Portraiture Grade 3 - Farmington Public Schools

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Portraiture Grade 3

Farmington Public Schools Grade 3 Fine and Applied Arts

Carol Kaplan

Avis Turner

Summer 2005

Farmington Public Schools

Table of Contents Unit Summary ………………….….…………..page(s) Stage One: Standards

Stage One identifies the desired results of the unit including the broad understandings, the unit outcome statement and essential questions that focus the unit, and the necessary knowledge and skills. The Understanding by Design Handbook, 1999

…………………………….... page(s) Stage Two: Assessment Package

Stage Two determines the acceptable evidence that students have acquired the understandings, knowledge and skills identified in Stage One.

……………………………… page(s) Stage Three: Curriculum and Instruction

Stage Three helps teachers plan learning experiences and instruction that aligns with Stage One and enables students to be successful in Stage two. Planning and lesson options are given, however teachers are encouraged to customize this stage to their own students, maintaining alignment with Stages One and Two.

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Appendices

Carol Kaplan

Avis Turner

….....………………………. page(s)

Summer 2005


Unit Summary

The Department of Fine and Applied Arts has developed a concept-based curriculum which focuses on six areas of understanding; Portraiture, Landscape, Still Life, Architecture, Design, and Cultural Symbol Systems. This unit on portraiture is designed for grade three students who have had an introduction to this art concept in grades K-2, which is part of a K-12 curriculum strand. Grade three students will use drawing, observational, and math skills to produce a proportional realistic self-portrait. The overarching concept of Portraiture will be revisited in grade five, when students create an expressive portrait using color to express emotion.

Carol Kaplan

Avis Turner

Summer 2005


Stage One: Standards Stage One identifies the desired results of the unit including the broad understandings, the unit outcome statement and essential questions that focus the unit, and the necessary knowledge and skills. The Understanding by Design Handbook, 1999

Visual Art Essential Understandings and Content Standards The Department of Fine and Applied Arts uses a model of instruction and assessment known as Arts PROPEL, which was developed by designers Howard Gardner and Nelson Goodman at Harvard’s Project Zero. Arts PROPEL is a hands-on approach, where art production is the core component of the four interdependent skill processes; Production, Perception, Reflection, and Work Ethic. Essential Understanding #1 PRODUCTION ( the making of art as the basis of the studio model) As a result of the Farmington Public School’s K-12 Art Program, all students will understand that the making of visual art enables people to develop and express perceptions, ideas, and feelings about themselves and the world. 1.3 Begin to express ideas, perceptions and feelings in powerful and evocative ways. (CTS 1c and 2a, 2c) Essential Understanding #2 PERCEPTION ( involves viewing and understanding one’s own art and the art of others) As a result of the Farmington Public School’s K-12 Art Program, all students will understand that skilled perception enables individuals to fully experience their environment and the visual arts 2.2 Recognize realism and abstraction in the work of selected artists. (CTS 2a) 2.3 Develop an awareness of visual and non visual experiences and will be able to draw on those experiences in her/his own work. (CTS 3a, 3b) Essential Understanding #3 REFLECTION (thinking about art in terms of generating ideas, improving one’s art through revision, and placing one’s art in a larger context) As a result of the Farmington Public School’s K-12 Art Program, all students will understand that the process of reflection enables individuals to develop criteria by which they value and judge art. 3.3 Identify various purposes for creating works of art. (CTS 4a, 4c and 5a) 3.6 Reflect on and evaluate the quality and effectiveness of their own and others’ work using specific criteria. (CTS 5e Identify possible improvements in the process of creating their own work.) Carol Kaplan

Avis Turner

Summer 2005


Essential Understanding #4 – WORK ETHIC As a result of the Farmington Public School’s K-12 Art Program, all students will understand that seriousness of purpose toward the production and valuing of art results in higher achievement 4.1 Work hard (best effort) and carry projects to completion 4.4 Care for tools and materials (CTS 1d)

Math Essential Understandings and Content Standards #4 Ratios, Proportions, and Percents: Students will understand that people use ratios, proportions, and percents in order to represent relationships between quantities and measures. #5 Measurement: Students will understand that people must appropriately apply customary and metric measurement units in order to approximate, measure, and compute length, area, volume, mass, temperature, angle, and time.

Carol Kaplan

Avis Turner

Summer 2005


Unit Outcome Statement Consistently aligning all instruction with this statement will maintain focus in this unit.

As a result of this unit on portraiture, students will gain a deeper understanding that portraits are used to record and communicate personal identity across cultures over time. By the end of this unit students will: •

Compare and contrast the work of major artists with a focus on realism v. abstraction. (perception/ reflection) ( Visual Arts Essential Understanding 2.2, 3.3)

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Demonstrate an ability to perceive proportion of the human head and face. ( Mathematics Essential Understanding #4 )

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Use observation, drawing, and math skills to produce an accurate proportional self-portrait. (Visual Arts Essential Understanding 1.3, Mathematics Understanding #5)

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Reflect on their own and others’ artwork (Visual Arts Essential Understanding 3.6)

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Begin to recognize the difference between seeing and looking. (perception/reflection) (Visual Arts Essential Understanding 2.3, 3.2)

Essential Questions These questions help to focus the unit and guide inquiry.

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What is a portrait? (Perception, Reflection) Can you learn to see better? (Perception) Is there a connection between seeing and drawing? (Production) What is the connection between drawing and math? (Production) How can looking at your work and the work of others help you to see more clearly? (Reflection)

Knowledge and Skills The Knowledge and Skills section includes the key facts, concepts, principles, skills, and processes called for by the content standards and needed by students to reach desired understandings. The Understanding by Design Handbook, 1999

Knowledge/Concepts • • •

• •

Portrait Proportions and feature placement Realistic v. Abstract Major artists (exemplar) Creativity and risk taking

Carol Kaplan

Avis Turner

Summer 2005


Skills/Processes • • • • • •

Drawing from observation Measuring Planning, practicing, and sketching Using a variety of media Craftsmanship Effort and work completion

Thinking Skills • • • •

Compare/Contrast Reflect on one’s own work and work of others Distinguish between looking v. seeing “Read” a visual image; describe, analyze, interpret, evaluate

Carol Kaplan

Avis Turner

Summer 2005


Stage Two: Assessment Package Stage Two determines the acceptable evidence that students have acquired the understandings, knowledge and skills identified in Stage One.

Authentic Performance Task After comparing and contrasting the works of exemplar portrait artists, students will create a realistic self-portrait using observation, drawing, and math skills. Students will: • Compare and contrast the work of major artists with a focus on realism v. abstraction. • Demonstrate an ability to perceive proportion of the human head and face. • Draw an accurately proportioned realistic self-portrait. • Reflect on their own and others’ artwork • Begin to recognize the difference between seeing and looking Formative assessments: • Class discussion of exemplar artists • Pre-test (portrait drawing and self /teacher assessment) • Pre-test (measuring) • Class discussion on defining proportion • Drawings of facial features • One-on-one conferencing • Measuring practice on portrait digital photos • “What’s wrong with this portrait?” worksheet • Elaborate Skeleton worksheet Summative assessments: • Venn diagram (realistic v. abstract portraits) • Realistic self-portrait drawing • Post-test (self and teacher assessment) • Critique; looking at one’s own work and the work of others (teacher and peer assessment) In the Arts PROPEL model, the student’s process portfolio serves as the body of evidence. The portfolio typically includes a range of work such as thumbnail sketches, drafts and revisions, journals, written responses, self and teacher assessments, and finished production pieces.

Carol Kaplan

Avis Turner

Summer 2005


Stage Three: Learning Experiences and Instruction Stage Three helps teachers plan learning experiences and instruction that align with Stage One and enables students to be successful in Stage Two.

Learning Experiences and Instruction The learning experiences and instruction described in this section provide teachers with one option for meeting the standards listed in Stage One. Teachers are encouraged to design their own learning experiences and instruction, tailored to the needs of their particular students. Guiding Questions

Instructional Strategies

Day 1: Lesson Topic: Introduction to Portraiture Unit Essential Question Hook: Display 2 posters of What is a portrait? portraits by major artists. One portrait will be realistic and one abstract so that students can Guiding Questions Does a portrait have to look just compare and contrast. like the person in a realistic way to be a portrait? Teacher will lead the discussion Why do people create portraits? as students describe, analyze, and interpret the image. They will then fill out the Venn diagram comparing and contrasting characteristics of each painting.

Checking for Understanding • •

Group discussion Completion of Venn diagram

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Pre-test; portrait drawing and selfassessment sheet. Group discussion.

Day 2: Lesson Topic: Pre-test and Data Analysis Essential Questions: What is a portrait? Do you think that you can learn to see better ? Guiding Questions: What do you already know about drawing a picture of yourself? Do you think that if you learn to see better you can learn to draw better?

Hook: Students will complete a timed drawing with NO instruction; very different from their usual studio and classroom experience!

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Students will use pencil to draw a self-portrait in a 10 minute time period. Upon completion, they will fill out the pre-test self/teacher assessment. After students have looked briefly at their assessment sheets, teacher will conduct a survey on general results. Students will predict how these might change by the end of the unit.

Day 3: Lesson Topic: Practice Drawing Facial Features

Essential Questions: Can you learn to see better? Carol Kaplan

Avis Turner

Hook: NO hook noses, pencil necks, alien eyes, elf ears, smiley face mouths! Summer 2005

• •

Practice sheets of facial features. Teacher/ student


Is there a connection between seeing and drawing?

Guiding Questions: How can lines and shapes, which you already know how to draw, become realistic facial features? Look at your neighbor’s face to see the shapes and lines that the features are made up of.

Teacher will initiate the lesson by introducing funny terminology for common simplistic ways of drawing facial features as a contrast to the realistic techniques that will be taught in the guided instruction to follow.

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conferencing Closure discussion

Teacher will demonstrate how to draw realistic features. (pair of eyes, brows, nose, mouth, and ears) Students will practice. Teacher will conference one-on one as students work. Closure discussion about drawing from real life models to improve observation and drawing skills.

Day 4: Lesson Topic: Measuring for Accuracy Essential Questions: What is the connection between drawing and math?

Guiding Questions: How can a ruler help you to draw a realistic portrait of yourself? What is proportion?

Hook: Did you know that Leonardo da Vinci, who painted the Mona Lisa, was a mathematician? On one side of a 6 ½ inch by 8 inch paper held vertically, students will use a ruler to measure the length and width of the page. Then they will measure to find the half way mark and the quarter mark.

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Measuring practice sheets. Informal teacher assessment. Student self assessment. Discussion on Proportion “What’s Wrong with this Portrait?” Game

After an informal assessment of student’s performance, teacher takes class through guided instruction on using a ruler to measure; as well as a review of fractions. As a self assessment students are instructed to fold their paper in half, and to fold one half of the paper in half again (1/4). This is a check for measuring accuracy. The folding strategy alone can be used as a modification. Students practice drawing an oval head shape with the top of the heads touching the top of the paper and the chin touching the bottom of the paper. Play “What’s Wrong with this Portrait?” to define proportion. Artists use mathematics to draw self-portraits in proportion. Carol Kaplan

Avis Turner

Summer 2005


Day 5 : Proportion (placement of facial features) Essential Questions: What is the connection between drawing and math? Guiding Questions: Where are your eyes located? Use a fraction in your answer.

Hook: “A money back guarantee! I guarantee that your final drawing will be THE best selfportrait you have ever drawn in your whole entire life!”

• • •

Class discussion. Pre-drawing (practice and revision) papers. Kinesthetic measuring

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Final drawing

Students look at each other and the teacher, and exemplar artists’ works, to determine realistic proportions. (eyes at ½ line, bottom of nose at ¼ line, and mouth at 1/8 line.) Students will also use kinesthetic measuring to discover proportion. Teacher draws an accurately proportioned face based on students’ discovery learning and their input. Students apply this information by drawing on their folded pre-drawing paper from the prior lesson. Teacher will give an introduction on how to draw hair, neck and ears. Days 6-7 The best drawing of your whole entire life! Essential Questions: What is a portrait?

Guiding Questions: How can we take many parts to make a whole?

Referring to practice drawings and using a mirror and ruler, students will begin final drawing applying sequenced prior information with which they have been equipped. Teacher will conduct one-on-one conferences and students will have opportunities for informal peer critiques. Teacher will do a demonstration on how to draw hair types and discuss neck width. Hook: Miranda’s Smile by Thomas Locker Teacher will read and discuss. This is an opportunity to reenergize students from the focused and draining task of drawing. Can be used at beginning or end of a lesson in this sequence too.

Carol Kaplan

Avis Turner

Summer 2005


Days 8-9: Reflection and Seeing Better Essential Questions: How can looking at your work and the work of others help you to see more clearly? Guiding Questions: After you have learned to see more clearly will you look at things differently?

Students will look closely at their finished portrait and complete the self assessment form. They will then compare it to the pre-test self assessment which was completed at the start of the unit. They will then draw conclusions based on the evidence. Teacher will conduct a critique (whole class, small group, partner) where the students look closely at the portrait to determine if it meets standard.

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Post-test self/teacher assessment Critique Portfolio: body of evidence which includes all formative and summative assessments. Student checklist for to make sure all work is completed and included in portfolio.

Media/techniques: This self-portrait drawing which has been done in pencil can be elaborated on with the teacher’s choice of the following media; colored pencil, chalk, crayon, chalk pastel, watercolor paints, tempera washes (gouache consistency). TIP: Any opaque medium such as undiluted tempera or acrylic paints or markers will not produce the desired results.

Carol Kaplan

Avis Turner

Summer 2005


Appendices Artist Pool Vincent van Gogh Rembrandt Leonardo da Vinci Pablo Picasso Henri Matisse Other Portrait Exemplars Portrait photographs Head shots of famous people such as political figures, sports or entertainment figures Digital photograph of the student artist Children’s Books Miranda’s Smile The Genius of Leonardo Looking at Faces Baker’s Portrait Amanda’s Easy-as-Pie Drawing Guide

by Thomas Locker by Guido Visconti and Bimbe Landmann by Joy Richardson by Michelle Edwards by Marissa Moss

Websites www.sanford-artedventures.com www.kidzdraw.com/artist.htm www.npg.org.uk www.npg.si.edu Teacher’s Texts Drawing with Children Children and Painting Hundred Languages of Children The Natural Way to Draw Drawing on the Right Side of the Brain Creative and Mental Growth

Carol Kaplan

Avis Turner

by Mona Brookes by Cathy Weisman Topal Schools of Reggio Emilio, Italy by Kimon Nicolades by Betty Edwards by Viktor Lowenfeld

Summer 2005


Carol Kaplan

Avis Turner

Summer 2005
