LIGHT DARK

Light/Dark 1

Table of Contents
About This Unit Plan: The following is a project-based art curriculum designed for middle school students, ages 11-13. The overarching theme of light and dark is expressed over the course of four assignments. Each project description contains quotations, materials, lesson description, and assessment guide, as well as visual resources from contemporary art and beyond.

Introduction Journals Lesson 1: Contrast Prints Lesson 2: Light as Media Lesson 3: Shadow Sculptures Lesson 4: The Fine Art Fixture Assessment Guide

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Introduction
The idea of light and dark as both contrasting forces and a dual existence is an age old construct. Light and dark as both a physical reality and as a metaphorical idea is embedded in human history. Walt Whitman (1855) wrote, "Every moment of light and dark is a miracle." Yet, this miracle is so often taken for granted-especially by artists where the beauty of the visual world seems like just a given. The act of seeing is at the center of why artists do the work they do and this understanding of how artists see is an important experience to pass onto students. The idea of contrast is central to our understanding of the function of light and dark. The phrase itself, implies opposing forces. Middle school students are an appropriate audience for a unit on the variations of light and dark for a number of reasons. The subtleties of light are easy to understood for this age group, because as according to Hurwitz-Day they have a growing "interest in detail, perspective, subtle use of color, and art techniques" (Hurwitz-Day 1996, p. 2). Adding to their more complex understanding of artistic conventions, Nancy Smith (1998) writes that middle-school children "can now consciously consider the aesthetic qualities of line, shape, and texture in their drawings." She also notes that this age group has a greater understanding of the range and limits of materials (Smith 1998, p. 88-89). The dual nature of light and dark as both concrete and metaphorical is also applicable to middle school students varying cognitive abilities. As Smith says, "At this age, these variations can be extreme. Cognitively, some children are already thinking quite abstractly, while others are still entrenched in the concrete world. One child may be able to consider the concepts of good and evil, while another may still divide the world into good guys and bad guys" (Smith, 1998, p. 86). The ability to think more deeply about the symbolic and metaphorical implications of light and dark in this unit will appeal to the more abstract thinkers, while the concrete, visual nature of light and dark will address the needs of more concrete thinkers. Middle school students are becoming highly self-conscious about the quality of their work. A materials focus in the unit will help to mediate this anxiety about their work, and the need to make their art work look real will be shifted to a focus on contemporary practices with light and dark (Smith 1998, p. 90). Szekeley (1988) writes, It is not enough to tell our students that art deals with the extraordinary: this also has to be demonstrated by our treatment of the classroom; by its space and furnishing, and by our speech and actions. (p. 66). For middle school students to be excited about making art, the use of materials, art resources, and topic must take the ordinary and elevate it to something that ignites the imagination. The opportunity to show students work that addresses light in an exciting and new way, such as light shows and gloving in pop culture, as well as contemporary art in both the ne art and functional spheres. The use of materials depicting light phenomena in nature such as the bioluminescence will appeal to students who need a more concrete basis for their work. This unit focuses almost exclusively on contemporary artists in order to connect students to contemporary art practice. The number of contemporary artists who are using light in their artwork is vast. The photography of John Chiara and Michael Ness, the sculptures of Kirsten Hassenfeld, Gereldine Gnzalez, Grimanessa Amors, and Judy

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Pfaff, as well as the works on paper by Kara Walker only scratch the surface of available inspiration for students. The almost mythical qualities of light and dark are depicted in a widely throughout childrens culture. The animated lms, Balto and Tangled both access the mysterious properties of light and dark as well as scientic concepts of light, and provide an opportunity to look at an individuals personal relationship to light. The graphic novel City of Light, City of Dark by Avi demonstrates the duality of light and dark and has a powerful and engaging story line. There is also a growing trend of gothic imagery and concepts in childrens culture. The success of books like the Twilight and Harry Potter series is just one example. These books address ideas of inner light or inner darkness and make allusions to older gothic novels such as Wuthering Heights and The Phantom of the Opera. The dramatic lighting in the lms references Baroque imagery and the high drama is very accessible to middle schoolers. This curriculum is designed for grades 6-8 at a standard public middle school. The projects are ideal for a classroom with ample space for sculpture storage, as well as the ability to completely darken the room to show the extremes of light and dark. The units use of found or unusual materials is attainable for almost any type of classroom, but if especially suited for art departments that have limited budgets. The goal of this unit is to give students the opportunity to explore light and dark conceptually as a visual language, as well as a literal phenomena. The unit provides ample opportunity for students to discuss high art and low art and how we view decorative and functional pieces as aesthetic objects. As students pursue the unit of Light/Dark they will expand their understanding of light as a medium with the ability to convey complex ideas through form and content.

References Day, M., & Hurwitz, A. (1995). Children and Their Art. Texas: Harcourt Brace College Publishers Smith, N. (1998). Observation Drawing with Children: A Framework for Teachers. New York: Teachers College Press. Szekeley, G. (1988) Encouraging Creativity in Art Lessons. New York: Teachers College Press. Whitman, W. (1855). Leaves of Grass. New York: Sterling Publishers
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light1|lt| noun 1 the natural agent that stimulates sight and makes things visible:the light ofthe sun|[insing.]:the street lamps shed a faint light into the room. a source of illumination, esp. an electric lamp: a light came on in his room. (lights)decorative illuminations:Christmas lights. a trafc light: turn right at the light. [ in sing. ] an expression in someones eyes indicating a particular emotion or mood:a shrewd lightenteredhiseyes. the amount or quality of light in a place: the plant requires good light | in some lights she could look beautiful. dark|drk| adjective 1with littleor nolight:its too dark to see much. hiddenfromknowledge; mysterious:a dark secret. archaicignorant; unenlightened:he is dark on certain points of scripture. (ofa theater) closed; not in use:on Tuesdays hed wait tables because the theaterwasdark. 2(of acoloror object) not reecting much light; approaching black in shade:dark green. (ofsomeones skin, hair, or eyes) brown or black in color. (of aperson) having such skin, hair, or eyes:both my father and I are very dark.
References: New Oxford American Dictionary

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Journals
Historically within Western art practice. drawing was regarded as an essential part of the training for any painter or sculptor. It was always the most basic tool for the artist, a means of thinking through and preparing in advance for completed works of sculpture or painting. As the sculptor Henry Moore put it, Drawing is a means of nding your way about things, and a way of experiencing, more quickly than sculpture allows, certain try-outs and attempts. Emma Dexter

Sketching and journaling are an important part of contemporary artistic process. Throughout this unit, students will keep a sketchbook, and complete a series of written reections and drawings. The goal is for students to see their short written studies and drawings as connected to their larger artistic practice. Assignments will be aligned with Eileen Adams and Ken Baynes (2004) purposes of drawing: perception, communication, and invention (p. 2). Sketchbooks will be included in assessment as a measure of student learning for each project.

Perception: Drawing that assists the ordering of sensations, feelings, ideas, and thoughts. Communication: Drawing that assists the process of making ideas, thoughts, and feelings available. Invention: Drawing that assists the creative manipulation and development of thought.
Common Core Standard (Gr. 6-8)

10 Range of Writing: Write routinely over extended time frames (time for research, reection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specic tasks, purposes, and audiences.

References Adams, A., & Baynes, K. (2004). Power Drawing. Worthing: Drawing Power, The Campaign for Drawing. Dexter, E. (2005). Vitamin D: New Perspectives in Drawing. New York: Phaidon Press. Common Core State Standards Initiative. (2010). Common Core Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects. Light/Dark 6

Project 1

Contrast Prints: Heroes and Villains

We cringe at pictures of Marilyn Manson, cheer for Buffy in Buffy the Vampire Slayer, and try not to stare at the pierced and tattooed teens we pass on the streets. But what is it about this dark and morbidly morose aesthetic that fascinates us today? - Catherine Spooner Ph.D.

Materials
A range of cardboard/tagboard scraps, 8x8 chipboard pieces (one per student), gluesticks, drawing pencils, inking plates, brayers, water-based block printing inks in black and white, 18x24 block printing paper in black and white, newsprint

Optional Materials

Ink Retarder: slows the drying time for water soluble inks during printer. Retarder can be very useful for students who struggle to ink their plate quickly. Gray Block-printing Paper: an option for students who have completed their other editions.

Vocabulary

Relief Print: a means of making prints by creating a raised design on a at surface. The design is inked over or covered with color and stamped on paper or another surface. Edition: A set of identical prints, that are numbered and signed. This set of prints have been pulled by or under supervision of the artist and are authorized for distribution. Brayer: A small, hand-held rubber roller used to spread printing ink evenly on a surface before printing.

Journal

Students will begin the assignment by using their journals to brainstorm their hero/villain and make four concept sketches before beginning their collograph plate. Students will also maintain journal entries throughout to track best practices in printmaking. Any changes to their collograph plate will be noted. The journal will be graded as part of the assessment.

Description

Students will begin the lesson by reading from Avis graphic novel, City of Light, City of Dark, with illustrations by Brian Floca. Students will be asked to identify which characters they perceive as good or evil. Students will be prompted to point out context clues within the illustrations that lead them to this conclusion. Students will then compare the images and characters from City of Light, City of Dark with other pop culture images and characters such as the Phantom from Phantom of the Opera, Elphaba in Wicked, and Guy Fawkes from V for Vendetta. Students will then be prompted to make four sketches of
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a hero/villain in their journals. Students should complete their sketches by the end of class or for homework. A demonstration of designing and cutting pieces for their collograph plates should begin the next class. Students will learn to layer their plate with at least three layers the rst day, and to break up important details into separate sections. Students will critique and discuss John Chiaras photographs and discuss why the pieces with low contrast still interest us despite how obscured the details are. Students will be prompted to print with white ink on white block-printing paper and make several editions. All relevant printmaking vocabulary, such as edition, brayer, and registration will be thoroughly explained. Students will make several editions with this color and label them appropriately as per the teachers example. Students will then print with black ink on black block-printing paper with the same method as the white. At the close of each class, students will make notes of any changes they made to their collograph plate, and any best practices they have learned while printing. To complete their set of prints, students will choose to print with white ink on black paper, or black ink on white paper. Students will then go through all of their prints and select their eight best prints for their mini-portfolio including one of each style print. Students will include their journal as part of their assessment.

Key Questions

What does the lighting tell you about a characters personality in Avis novel? How can black/white contrast effect the viewers perception of a character? [On the pop culture imagery] From what we know, are these characters purely good or purely evil? [On the Chiara photographs] What do you notice about the white/white and the black/black images? What details stand out the most?

Common Core Standards

Production and Distribution of Writing (4): Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Vocabulary Acquisition and Use (6): Acquire and use accurately grade-appropriate general academic and domain-specic words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression. Key ideas and Details (3): Follow precisely a multistep procedure when carrying out experiments, taking measurements, or performing technical tasks.

References Common Core State Standards Initiative. (2010). Common Core Standards for English Language Arts & Literacy in History/ Social Studies, Science, and Technical Subjects. Fradley, M. (2010). Contemporary Gothic, by Catherine Spooner [book review]. Transformative Works and Cultures, no. 4.

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Visual Resources

John Chiara: Dye-Deconstruction Photographs

http://lightdark.com/2004-1.html

23rd at Carlolina (2004)

48th at El Camino Del Mar (2005)

20th at San Bruno (2004)

Images from City of Light, City of Dark (1993) By Avi with illustrations by Brian Floca

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The Phantom of the Opera (2004)

V for Vendetta (2006)

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Project 2

Light as Media: Drawing with Light

Paper is simply paper as long as it is white, but once you draw on it, it becomes a drawing. A design in light is a mental drawing that uses dark space. - Carlo Bernadini

Materials

Laser pointers, ashlights, and glowsticks in a variety of colors, digital cameras, tripods, black or other dark-colored back drops.

Vocabulary

Exposure: In photography, the amount of light allowed to fall on a photographic medium during the process of taking a photograph. Usually refers to to shutter speed; i.e. how long the shutter is open while taking a photograph. Shutter: a device that allows light to pass for a determined period of time through lens of a camera in order to capture an image.

Journal

Documentation in journals is integral to the success of this assignment. Students will track the different techniques they use to make each photograph including aperture and shutter speed, as well as their movements and the type of light instrument they use. Students will use their journals at the end of each class to reect on what is working and how they can improve their photographs during the next class. The nal critique and assessment will include a reection in journals

Description

Students will be introduced to light drawing through TIME Magazines photoessay by Gjon Mili of Picassos light drawing. Students will discuss the different ways Picasso used light: both pictorially and more abstractly. Students will be introduced to the science behind the phenomena: the use of the exposure and shutter speed to slow down the time it take to photograph. Students will also look at works by Carlo Bernadini using optical bers. Students will then compare Picassos light drawings to contemporary light drawing by Brian Hart. Students will compare and contrast the content, technique, and style used by the two artists. Students will experiment over the course of two-three class sessions with 10-second, 30-second, 1 minute, and 5 minute exposures using a range of light materials. Students will work in small groups and take turns photographing and directing the shots. Students will keep track of their progress in each photograph with their journals. Students will take at least ve photographs including one with abstract content, words or symbols, and a photograph with pictorial content.
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 Students will conference together in small groups and discuss their photographs. With group and teacher input, each student will select their best photograph for printing. As a large group, students will reect on these printed photographs. In their journals students will write a short self-reection on how their thinking about drawing has changed and the best techniques they discovered for making their light drawings. This reection will be included in their assessment.

Key Question

(While looking at light drawing examples) How do you think the artist made these? What material is making the lines? What advantages do we have over Picasso who only had an electric light? How would a longer exposure change our light drawings? A shorter one? What kinds of drawings could you make with this technique? How has your thinking about drawing changed? What does the Carlo Bernadini quote mean to you?

Common Core Standards (Gr. 6-8)

Comprehension and Collaboration (1): Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher- led) with diverse partners on grade 6 topics, texts, and issues, building on others ideas and expressing their own clearly. a. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reect on ideas under discussion. c. Pose and respond to specic questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion. Production and Distribution of Writing (4): Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Vocabulary Acquisition and Use (6): Acquire and use accurately grade-appropriate general academic and domain-specic words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression. Key ideas and Details (3): Follow precisely a multistep procedure when carrying out experiments, taking measurements, or performing technical tasks.

References Bernadini, C. (2002). The Division of Visual Unity. Retrieved from <http://www.carlobernardini.it/File_uk/TESTI_INGLESE/ WRITINGS_OF_CARLO_BERNARDINI.pdf>. Common Core State Standards Initiative. (2010). Common Core Standards for English Language Arts & Literacy in History/ Social Studies, Science, and Technical Subjects. Light/Dark 12

Visual Resources

Gjon Mili: Picasso Light Drawings (TIME Magazine) 1949

http://life.time.com/culture/picasso-drawing-with-light

Wheels Within Wheels

A Vase of Flowers with Light

Figure of Light

Carlo Bernadini: OpticalFiber Installations

http://www.carlobernardini.it/File_uk/PHOTO_GALLERY_UK/

The Division of Visual Unity (1999)

Permeable Space (2003)

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Brian Hart: Light Drawing

https://sites.google.com/site/brianmatthewhart/recentextrapolations

How to Stand (2011), 10x15 10 minute drawing

Apartment Light Drawing (2011) 17 minute drawing

Absurdist Portrait of Dena with Umbrella and Bike (2011) 12.5 minute drawing

Dena Lying Languidly While I Stand With Lamp (2011) 12 minute drawing

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Project 3

Shadow Sculptures
I have a little shadow that goes in and out with me, And what can be the use of him is more than I can see. He is very, very like me from the heels up to the head; And I see him jump before me, when I jump into my bed. The funniest thing about him is the way he likes to grow Not at all like proper children, which is always very slow; For he sometimes shoots up taller like an india-rubber ball, And he sometimes gets so little that there's none of him at all. He hasn't got a notion of how children ought to play, And can only make a fool of me in every sort of way. He stays so close beside me, he's a coward you can see; I'd think shame to stick to nursie as that shadow sticks to me! One morning, very early, before the sun was up, I rose and found the shining dew on every buttercup; But my lazy little shadow, like an errant sleepy-head, Had stayed at home behind me and was fast asleep in bed. -Robert Louis Stevenson

Materials

Found sculpture materials: popsicle sticks, scrap papers, tag or chipboard, aluminum foil, yarn, string, wire, etc., glue guns, white glue, scissors, 5x5 cardboard bases, 24x36 gray pastel paper, soft pastels in a range of colors, spot lights or ashlights.

Vocabulary
Sculpture:the action or art of processing (as by carving, modeling, or welding) plastic or hard materials into works of art in three dimensions. Silhouette: the dark shape and outline of someone or something visible against a lighter background, esp. in dim light.

Journal
Students will use their spot lights to observe the cast shadows of at least 10 different objects. They will trace their proles in their sketchbooks.

Description
The central theme of this project is the shift from focusing on an object in an artwork to studying its environment: how an art object interacts with a space, the shadows it creates and how that enhances the piece as a whole. The lesson is divided into three distinct parts: brainstorming, sculpture building and drawing. After viewing the attached visual resources, students will go about the room with ashlights or spotlights and take down at least 10 shadow proles in their journals. Students will then come together
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to share their ndings. The reason for this brainstorming session is to push students to think about the prole of an object and how it effects the shadows in a space. Students will be prompted to think about the negative spaces within a form and their interesting effects as an art object and within a space. Students will begin the sculpture phase by rst experimenting with the materials without glue or the cardboard bases. Students will be encouraged to attempt a free-standing structure as tall at they can without the aid of glue. This will aid students in more contemplative thinking without the rush to start gluing immediately. Flashlights will be kept at tables so students can continually think about the shadow their object will be casting. After glue is introduced, students will be prompted to create a structure that is at least 12 high with at least three different materials, and attach it securely to their cardboard base. Contemporary artist, Sheila Pepe, will be used as visual motivation in this phase. Although her works are not focused on shadows, the positive and negative spaces she creates with her crocheted thread drawings will help push students to think about their structure in a less dense manner. The next stage is heavily inuenced by the photographs of Michael Neff. Students will illuminate their sculptures and trace the shadow it casts with pastel onto gray pastel paper. Students will be prompted to layer the proles over each other, at least three, to create an interesting composition. Students will experiment with different techniques to preserve the shadows on their papers, such as lling in with color, thick and thin lines, and using a range of pastel colors. As a nal reection, the sculptures will be illuminated and displayed together along with the shadow drawings. Students will reect as a group on the process of building and then drawing before completing their self-check lists.

Key Questions
What is a shadow? Why do we see them? What kind of shadow silhouettes do you see? What forms are making the most interesting shadows?

Common Core Standards

Comprehension and Collaboration (1): Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher- led) with diverse partners on grade 6 topics, texts, and issues, building on others ideas and expressing their own clearly. a. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reect on ideas under discussion. c. Pose and respond to specic questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion. Key ideas and Details (3): Follow precisely a multistep procedure when carrying out experiments, taking measurements, or performing technical tasks.

References Common Core State Standards Initiative. (2010). Common Core Standards for English Language Arts & Literacy in History/ Social Studies, Science, and Technical Subjects. Stevenson, R. My Shadow. Reprinted in The Golden Book of Poetry. (1947). New York: Golden Books.

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Visual Resources
Michael Neff: Shadow Chalk Drawings
http://michaelneff.com

Yerba Buena Center for the Arts, San Francisco, CA. (2011) 16th Street Between 7th and 8th, New York, NY (2009)

Avenue A Below 2nd Street, New York, NY (2010) West 11th Between 6th and 7th, New York, NY (2008)

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Sheila Pepe: large crocheted drawing installations

http://www.sheilapepe.com/page15/photos-19/

Common Sense II (2010) Yarn, rope structure

Common Sense II (2010): detail Yarn, rope structure

Common Sense (2011) Yarn, rope structure

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Project 4

The Fine Art Fixture

Happiness can be found, even in the darkest of times. If one only remembers to turn on the light. Albus Dumbledore

Materials

tissue paper, rice paper, plastic bags, acetate, fabric, matte medium, hot glue, needle and thread, scissors, thin gauge wire, balloons, india ink, Bristol board, LED light strings, battery operated tea lights

Vocabulary

Lamp: a device for giving light, either one consisting of an electric bulb together with its holder and shade or cover, or one burning gas or a liquid fuel and consisting of a wick or mantle and a glass shade: a table lamp.

Journal

Students will use their journals to write a proposal for their light project including sketches. The proposal will include a scale drawing as well as concept sketches to illustrate the intended result.

Description

The class will begin with viewing the attached visual resources and a short discussion about light in sculpture and what would make a lamp or chandelier a work of ne art. The goal of this lesson is for students to shift their thinking about what it means for a work to be considered ne art versus functional or decorative art. Students will then look over the available materials and brainstorm possibilities for nished light sculptures and begin drafting their proposal for their light project. Students should complete their proposal by the end of the rst class, or for homework. The proposal should include a scale drawing, choice of lighting (LED or tea lights), the inner support system for their lights, and color choices, if any. Students will begin their light project with a wire or balloon structure depending on whether their form is geometric or organic. After their structure is completed, students will begin adding paper, plastic or fabric to cover their structure. Students will experiment with using glue, matte medium, or thread as a means to adhere their materials and add to their aesthetic. Students can use thread or india ink to add designs to the outside of their light xture if they choose. When their structures are dry and fully supported, students will add lights to their structure. Students using balloons will remove them prior to adding lights. Students will have a group critique and each student will sketch three other students light projects in their journals. Students will complete a short checklist assessment.

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Key Questions

What makes something ne art? Can a lamp or a chandelier be considered a work of art? How can you turn a light xture into a sculptural work? How can change of scale, form, color, and content change our perception of an artwork?

Common Core Standards

Comprehension and Collaboration (1): Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher- led) with diverse partners on grade 6 topics, texts, and issues, building on others ideas and expressing their own clearly. a. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reect on ideas under discussion. c. Pose and respond to specic questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion. Key ideas and Details (3): Follow precisely a multistep procedure when carrying out experiments, taking measurements, or performing technical tasks.

References Common Core State Standards Initiative. (2010). Common Core Standards for English Language Arts & Literacy in History/ Social Studies, Science, and Technical Subjects. Rowling, J.K. (1999). Harry Potter and the Prisoner of Azkaban. New York: Scholastic Books Inc. Light/Dark 20

Visual Resources
Kirsten Hassenfeld:
http://www.kirstenhassenfeld.com/objects/objects.html

Blue Horn (2010) Paper with mixed media

Blueware (Bouquet) (2009) Paper with mixed media

Blueware (Cloud) (2009) Paper with mixed media

Dans la Lune(2009) Paper with mixed media

Offering (2006) Paper with mixed media

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Graldine Gonzalez:
http://www.geraldinegonzalez.com/EN/sculptures.htm

Mduses

Robe Blanche

Crystal Flower

Printemps Haussman Christmas Display (2008)

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Dale Chihuly: blown glass chandeliers

www.chihuly.com

V&A Chandelier (2001)

Persian Chandelier (2001)

Judy Pfaff: mixed media with uorescent light

http://www.brunodavidgallery.com/artistDetail.cfm?id_artist=127&n=Judy+Pfaff

Dragon Arum (2012)

Night Blooming Cereus (2012)

Missing Elizabeth and Jeanette (2012)

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Grimanesa Amors
http://grimanesaamoros.com/installations/

Aurora (2009-2010) Lighting and Mixed Media

Uros Island (2011) Lighting and Mixed Media Venice Biennale

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Assessment Guide
Note: The rating scales in the assessments are based on 1-5 rating scale in each category. 1: Unacceptable 2: Needs Improvement 3: Satisfactory 4: Procient 5: Highly procient

Project 1: Contrast Prints

Mini Portfolio Rating Scale: The mini-portfolio is graded on a 1-5 scale in each category. The student has: 1.Completed journal assignments and included notes on best practices and any changes to their plate 2. Included 8 prints in their mini portfolio 3. At least one of each (black/black, white/ white, and white/black) print is included 4. Followed best practices in print-making: i.e. proper labeling, clean registration, labeling, border is clear of any ink.
______________________________________________________________________________________________________________________________________________________________________________________________________________________________

/20 TOTAL

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Project 2: Light Drawings

The student has:___________________________________________________________________________ 1 2 3 4 5 1. Completed journal assignments with notes on best light drawing techniques 2. Completed at least 5 light drawings and chosen 1 for printing 3.Self-reection: is clear, shows understanding, and is written in complete sentences. 4. Participated at least once in group critique

_____________________/20 TOTAL
Self-Reection Guide Students will respond in their journals to: 1. How has your thinking about drawing changed? 2. What was challenging about light drawing at rst? 3. How did you choose your best photo? Why?

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Project 3: Shadow Sculptures

Student and Teacher Self-Assessment: Rank your progress- 1= unacceptable, 2= needs improvement, 3= satisfactory, 4= procient My Sculpture: 1. Used at least 3 materials

2. Is well constructed and could pass the shake test- I could turn it upside down and nothing would fall off 3. I incorporated negative spaces into my sculpture 4. My drawing uses at least 3 shadow proles 5. I experimented with different colors and techniques on my drawing

___________________________/25
Student_________ + Teacher_________ _________/50 TOTAL

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Project 4: The Fine Art Fixture

Student and Teacher Self-Assessment: My Sculpture:

1. Journal entries and proposal are complete and are quality work 2. Used/uses a clear support structure 3. Structure is solid and can support 4. Lights are securely attached 5. Participated in critique at least once with helpful/relevant comments

___________________________/25
Student_________ + Teacher_________ _________/50 TOTAL

References Beattie, D.K. (1997). Assessment in Art Education, in Rethinking Curriculum in Art. Davis: USA p. 62-65
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