
along with their peers. This will allow the student to provide input to other students in a way that
they see other students doing. This will carry over into the oral portion of the critique which I will
guide, as student feedback will be limited within it. This will also give the student the opportunity
to have their voice heard via the sticky notes which they have written.
P a g e | 24
students 7/10 times
Refrain from interrupting conversations or raise his hand and wait to be

called on in 7/10 trials
Make positive statements or comments to peers in 7/10 trials
Select the correct time and place for socializing in 7/10 trials.
Art/Visual Culture Examples
As this is a critique lesson/class, no specific outside media will be necessary.
Preparations
Students projects should be prepared and ready on the tables.
12 copies of the rubric to fill out/add to as pieces are critiqued.
A reliable pen to jot down notes on the rubric as well as notes to address regarding
student behavior/stories.

Approximately 24 pens to facilitate students writing on their sticky notes.
Safety Procedures
Students will be reminded to remain civil and calm while moving through the room both
to collect the sticky notes and while placing sticky notes beside students works. There
should be no need for shoving or pushing to complete critique.
LEARNING ACTIVITY
1 Approximately The teacher will make sure that the students Students projects.
10-15 minutes pieces are laid out across the tables in a way that
before class is spread out enough that it is conducive of easy
movement through the classroom and provides
enough space for the three sticky notes next to
each piece.
1 Approximately Teacher is to have 36 sticky notes prepared 36 sticky notes, pre-
20-30 minutes with various questions sparking conversation. made
before class (See handout for a guide of sticky notes to be 12 Rubric copies
made.) There should be enough room for
both the portion the teacher writes to scaffold
conversation and for the student to write their
own comments. The teacher is also to print
out 12 copies of the rubric, one printed for
each student.
2 Approximately If a second day is needed the teacher is to Rubric copies for
10-15 minutes take out the remaining students pieces along remaining students
with the sticky notes assigned to them. Due
P a g e | 25
to some students pieces have already been
critiqued this will lend itself to a more open
layout, hopefully facilitating a faster
progression through remaining pieces.
1 Approximately As students come into class they are to be 36 Sticky Notes
10 minutes reminded by the teacher of what they were
told to consider last class period: how they
may discuss their piece and how they may
discuss their peers works. The teacher
directs students towards sticky notes which
has pens next to them for students to write
with. The teacher will then direct students to
pick three different sticky notes and continue
the statements on them in regard to a piece
of their choosing. The teacher may
demonstrate quickly what they mean if there
is confusion within the classroom. The
students are to be told that are to be exactly
three sticky notes per piece.
1 Approximately After the sticky notes have been written on 12 Rubric copies
27 minutes and placed by students pieces the teacher 36 sticky notes
will go around the classroom discussing the
pieces, using the sticky notes to guide and
supplement discussion using visual art
vocabulary. The teacher is to make notes on
a copy of the rubric while discussing pieces
as to facilitate grading at a later time. If an
additional period is necessary for critique it
will be provided.
2 Approximately If students require a second-class period to Remaining rubric
20-27 minutes complete their critiques they will be directed copies
to the pieces which are already out on the Remaining sticky
desks. Students will gather and prepare to go notes
straight into critique where it had left off last
class period. Discussion will be conducted to
the same standard as the class prior and the
teacher will still take notes in as detailed a
manner.
1 Approximately Depending on how many pieces the class 36 Sticky Notes
2 minutes was able to get through in this class period
students are to place their pieces on the
teachers desk with the sticky notes attached
if their piece had been critiqued or in their
cabinets/shelves if they have not yet been
critiqued.
P a g e | 26
2 Approximately The remaining students will be asked to place Remaining sticky
2 minutes their pieces with the sticky notes attached to Notes
the teachers desk to turn them in.

1 Approximately If an extra day is needed, students will be told N/A
1-2 minutes to expect to get directly to critiquing when
they arrive next class period. If all students
works have been discussed the teacher may
give the overview of the next assignment to
students so they may look it over before next
class period.
2 Approximately The teacher may give an overview of the next N/A
1-2 minutes assignment to students so they may look over
it before next class period.
1 N/A If students complete critique early (this N/A
should not be the case as students should be
involved in discussion on all of their peers
work, not just their own) students will be
allowed to work on personal works in the time
before class ends, the materials in the
classroom being open for use.
2 N/A If students complete critique early students N/A
will be allowed to work on personal works in
the time before class ends, the materials in
the classroom being open for use.

N/A
Be sure to attach to the full instructional unit

Teacher Example
Bibliography in APA format
Any printed material that relates to the unit and/or the lessons
Note: These are to be on individual sticky notes for students in Mr. Kerns class. Ellipsis indicate blank spaces.
P a g e | 27
1. These illustrations tell a story by
2. One example of symbolism in these drawings is
3. This story is original because
4. This story differs from its source material by
5. The illustrations reflect the writings by
6. This artists style is
7. This artists style differs from the original artists by
8. This story contains the following elements from the original
9. This story re-imagines the following from the source material
10. The source material for this story is
11. One concept or idea represented by the illustrations is
12. I can see the artists imagination/personal vision in the following aspect
13. Could the illustrations tell the story without the writing?
14. The examples of metaphor in writing are translated to the illustrations by
15. An aspect that is implied in the writing but present in the illustrations is
16. Without the illustration, I wouldnt be able to understand/tell that
17. Without the writings, I wouldnt be able to understand/tell that
18. The artists style is evident in the writing by
19. These illustrations tell a story by
20. One example of symbolism in these drawings is
21. This story is original because
22. This story differs from its source material by
23. The illustrations reflect the writings by
24. This artists style is
25. This artists style differs from the original artists by
26. This story contains the following elements from the original
27. This story re-imagines the following from the source material
28. The source material for this story is
29. One concept or idea represented by the illustrations is
30. I can see the artists imagination/personal vision in the following aspect
31. Could the illustrations tell the story without the writing?
32. The examples of metaphor in writing are translated to the illustrations by
33. An aspect that is implied in the writing but present in the illustrations is
34. Without the illustration, I wouldnt be able to understand/tell that
35. Without the writings, I wouldnt be able to understand/tell that
36. The artists style is evident in the writing by
Mastery (30/10) Proficient (20/7) Learning (10/4) Introduction (0/0)
P a g e | 28
Illustration
The student shows a The student shows a The student shows a The student shows no
(30)
deep understanding of basic understanding of poor understanding of understanding of
portraying symbolism portraying symbolism portraying symbolism portraying symbolism
and metaphor through and metaphor through and imagery though and imagery though
illustration. The illustration. The illustration. The illustrations. The
student's illustrations student's illustrations student's illustrations student's illustrations
are well thought out show less involved show scenes with little show either
and fully realized, scenes with more depth behind their incomplete or no
showing complex straight forward ideas. scenes and concepts.
scenarios and concepts. scenarios and concepts.
Writing
The student shows a The student shows a The student shows a The student shows no
(30)
deep understanding of basic understanding of poor understanding of understanding of
portraying symbolism portraying symbolism symbolism and portraying symbolism
and metaphor through and metaphor through imagery through and metaphor
writing. The student's writing. The students writing. The students through writing. Their
writing clearly writing gets their ideas writings do not clearly writings show no use
communicates their across with explanation convey their ideas, and of symbolism and
story's ideas and and their examples of examples of metaphor, or are
concepts, and shows metaphor and symbolism and incomplete.
complex examples of symbolism are straight metaphor are
symbolism and forward. incorrectly executed.
metaphor.
Participation
The student has worked The student has worked The student has The student barely
(10)
diligently through class on their projects for worked on their works on their
on their projects. They most of the time during projects for only some projects during the
have shown respect for class. They have of the time during class period. They
their materials and their cleaned up when asked class. They only rarely clean up, and
fellow students. The to, and are not sometimes clean up, cause constant
student is able to disruptive towards and have caused some disruptions during
concisely discuss their fellow students. The disruptions during class. The student
artwork and art making student is able to talk class. The student is cannot or refuses to
process. about their piece but hesitant or unable to talk about their
not their process. discuss their artwork artwork and process.
and process.
Creativity
The student has shown The student has shown The student has shown The student has
(30)
comprehensive differentiation from the slight differentiation shown no
differentiation from the source material story from the source differentiation from
source material story they are working off of. material story they are the source material
they are working off of. Their alterations to the working off of. Their story they are
Their alterations of the source material show alterations to the working off of. Their
source material are substantial changes source material show alterations either
complex and deliberate that express the minor changes and inconsequential or
that express the students individuality. alterations that are non-existent.
students individuality. express the students
individuality.
P a g e | 29

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Department of Arts Administration, Education and Policy

UNIT PLAN OVERVIEW

Teacher Candidate Joseph Kern

Teaching Visual Storytelling and style

ENDURING UNDERSTANDINGS (FROM ODE STANDARDS)

PROGRESS POINTS (FROM ODE STANDARDS)

CRITICAL ISSUE / BIG IDEA

DESCRIPTION OF THE ESSENTIAL EDUCATIONAL CONTENT OF THIS UNIT

Explain how technology has been used in this unit

Teacher Candidate Joseph Kern

CONTENT STATEMENT PERCEIVING/KNOWING (FROM ODE STANDARDS)

CONTENT STATEMENT PRODUCING/PERFORMING (FROM ODE STANDARDS)

CONTENT STATEMENT RESPONDING/REFLECTING (FROM ODE STANDARDS)

Performance-based Assessment Objectives

Performance-based Assessment Strategies

Symbolism The usage of images to represent ideas, concepts, and qualities.

Re-imagining/re-creation An alteration of a story, altered based on the artists own imagination

Metaphor In writing, a figure of speech in which a word or phrase is applied to represent an

Additional Language Demands (specific communication task)

Accommodations for Special Populations

Accept adult decisions/directions without arguing at least 7/10 times

Handle anger, frustrations, disappointment without lashing out at staff or

Art/Visual Culture Examples (list all artists, artwork or media used)

Gaiman, Neil. Coraline. Harper Collins, 2002.

Raicht, Mike. The Stuff of Legend. Vol. 1, Villard Books, 2010.

Schwartz, Alvin. Scary Stories to Tell in the Dark. Lippincott, 1981.

If students are either reluctant or unsure of

2 Approximately Teacher starts by reviewing the concepts that See: Art/Visual

If a student is experiencing issues with the

Evaluation will include the teacher looking

Closure, Review & Anticipation (whats next?)

2 N/A If a student were to get their drawing and N/A

Teacher reflection focused on the lesson after it has been taught

Teacher Candidate Joseph Kern

CONTENT STATEMENT PERCEIVING/KNOWING

CONTENT STATEMENT PRODUCING/PERFORMING

CONTENT STATEMENT RESPONDING/REFLECTING

Performance-based Assessment Objectives

Performance-based Assessment Strategies

Symbolism The usage of images to represent ideas, concepts, and qualities.

Re-imagining/re-creation An alteration of a story, altered based on the artists own imagination

Metaphor In writing, a figure of speech in which a word or phrase is applied to represent an

Additional Language Demands (specific communication task)

Accommodations for Special Populations

Accept adult decisions/directions without arguing at least 7/10 times

Handle anger, frustrations, disappointment without lashing out at staff or

Refrain from interrupting conversations or raise his hand and wait to be

Art/Visual Culture Examples

Gaiman, Neil. Coraline. Harper Collins, 2002.

Raicht, Mike. The Stuff of Legend. Vol. 1, Villard Books, 2010.

Schwartz, Alvin. Scary Stories to Tell in the Dark. Lippincott, 1981.

Materials for Students

For students with special accommodations

1 Approximately Students are then going to be introduced to N/A

The teacher will make themselves available

The teacher will make themselves available

The teacher will make themselves available

The teacher will make themselves available

Teacher will stress that this is the last

If extra time is given, repeat the process for

The teacher will make themselves available

As this is the last class period for their work,

2 Approximately Students are to clean up their brushes if they NA