ca supplemental art curriculum introduction to design · color theory & kaleidoscope project...

Introduction to Design PLTW Supplemental Curriculum

CA Supplemental Art Curriculum

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Introduction to Design

Supplemental Art Curriculum INSTRUCTIONS

The following packet contains supplemental units intended to be added to Project Lead the Way’s curriculum for Introduction to Engineering Design. The inclusion of these units and the lessons involved will allow students to receive Fine Art credit toward graduation in the state of California, UC system. It is intended that these supplemental units be used to lengthen the existing IED sections taught during the beginning of the course schedule. Units that have specific connections to current IED lesson plans are noted (in Blue) Connections listed below and in the corresponding supplemental unit. For those units that contain no specific connection to the IED curriculum, it is to the teacher’s discretion when each unit will be presented, as the order of presentation is more contingent on the connections to IED and not the I.D. Unit number. Teachers are encouraged to include most of material during the first semester.

Overview Content Overview & Curriculum Outline Connections

Unit 01 An Introduction to Art Self Expression art project

Help develop student’s ability to generate original ideas.

Unit 02 The Elements and Principles of Design The Key Element of Line

Technical Sketching & Visual Design Principles & Elements

Unit 03 Shape, Form and Value Basic Geometric Shapes

Technical / Perspective Sketching Geometric Shapes

Unit 04 The Element of Color Color Theory & Kaleidoscope Project

Intro mixing and color schemes for future project considerations

Unit 05 Stages of the Design Process Artistic Media Essay – Using the Design Process

The Design Process Overview Introduction to Research

Unit 06 Stages of the Design Process Puzzle Cube Design project by PLTW

Puzzle Cube Project Design Process Overview

Unit 07-08 Critical Analysis of Product Design Form Follows Function w/ an IED project

Connect to any Design Project or Open-ended Design Problem

Unit 09 Art History Written Research Assignment

Structure for required content in Art History for V.A. Standards

Unit 10 Studio Project One Art Gallery and Landscape Design

Optional Design Project

Unit 11 Style and Technique Cont. Written Research Assignment - Unit 09

Optional Supplement to Art History

Unit 12 Studio Project Two Personal Sketchbook and Portfolio

Portfolio Development



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Introduction to Design – Content Overview

CURRICULUM OUTLINE

Brief Course Description .

Introduction to Design 1 provides a project based curriculum for freshmen that present the elements and principles of visual design using the design process established by Project Lead the Way. Projects focus on design factors such as aesthetics, format, geometric shape & form, perspective drawing, scale, proportion, and presentation techniques. Students begin to use computers as a medium/tool for design of project components such as sketching techniques, orthographic drawing, 3D modeling & rendering. Assignment requirements are based on color, form and aesthetics with emphasis on the stages of the design process and critical thinking skills.

Introduction to Design 2 continues the design process and use of elements and principles of design through larger scale and more complex projects. Assignments involve detailed ‘form follows function’ aspects and the effects of successful presentation. Students explore various materials and media for self expression and learn to express opinions through class critiques and oral presentations. Class projects include toy design, abstract pattern design, architectural model building, poster and brochure design, and design of various products such as a birdfeeders, desktop organizers, and amusement park rides. Design tools will include 3D modeling and other computer software.

Course Content .

Course Goals and/or Major Student Outcomes

• To develop knowledge of the elements and principles of design used to successfully complete visual and conceptual designs through the completion of complex projects and the development of problem solving skills.

• To stimulate creativity and enhance students’ ability to use visual images as a means of communicating ideas.

• To develop an understanding of scale, proportion and spatial relationships for the purpose of developing visual presentation and building aesthetic value.

• To implement a structure and purpose for portfolio development that will be continued throughout high school.


Course Objectives . Artistic Perception

• To introduce students to the aspects of good design and design analysis using the principles and elements of visual design.

• To introduce students to elements of designs such as scale, proportion, abstraction, conceptualization, color theory, focal point and perspective.

• To provide students with experience in using the elements and principles of art throughout the design process.

Creative Expression • To provide students with opportunities to plan and create works of art that reflect

complex ideas such as scale, color theory, representation, point of view and style.

• To provide instruction and practice in a supportive environment in which students learn and utilize the principles of art and design as well as presentation and exhibition skills.

• To develop each students’ individual style and ability to create a design through representational elements and abstract formations.

Historical & Cultural Context • To introduce students to contemporary styles of art and discuss the social,

economic and political developments reflected in works of art presented through slides, lectures, and research assignments.

• To familiarize students with significant periods in art history such as the Ancient Civilizations, Renaissance, Expressionism & the Industrial Revolution.

Aesthetic Valuing • To develop a vocabulary of ‘the language of visual arts’ for discussion and critic

of various forms of original work. • To provide instruction and studio practice in the discussion and analysis of

various types of visual and functional designs. • To develop an understanding and appreciation for critique.

Connections, Relationships & Applications • To help students speculate on how advancements in technology have and will

continue to change the definition and function of art and design. • To develop an awareness of manufacturing processes, costs of production and

materials in works of art for a variety of purposes. • To implement a structure and purpose for portfolio development that will be

continued throughout high school.


Course Outline . Introduction to Design 1 UNIT 1 - Introduction to Art

• What is art? Why do artists create? • The language of art • 2-dimensional media • 3-dimensional media • Technology as a medium

PROJECT 1: Self Expression – Student’s choice of art form with narrative. Students introduce themselves as artists and begin to express the language of art through visual perception and critical analysis of symbolism. Each student will produce a unique piece of art work using their self-selected medium.

UNIT 2 - The Elements and Principles of Design

• Line types: structural, outline, contour, gesture, sketch… • Line quality and line personality • The expressive quality of line • Class critique** (See note below) - What emotions do lines communicate?

PROJECT 2: The Key Element of Line: An exploration of the expressive qualities of line. Different types of line; structural, contour, outline, baseline sketch, implied lines, and their communication of emotion and style. Students will create a 2-dimensional composition showing emphasis on edge and line. (Visual Arts Standards 1,2,3)

UNIT 3 - Shape and Form

• How we perceive shape, form and space • Polygons and angles • Creating form with the element of value • Orthographic projections of form • The illusion of depth and perspective drawing • Class critique** - Modeling practices and effects of contrasting values

PROJECT 3: Basic Geometric Shapes: Students begin to explore the foundation of images through free-hand sketching, orthographic drawings, computer modeling and rendering techniques to create depth and form through the element of value. Final composition should be a 3-dimensional computer generated composition of form. (Visual Arts Standards 1,2,3) UNIT 4 - The Element of Color

• Properties of color, color schemes and color theory • Mixing color – the effect of the medium • Hues, values and intensity


• Guest Lecture: The Fashion Institute of Design & Merchandising: Psychology of Color

• Class critique** - Analysis of color combinations PROJECT 4: Color Theory: An introduction to the elements of color as well as the properties of hues, value and intensity. Students will learn the blending of colors in a kaleidoscopic color wheel and the psychological effects of color in perception. (Visual Arts Standards 1,2,3) UNIT 5 – Stages of the Design Process

• Brainstorming and conceptual design • Research and refinement of a concept • Design analysis, evaluation and critique process • Class critique** - The design process thus far

PROJECT 5: Artistic Media: Students explore the history of art and famous artists as well as the introduction of new art materials and techniques throughout history that are often the catalyst for an artist’s work. Deliverables include a research paper and a 2-dimensional composition that reflects work of a particular historical period. (Visual Arts Standards 1,4) UNIT 6 – Stages of the Design Process

• Creating a full set of orthographic sketches • Final development of design • 3-dimentional computer modeling and prototyping • Optimizing a virtual model • Presentation practices

PROJECT 6: Puzzle Cube Toy Design: This project exposes students to a broad overview of the total design process through a project that requires students to utilize each stage of the design process from concept to presentation. Students will submit work for each stage of the design process. (Visual Arts Standards 1,4,5) UNIT 7 – Critical Analysis of Other Designs

• Consider the design process and how it was applied to selected objects and systems

• How did required functionality affect specifics of the design? • Perform a complete, detailed quantitative analysis of a selected object. • Create a full set of drawings (from sketches to orthographic drawings) for one

or more selected objects Introduction to Design 2 UNIT 8 – Form Follows Function

• Functionality of the proposed product (birdfeeder, desktop organizer, or similar)

• Brainstorming: needs and proportions


• Research and analysis of the client and product • Concept sketches • 3-dimentional computer modeling of complex forms • Design development and refinement • Presentation: Maximizing visual design • Class critique** - Aesthetics in design • Class critique** - Form follows function

PROJECT 7: Simple Product (Birdfeeder, Desktop Organizer or similar) Design Project: Students begin to understand the concept of “Form Follows Function” and what makes a successful design for marketable products. The birdfeeder allows students to design and build a product specific to a species and purpose and present computer generated models of their design. (Visual Arts Standards 1,2,4,5)

UNIT 9 – Art History

• Early civilizations • Renaissance • Impressionism

PROJECT 8: Research: Artistic Medium of the Masters – Perception and expressive qualities of famous artists. Written assignment of a prominent artist and subject matter of a selected historical era discussed in class.

UNIT 10 – Studio Project One

• Understanding technology behind public display and preservation • Spatial awareness and displaying works of art • Topography models and civil engineering • Research: The successes of existing art galleries and museums • Oral presentations and traditional media of architectural design • Team critique**: Project Presentations to mentors and instructors • Class critique** - Students lead critique of concept designs

PROJECT 9: Art Gallery Design: This is an in-depth project that requires students to work in teams through various stages of the project. Research of existing museums and galleries is required. The construction of a topographic model introduces students to the challenges of architectural and civil design. (Visual Arts Standards 1, 3,4,5) UNIT 11 – Style & Technique

• Properties of pigment • Mixed media • Texture and pattern of materials • Architectural and interior building materials • Class critique** - The effects of medium on style and technique

PROJECT 8: (Continued) Research: Artistic Medium of the Masters – Perception and expressive qualities of famous artists. Written assignment of a prominent artist and subject matter of a selected historical era discussed in class.


UNIT 12 – Studio Project Two (Student’s Independent Design Project)

• Functionality and aesthetics of the proposed design. • Field trip and Internet research to study existing designs • The structural design requirements of proposed product • Develop portfolio for written presentation of the final design • Develop material for formal classroom presentation of the final design. • Team critique** - Concept and refinement of successful design factors

PROJECT 10: Student’s Independent Final Design Project: This is a year end, final project that incorporates project planning, theme, function, handicap accessibility, and marketing strategies. Final designs will include a full design plan with a complete set of appropriate drawings and all material needed for presentation to a jury of students and industry professionals. (Visual Arts Standards 1,2,4,5) PROJECT 11: Personal Sketchbook: Outside of class sketchbook assignment and portfolio development will require students to organize a series of sketches and projects of their choice. Sketching techniques and subject matter are to reflect the units of study throughout the course as students develop their artistic skills. (Visual Arts Standards 2,5) ü Final Project Presentation: Formal presentations to mentors, peers and

instructors.

CRITIQUE NOTE: ** Students will exhibit current work for group discussion and engage in critical thinking as an exercise in aesthetic valuing.

Texts & Supplemental Instructional Materials .

• Bayles, David and Orland, Ted. Art and Fear. 2001. • Betti, Claudia and Sale, Teel. Drawing: A Contemporary Approach. 2003. • Ching, Frank D.K. Architecture: Form, Space and Order. John Wiley and Sons, Inc.,

1996. (standard college text) • Edwards, Betty. Drawing on the Right Side of the Brain. Penguin Putnam, Inc., New

York, 1999. • Gatto, Joseph A; Porter, Albert W.; and Selleck, Jack. Exploring Visual Design: The

Elements and Principles. • Madsen, David; Folkestad, James; Schertz, Karen A.; Shumaker, Terrence M.;

Stark, Catherine; and Turpin, J. Lee. Engineering Drawing and Design, 3rd Edition. Delmar, a division of Thomson Learning, Inc., 2004. (standard college text)

• Tansey, Richard and Kleiner, Fred S. Gardner’s Art Through the Ages, 10th Edition (standard college text)

• A Lifetime of Color - Art & Education Room http://www.sanford-artedventures.com • T.L. Heath (translator), Euclid's Elements • The Enrichment Hub at Town for Kids http://www.town4kids.com • Popular Science Magazine - October Issue 1944 • Rosalind Ragans. ArtTalk by McGraw-Hill (Hardcover - Jan 1, 2000)


• Lippincott's Magazine, http://www.njit.edu/v2/Library/archlib/pub-domain/sullivan-1896-tall-bldg.html March 1896.

• http://www.ergonomics.org • http://www.websters-online-dictionary.org • BUILDING A TOPOGRAPHIC MODEL by ELLEN P. METZGER

http://www.ucmp.berkeley.edu/fosrec/Metzger1.html#topographic#topographic • A Lifetime of Color - Art & Education Room • http://www.sanford-artedventures.com/teach/lp_design_house_contents.html • Job Skills Portfolio: Giving You an Edge in the Marketplace by Randall S. Hansen,

Ph.D. http://www.quintcareers.com/job_search_portfolio.html • Creating Portfolios: For Success in School, Work and Life. Kimeldorf, Martin.

Minneapolis, MN: Free Spirit Publishing Inc., c.1994. • Coin Career Library http://library.coin3.com

Instructional Methods and/or Strategies . Introduction to Design is a project-based studio course that engages students in a variety of activities that combine direct instruction with project work. Demonstrations, project briefs and round table critical thinking/brainstorming sessions are used to introduce new projects. Students are expected to apply the elements and principles of art learned during instructional time to each project. Each stage of the design process is identified and given a deadline. Students evaluate each others’ work and the quality of process during instructor led critiques. Real world connections are enhanced through guest lecturers and community based field trips to institutions such as architectural schools, corporate design centers and art institutes.

Assessment Methods and/or Tools . Refer to the Project Lead the Way I.E.D. assessment tools. Supplemental I.D. assessments are included throughout the course curriculum and are scheduled as work is completed. Class critiques require students to meet deadlines with sufficient work to show. Each project has a basic set of requirements to meet which are evaluated utilizing a rubric with written feedback and recommendations for improvement.



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Introduction to Design - Unit 01

An Introduction to Art SELF EXPRESSION

Preface

Why do artists create? It is an important question and one that has been asked

many times. Each artist has many reasons for creating art. There are no wrong

reasons, but some are more personal than others. One person’s reasons are

completely different from another person’s reasons. You have reasons for creating

as well, and some of those are reasons that you haven’t become aware of yet. The

more understanding you have about yourself or any creator - the reasons, emotions,

goals, fears, and beliefs – the more you will understand the work.

Concepts 1. Consider what art is; reasons for creating art, and how we critique artwork.

2. Introduce 2D media, 3D media, Mixed media and Technology mediums

3. Students explore their personalities as artists through Self-expression

Standards Addressed VAPA 2.0 CREATIVE EXPRESSION Communication and Expression Through Original Works of Art ü 2.5 Create an expressive composition, focusing on dominance and subordination. ü 2.6 Create a two or three-dimensional work of art that addresses a social issue.

Equipment • Sketchbook or blank paper • Number 2 pencil • Crayons or color pencils • Any additional medium that is readily accessible for art projects.


Procedure In this activity, students will develop a visual representation of self. The theme

should focus on social issues that personally affect them with regards to dominance

and subordination. Create a questionnaire/worksheet to direct student’s subject

matter. Have students complete the questionnaire/worksheet to aid in the creation of

a self-portrait. From these answers they will begin to develop a composition for a

piece of self-expressive art.

Deliverables Each student shall create a unique piece of artwork that represents their personality

with regard to dominance and subordination.

Conclusion You will introduce the concept of a critique to the class. A critique is an art form itself. It

is the art of criticism. It is a constructive aid that helps an artist improve with each new

work. It is not meant to be offensive and should not be mistaken as an opportunity to

criticize a student’s character. Students are to maintain a professional and polite

demeanor during critiques. So, prepare yourself for a critique:

Preparation: Have students complete a reflection for the following topics as they relate

to their own work. Students should provide facts and evidence to support their opinions.

Each student will type the critique for their own work. All attending students will

verbalize these same topics during the individual critique.

§ Describe: Describe what you intended – colors, size, shapes.

§ Analyze: Try to describe the process for how it is made.

§ Apply: Describe the ways it meets the project requirement

§ Associate: What does it remind you of?

§ Compare: To what is it similar? In what way is it unique?

§ Arguments: Take a stand, have an opinion. How could it be better?

References • Bayles, David and Orland, Ted. Art and Fear. 2001. • Gatto, Joseph A; Porter, Albert W.; and Selleck, Jack. Exploring Visual Design: The Elements and

Principles.



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The Elements and Principles of Design THE KEY ELEMENT OF LINE

Preface Just like any other profession, artists have a set of guidelines that determine a work’s

success. These are called the elements and principles of design. The elements are the

parts of an artwork that an artist plans: line, shape, form, color, value, texture & space.

The principles of art help organize the parts of a design. The principles of design are

balance, unity, contrast, emphasis, pattern and movement or rhythm.

Corresponding I.E.D Lessons 1.2 and 3_1

The element of line is the foundation of visual communication

and remains the basic component of visual expression today.

From the beginning of time man has used line as the simplest

way to communicate visually. Examples of early use of line are

in the drawings and pictographs of cave paintings. A line can be

defined as having both width and length, with the width being

very small when compared to the length. The Greek

mathematician Euclid, best known for his treatise on geometry, defines lines as “A line

is a breadth-less length.” and states that “The extremities of lines are points.” From

these definitions, man has developed the technology to create 3D modeling software.

This technology uses lines and mathematical equations to create objects in space.

Concepts 1. Teaching all the elements and principles of art is a curriculum of itself. So we will

focus this lesson on the element of line and explore the use of the other elements

and principles to determine their definition.

2. Students will work with both graphite pencils and ink pens as the techniques for

each medium teaches a very different lesson in value and contrast.


3. Students should research and explore pieces of art work that emphasize the types of

line we identify in art and then create a piece of work that best expresses the quality

of line. This should start with a class lead discussion so students learn by example.

4. For more teaching aids, Sanford has a great website for educational materials on the

elements and principles of art.: http://www.sanford-artedventures.com/study/study.html

Standards Addressed VAPA 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts ü 1.2 Describe the principles of design as used in works of art, focusing on dominance

and subordination. ü 1.6 Compare and contrast similar styles of works of art done in electronic media with

those done with materials traditionally used in the visual arts. VAPA 2.0 CREATIVE EXPRESSION Communication and Expression Through Original Works of Art ü 2.1 Solve a visual arts problem that involves the effective use of the elements of art

and the principles of design. ü 2.4 Review and refine observational drawing skills. VAPA 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts ü 3.2 Identify and describe the role and influence of new technologies on

contemporary works of art.

Equipment • Internet access and printer capability • Sketchbook or blank paper • Drawing pencil: suggest a 4B lead • Fine tip black felt pen

Procedure Day 1: In this activity, you will motivate students by explaining the rules that govern a

successful piece of art work through the use of elements and principles. Briefly

explain and identify the elements and principles in sample art work of your choice.


Conclude the activity with a classroom search for lines.

Continue: Elaborate on the element of line by discussing types of line; structural,

contour, outline, baseline sketch, implied lines. Explain each and have students

sketch a sample of each line type. At this point, you should connect the lesson with

the IED.chm curriculum on Technical Sketching: Lessons and Key Terms for the

IED sections on Oblique Pictorials & Sketching Activity, Isometric Pictorials &

Sketching Activity, and the Perspective Sketches Activity. Additional connections

should be made with IED PowerPoint Lesson on Visual Design Principles

Elements

Deliverables Students will create a 2-D composition showing emphasis on edge and line.

Conclusion Preparation: Have students complete a reflection for the following topics as they relate

to their own work. What emotions do lines communicate?

Students should provide facts and evidence to support their opinions. Each student will

type the critique for their own work. All attending students will verbalize these same

topics during the individual critique.







References • http://www.sanford-artedventures.com • T.L. Heath (translator), Euclid's Elements • Gatto, Joseph A; Porter, Albert W.; and Selleck, Jack. Exploring Visual Design: The Elements and

Principles.



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Shape, Form and Value BASIC GEOMETRIC SHAPES

Preface What is Shape? What is form? How do I get there?

Shape – the element of art that contains a 2 dimensional distinct space, having length

and width. Shape is created when a line reconnects with itself.

Form – the element of art that refers to the 3 dimensions of length, width and depth, OR

the illusion of depth.

Space – An empty place of measurable distance, area or volume.

Value - It's all about the differences between light and dark that help to define the

shapes of objects in your picture, regardless of their colors. It takes practice to be able

to recognize correct values. One thing that helps is to map out the values in value

sketches prior to starting the finished product.

o What is shape? o What is form? o Notice shapes and forms in the world around you. o Notice shapes and forms in paintings &

sculptures. o How are they used? o What is a geometric shape? o What is an organic or free form shape? o What does symmetrical mean? o What are positive and negative shapes? o How can shapes help you draw?

Concepts 1. Students begin to explore the foundation of images

through free-hand sketching, isometric drawings, computer modeling and rendering

techniques.


2. Learn to create depth and form through the element of value.

3. Learn to express depth in space through perspective drawing.

Standards Addressed VAPA 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts ü 1.4 Analyze and describe how the composition of a work of art is affected by the use

of a particular principle of design. VAPA 2.0 CREATIVE EXPRESSION Communication and Expression Through Original Works of Art ü 2.1 Solve a visual arts problem that involves the effective use of the elements of art

and the principles of design. VAPA 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts ü 3.2 Identify and describe the role and influence of new technologies on


Equipment • Sketchbook or drawing paper • Various Pencil leads (HB, 2B & 4B) • Ruler or yard stick (for larger perspective sketches)

Procedure This unit can be connected with the IED.chm curriculum and PowerPoint files on Technical Sketching: Isometric Pictorials & Sketching Activity, and the Perspective Sketches Activity. Additional connections should be made with IED PowerPoint Lesson Geometric Shapes The intention of this unit is to demonstrate how to render an object for form and depth. 1. Have students practice shading techniques to create a uniform gradient. Each

shape should be shaded to create the illusion of depth. 2. Have students complete the shape/form handout attached. 3. Post variable results on a uniform wall or surface and discuss which samples

succeed at reaching a full range of contrast. 4. Introduce perspective rendering and explain the effects of light and depth:

Objects in the foreground appear brighter yet have more detail. Objects farther


away appear darker because the detail and texture is more condensed, causing the illusion of depth when added to perspective drawings.

5. Have students create a perspective scene of geometric shapes. 6. Add texture, shading and contrast to emphasize depth. Perspective Terms:

• Viewing Point

• Vanishing Point

• Horizon Line

• Foreshortening

Deliverables Student will create a one-point perspective of simple geometric shapes.

Students will create a two-point perspective of simple geometric shapes

Students will create a graphite rendering of multiple 3-dimensional forms, organized into a composition, using perspective techniques comparable to each student’s ability.

Conclusion • By the end of this unit, students should be able to identify the elements of value,

shape, form and space. • By the end of this unit, students should be able to sketch a perspective and add

value to create depth.

References • Ching, Frank D.K. Architecture: Form, Space and Order. John Wiley and Sons, Inc., 1996. • Edwards, Betty. Drawing on the Right Side of the Brain. Penguin Putnam, Inc., New York, 1999. • Gatto, Joseph A; Porter, Albert W.; and Selleck, Jack. Exploring Visual Design: The Elements and

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The Element of Color COLOR THEORY

Preface

Color is an Element of Art. This is an introduction to the

element of color, as well as the properties of hues, value and intensity. Students will learn the blending of colors in a kaleidoscopic color wheel and the psychological effects of color in perception. What is Color Theory? Basically, it's having the knowledge to mix colors and put colors together in a way that is right for your art work. Color originates in light. All the colors of the spectrum are present in white light. We register colors when all the" invisible" colors of light shine on an object and reflect or absorb depending on pigment. For example, the surface of your shirt absorbs all the colored light rays, except for those in the pigment which is reflected back to your eye. Black absorbs all color because it contains all pigment; white reflects all color because it contains no pigment. This explains why dark surfaces get hotter in the sun than light surfaces.

Excerpt from Popular Science Magazine - October Issue 1944 Article: “Our Color Camera Takes a Look” By: Harry Walton

“Visitors to London about 1816 were amazed to see people in the streets gazing skyward through pasteboard tubes. But these watchers were peering at no eclipse or comet. They were fascinated by a scientific novelty that had taken London by storm - the kaleidoscope, invented by Sir David Brewster. First regarded only as a toy, it was soon adopted by artists as an aid in originating new designs. Sir David named his invention by combining three Greek words: kalos, meaning beautiful; eidos, form; and skopeo, I see.”


Concepts

The student will become familiar with the structure of the color wheel. • The student will correctly identify the primary colors. • The student will correctly identify and mix the secondary colors. • The student will correctly identify and mix the intermediate (tertiary) colors.

The student will demonstrate a working knowledge of color values.

• The student will correctly identify color values. • The student will correctly identify the tint of a color and mix colors to achieve the

tint of a color. • The student will correctly identify the shade of a color and mix colors to achieve

the shade of a color. The student will demonstrate a working knowledge of color schemes.

• The student will correctly identify and paint monochromatic, analogous, complementary, color triads and split complimentary color schemes.

• The student will complete a kaleidoscope project demonstrating color mixing skills and the use of color schemes.

Standards Addressed

VAPA 1.0 ARTISTIC PERCEPTION Analyze Art Elements and Principles of Design ü 1.4 Analyze and describe how the composition of a work of art is affected by the use

of a particular principle of design. VAPA 2.0 CREATIVE EXPRESSION Communication and Expression Through Original Works of Art ü 2.1 Solve a visual arts problem that involves the effective use of the elements of art

and the principles of design. VAPA 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts ü 3.2 Identify and describe the role and influence of new technologies on



Equipment

• Cardstock paper for color wheel and color scheme handouts • 3 rectangular mirrors of approximately the same size. (kaleidoscope) • Clear plastic (overhead transparencies will work) • Tracing paper or frosted mylar sheets • Hot glue and glue gun, or Craft Glue • Cardboard or Double-ply chipboard works best • Scissors • Utility blade • Clear tape or packing tape • Colored paper cut into tiny shapes

ü White Cardstock paper ü Tempera paint: Red, Yellow, Blue, Black & White ü Paint brushes and water containers ü Mixing trays or reusable plastic plates

Procedure

Print Color Wheel and Color Scheme handouts for students. Suggestion: printing on cardstock can help minimize ‘warping’ with paint and marker. Reference your art curriculum classroom text for color wheels and color schemes:

Glencoe ArtTalk by Ragans 2000 Student Edition (Chapter 6: Color) Have students use the textbook for reference information and vocabulary. HOW TO MAKE A KALEIDOSCOPE

Step 1: Place the mirrors on the cardboard. Draw around them, making the

cardboards 1” longer than the mirrors. Cut out the shapes. Place the mirrors toward on end of the cardboard. Using a hot glue gun, glue the mirrors to the cardboard. Step 2: Tape the 3 cardboard rectangles together with the mirrors facing inward.

See illustration. Step 3: Trace one end of the cardboard tube onto cardboard. Make 2 of these

triangle cutouts. (One will be used as a template for student activity.) Step 4: On one of the triangles, make a hole at the center for the peephole base of

the triangle container. Tape the triangular base to the end of the container farthest from the mirrors


You are now ready for students to create color scheme slides. Step 5: Create a template of triangles on plastic transparency. Each student will

need 1 triangle of transparency and 1 triangle of tracing paper per color scheme. • Students may use the transparency to copy the triangle onto tracing paper

and cut out the number of triangles they need. • Tape two sides of the tracing paper and transparency together to make a

triangular envelope. Step 6: Print the grid template below, trace triangle template and copy (double

sided) onto cardstock paper. Cut and disperse to students as needed. • Have students choose colors according to color schemes learned. Mix and

Paint both sides of the card stock the same color. • This will require a bit of patience for drying of each side. Have students fill

out the handout while they paint. Step 7: When dry, students will cut them into different tiny shapes. Put the colored

papers into the triangular envelope according to their color schemes Step 8: Seal up the envelope and use it to cover the other end of the container with

the tracing paper side facing outward. Step 9: Point the color slide end toward light and look through the peephole. The

mirrors reflect the shapes in a pattern. It changes when you shake or turn the kaleidoscope.

Deliverables

ü Students will create a color wheel using colored pencils

ü Students will create tint and shade graphs using paint

ü Students will create triangle slides with color schemes for kaleidoscope project


Conclusion

Conclude this lesson with a presentation from a Guest Lecture: • The Fashion Institute of Design & Merchandising: Psychology of Color o San Diego Contact for FIDM: [mailto:[email protected]] o SUBJECT: Classroom Presentation

References • The Enrichment Hub at Town for Kids http://www.town4kids.com • Popular Science Magazine - October Issue 1944 • Edwards, Betty. Drawing on the Right Side of the Brain. Penguin Putnam, Inc., New York, 1999. • Gatto, Joseph A; Porter, Albert W.; and Selleck, Jack. Exploring Visual Design: The Elements and

Principles. • Rosalind Ragans. ArtTalk by McGraw-Hill (Hardcover - Jan 1, 2000)

COLOR WHEEL NAME: ____________ LIST THE THREE PRIMARY COLORS: _____________ _____________ _____________

LIST THE THREE SECONDARY COLORS: ____________ ___________ ____________ LIST THE SIX TERTIARY COLORS: ____________ - ___________ ____________ - ___________ ____________ - ___________ ____________ - ___________ ____________ - ___________ ____________ - ___________ COLOR THE WHEEL!

COLOR SCHEMES NAME: ____________ Reference: ARTTALK Chapter 6 & VISUAL DESIGN Chapter 4

DEFINE COLOR SCHEME: ___________________________________________________ _______________________________________________________________________

DEFINE AND SHOW SAMPLES OF EACH TYPE OF COLOR SCHEME IN THE SPACE PROVIDED MONOCHROMATIC COLORS: ______________________________________________________ _____________________________________________________________________________ ANALOGOUS COLORS: __________________________________________________________ ____________________________________________________________________________ COMPLEMENTARY COLORS: ______________________________________________________ ____________________________________________________________________________ COLOR TRIADS: ______________________________________________________________ ___________________________________________________________________________ SPLIT COMPLIMENTARY: ______________________________________________________ ___________________________________________________________________________

Kaleidoscope Student Handout: Name: _____________________

List all the colors you are using in your kaleidoscope: _______________________________________________________________________________________________________________________________________________________________________________________________________________

Name this color scheme: ___________________________________________________ Tape your kaleidoscope slide here (plastic side up!)

Kaleidoscope Student Handout: Name: _____________________

List all the colors you are using in your kaleidoscope: _______________________________________________________________________________________________________________________________________________________________________________________________________________

Name this color scheme: ___________________________________________________ Tape your kaleidoscope slide here (plastic side up!)



®


Stages of the Design Process ARTISTIC MEDIA

Preface

Students explore the history of art and the introduction of new art materials and techniques throughout history that are often the catalyst for an artist’s work.

Concepts

Students begin to explore the design process by applying similar stages to the writing process. Students will research the history of a medium or technique. Sample subjects include the writing utensil, paint pigments, reproduction & print process, story telling,

Standards Addressed

VAPA 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts

ü 1.3 Research and analyze the work of an artist and write about the artist's distinctive style and its contribution to the meaning of the work.

VAPA 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts

Role and Development of the Visual Arts ü 3.1 Identify similarities and differences in the purposes of art created in selected

cultures. ü 3.2 Identify and describe the role and influence of new technologies on


Diversity of the Visual Arts ü 3.3 Identify and describe trends in the visual arts and discuss how the issues of time,

place, and cultural influence are reflected in selected works of art. ü 3.4 Discuss the purposes of art in selected contemporary cultures.


VAPA 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works in the Visual Arts

ü 4.4 Articulate the process and rationale for refining and reworking one of their own works of art.

ü 4.5 Employ the conventions of art criticism in writing & speaking about works of art.

Equipment

• Internet Access • Word Processing software & printer • Notebook paper • Pen or Pencil

Procedure

Develop a PowerPoint presentation to suggest some of the mediums that art used to create art. Have students take notes and consider which medium is of the most interest to them for the purpose of a research assignment. Review the supporting concepts from the You should connect the lesson with the IED PowerPoint Lessons about The Design Process Overview and Introduction to Research.

Explain how the Design Process is also used for writing assignments: Remind students that there are several versions of the design process.

1. Problem Identification • State a concise description of the subject that will be explored in your paper • List the design constraints and requirements for this assignment

2. Conceptualization • Create an outline form of the basic structure for your paper.

1. Major Subject a) Supporting text b) Supporting text

2. Major Subject a) Supporting text b) etc

3. Refinement of Preliminary Work • Research and collect information to support your conceptual outline. Organize

information into a more detailed outline. Write topics in a complete sentence form 4. Analysis of Work

• Create a check and edit version of your research paper. Read it aloud to yourself while paying attention to topic transition. Mark paper accordingly. For additional


input and critique, trade papers with another student and proof each other’s work. 5. Development & Implementation

• Based on the information gathered from proof reading and critiques, develop a final draft for your essay. Use a computer word program to check spelling grammar errors.

6. Optimization • Check your final draft according to writing standards set by your school for

headings, margins, format, spacing, etc. Mark changes on print copy. 7. Presentation

• Organize all materials into a presentation packet that represents each stage of the design process. Divide process sections with a cover page titled according to the stage of the Design Process

Deliverables

Students will write an essay assignment and produce evidence for each stage of the design process in a packet form.

Conclusion

Continue the exploration and implementation of the design process with through the IED project PUZZLE CUBE DESIGN. Be sure to emphasize each stage of the design process. See ID Unit 06 Puzzle Cube for project Details

References • Madsen, David; Folkestad, James; Schertz, Karen A.; Shumaker, Terrence M.; Stark, Catherine; and

Turpin, J. Lee. Engineering Drawing and Design, 3rd Edition. Delmar, a division of Thomson Learning, Inc., 2004.

• Tansey, Richard and Kleiner, Fred S. Gardner’s Art Through the Ages, 10th Edition



®


Stages of the Design Process PUZZLE CUBE DESIGN by PLTW

Preface Kids love to be challenged with puzzles. There are many kinds of puzzles on the market today. Are you ready to challenge someone’s mind? Concepts Design a puzzle made of 5 pieces. When solved correctly, it should make a cube.

Constraints: 1. The puzzle must create a cube when solved. 2. Must contain 5 parts. 3. Each part must be made from 3 -6 cubes. 4. Some parts should interlock. 5. Prototype will be fabricated from 27 hardwood cubes

Skills Needed: Basic knowledge of orthographic sketching Creating Inventor sketches & features Assembling parts with constraints.

Deliverables 1. Isometric Answer Key sketch 2. Orthographic sketches of each part 3. Computer generated models of each part 4. Drawing sheets w/ dimensioning 5. Assembly Drawing sheet w/ Exploded view 6. A completed prototype puzzle

Going Beyond Create an animated presentation assembly .avi file through Inventor .ipn


ANSWER KEY ANSWER KEY ANSWER KEY




Louis Sullivan, Architect


®

Introduction to Design - Unit 07 & 08

Critical Analysis of Product Design FORM FOLLOWS FUNCTION

Preface The basic rule for any product design is “Form follows function” If an object has to perform a certain function, its design must support that function to the fullest extent possible. The saying “Form follows function” was coined by the American architect Louis Sullivan in his article "The Tall Office Building Artistically Considered" published in 1896. This ‘tall office building’ soon came to be known as the skyscraper. He expressed the efficiency of modern architecture with his famous quote:

“It is the pervading law of all things organic, and inorganic, of all things physical and metaphysical, of all things human and all things super-human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law."

Excerpt from article: Lippincott's Magazine, March 1896. http://www.njit.edu/v2/Library/archlib/pub-domain/sullivan-1896-tall-bldg.html Concepts Consider the design process and how it was applied to selected objects and systems. How did required functionality affect the specifics of the design? Have students complete a quantitative analysis of a selected object. Compare functional requirements with aesthetic values. Introduction of “Form Follows Function” Using lessons learned, have students exercise judgment of a product’s function and how it affects design.

Standards Addressed VAPA 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts ü 1.4 Analyze and describe how the composition of a work of art is affected by the use

of a particular principle of design


VAPA 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts ü 3.3 Identify and describe trends in the visual arts and discuss how the issues of time,

place, and cultural influence are reflected in selected works of art. VAPA 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works in the Visual Arts ü 4.3 Formulate and support a position regarding the aesthetic value of a specific work

of art and change or defend that position after considering the views of others. ü 4.4 Articulate the process and rationale for refining and reworking one of their own

works of art. ü 4.5 Employ the conventions of art criticism in writing and speaking about works of

art.

Procedure Explain the adage “Form Follows Function” Use a simple example such as a coffee mug. Why is it ceramic vs. glass? Why does it have a handle? Why is there an opening at the top, not in the bottom? How does the size relate to ergonomics. Define Ergonomics: The applied science of equipment design, intended to maximize productivity by reducing operator fatigue and discomfort. Also called biotechnology, human engineering, human factors engineering. Define Aesthetics: The branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc., as applicable to the fine arts, with a view to establishing the meaning and validity of critical judgments concerning works of art, and the principles underlying or justifying such judgments. Lead a class discussion and have students take notes about the questions asked. Using typical objects in the class room, such as a chair, consider it’s functions and the functions of its assembly. Leading questions:

• Why is the seat that size? Is cost a factor? Why is it made of flexible plastic? • Why are the legs that length? Why are there 4, not 2? • What other material or texture factors can you think of? • Why are the screws and bolts located where they are? • Is the shape a result of the connecting part or its location? • What other human factors can you think of? • How can a designer consider all these factors and still achieve aesthetic

awareness? Introduce the next IED design project with emphasis on form follows function


Deliverables Students are to deliver a list of reasons for aspects of their design based on the class discussion of ‘Form Follows Function”

• Functionality of the proposed product (birdfeeder, desktop organizer, or similar)

• Brainstorming: needs and proportions • Research and analysis of the client and product • Concept sketches • 3-dimentional computer modeling of complex forms • Design development and refinement • Presentation: Maximizing visual design • Class critique - Aesthetics in design • Class critique - Form follows function

Conclusion Have students complete a reflection for the following topics as they relate to their own

work. Students should provide facts and evidence to support their opinions. Each

student will type the critique for their own work. All attending students will verbalize

these same topics during the individual critique.







References • Lippincott's Magazine, http://www.njit.edu/v2/Library/archlib/pub-domain/sullivan-1896-tall-bldg.html

March 1896. • http://www.ergonomics.org • http://www.websters-online-dictionary.org



®


Art History RESEARCH ASSIGNMENT

Preface Students explore the history of a prominent artist from a specific era. This is a quick

lesson in Art History. Instructor may choose prominent eras in history to focus on.

Suggested lessons are the Egyptians, Greeks, Roman, Renaissance, Rococo, Baroque

and Impressionist styles of art and architecture.

Concepts

Students should make notes on each painter's style and subject matter and list several paintings from different stages of the painter's oeuvre as examples.

Egyptian Mythology: Having students study the importance of the afterlife in Egyptian

mythology in conjunction with this chapter can be useful in helping them see the impact of this concept on art. The story of Osiris is a good example.

The Greeks: Given the importance of ancient Greek art, Sculpture and architecture

which is often combined, these subjects should be the main focus of this lesson The notion of proportion, both in sculpture and architecture, begins in ancient Greece. Students should be familiar with importance of proportion

14th century Italian painting from Giotto through the High Renaissance then go back to

the Late Gothic to introduce the northern artists of Italy. Geography can serve as an organizing principle within the Italian Renaissance, with Florence, Rome, and Venice each receiving attention in turn.

High Renaissance in Italy and in northern Europe, as well as Mannerism should focus

on Michelangelo, da Vinci, Raphael, Titian, Durer and El Greco.

Rococo and Baroque style painting, sculpture, and architecture are rarely so balanced

in their importance as they are in these periods.

Impressionists Focus the attention to each painter's preferred subject matter and

technique to help students distinguish styles of work.


Standards Addressed VAPA 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts ü 1.3 Research and analyze the work of an artist and write about the artist's distinctive

style and its contribution to the meaning of the work. VAPA 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts Role and Development of the Visual Arts ü 3.1 Identify similarities and differences in the purposes of art created in selected

cultures. ü 3.2 Identify and describe the role and influence of new technologies on


Diversity of the Visual Arts ü 3.3 Identify and describe trends in the visual arts and discuss how the issues of time,

place, and cultural influence are reflected in selected works of art. ü 3.4 Discuss the purposes of art in selected contemporary cultures. VAPA 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works in the Visual Arts ü 4.5 Employ the conventions of art criticism in writing and speaking about works of

art.

Procedure

Develop a PowerPoint presentation and any relevant chapter assignments from fine arts classroom text to introduce 4 major eras of art history. Have students take notes and consider which era is of the most interest to them for the purpose of a research assignment. Review how the Design Process is also used for writing assignments: Remind students that there are several versions of the design process.

1. Problem Identification • State a concise description of the subject that will be explored in your paper • List the design constraints and requirements for this assignment

2. Conceptualization • Create an outline form of the basic structure for your paper. (example)


1. Major Subject a) Supporting text b) Supporting text

2. Major Subject a) Supporting text b) etc

3. Refinement of Preliminary Work • Research and collect information to support your conceptual outline. Organize

information into a more detailed outline. Write topics in a complete sentence form 4. Analysis of Work

• Create a check and edit version of your research paper. Read it aloud to yourself while paying attention to topic transition. Mark paper accordingly. For additional input and critique, trade papers with another student and proof each other’s work.

5. Development & Implementation • Based on the information gathered from proof reading and critiques, develop a

final draft for your essay. Use a computer word program to check spelling grammar errors.

6. Optimization • Check your final draft according to writing standards set by your school for

headings, margins, format, spacing, etc. Mark changes on print copy. 7. Presentation

• Organize all materials into a presentation packet that represents each stage of the design process. Divide process sections with a cover page titled according to the stage of the Design Process

Deliverables

Students will submit a typed research paper that meets teacher set requirements

References • Madsen, David; Folkestad, James; Schertz, Karen A.; Shumaker, Terrence M.; Stark, Catherine; and

Turpin, J. Lee. Engineering Drawing and Design, 3rd Edition. Delmar, a division of Thomson Learning, Inc., 2004

• Tansey, Richard and Kleiner, Fred S. Gardner’s Art Through the Ages, 10th Edition



®


Studio Project One ART GALLERY & LANDSCAPE DESIGN

Preface Considering how to display a piece of art work can be a

challenge. Have you ever thought about hanging a

picture on a wall? Where do you place it? How

will the light hit it? Is it in relation to furniture?

The demand of art for public display

increases with every generation.

There are thousands of museums and

art galleries throughout the world. All of which have one thing in common:

The design and consideration of how these facilities will house and present and

preserve works of art for the public. Refer to concepts on Portfolio development and the

similarities between a student’s personal portfolio and a gallery’s organizational

presentation of artifacts.

Concepts

• Understanding technology behind public display and preservation • Spatial awareness and displaying works of art • Topography models and civil engineering • Research: The successes of existing art galleries and museums • Oral presentations and traditional media of architectural design

Standards Addressed

VAPA 1.0 ARTISTIC PERCEPTION Analyze Art Elements and Principles of Design ü 1.4 Analyze and describe how the composition of a work of art is affected by the use

of a particular principle of design.


3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions & Cultural Dimensions of Visual Arts ü 3.2 Identify and describe the role and influence of new technologies on

contemporary works of art. ü 3.3 Identify and describe trends in the visual arts and discuss how the issues of time,

place, and cultural influence are reflected in selected works of art. ü 3.4 Discuss the purposes of art in selected contemporary cultures.

4.0 AESTHETIC VALUING Responding to, Analyzing, & Making Judgments About Works in the Visual Arts ü 4.3 Formulate and support a position regarding the aesthetic value of a specific work

of art and change or defend that position after considering the views of others. ü 4.5 Employ the conventions of art criticism in writing and speaking about works of

art.

5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connections and Applications of Art Careers and Career-Related Skills ü 5.4 Demonstrate an understanding of the various skills of an artist, art critic, art

historian, art collector, art gallery owner, and philosopher of art

Equipment

• Cardstock in 3 different neutral colors

• Popsicle sticks or wooden coffee stir sticks

• Pencil and ball point pen

• Tracing paper for topography

• Scissors

• Clear tape

• graph paper for floor plans

• Rulers

• Glue stick or Elmer’s glue

• Internet access for research

• Word processing software

• Autodesk Inventor


Procedure This is a 3 stage process of topography model, research and concept model, then

final design of a gallery in Autodesk Inventor.

TOPOGRAPHY: Begin stage one with a simple line topography map. See attached.

Have students create a topography map of their own if you wish. They will need two

copies of the exact same map on different colored card stock. Mark every-other line

on one map with a small ‘x’. Mark the opposite lines on the other map. Next, cut the

maps along the lines with ‘x’ only. Combine and stack the two maps to create a

topographic representation shown here. You may use

The sticks to create a height/thickness

between each level. Assembling

in reverse will create valleys.

Experiment with different patterns to

Create hills and valleys. Have students

create a topographic map in Autodesk Inventor.

The resulting computer model will serve as the land

upon which they will build their art gallery.

RESEARCH: Students are to research the successes of existing art galleries and

museums. Consider layout and theme of existing galleries. Have students develop a

concrete purpose and theme for their gallery design. Finally, students should create

a small concept model of cardstock that represents the layout and flow of their

gallery design. Review the supporting concepts from the IED PowerPoint Lesson

on Presentation

FINAL DESIGN: Create a rubric for your classroom level of Autodesk Inventor

experience. Review the design brief with students and conclude research. For the

final stage of this project, students will create a 3-dimension model of their art gallery

using the skills learned in Project Lead the Way’s I.E.D. course curriculum.

Depending on skill level: This assignment may be limited to the creation floors, walls

and roofs. OR: It may be as complex as an assembly that includes window trim,

swinging doors, material textures, camera movement and inserted bitmap (.bmp)

files to represent art work. If skill level allows, have students create a walkthrough

presentation using camera location in the Inventor .ipn file


Deliverables

ü Students will create paper models that portray, 3-dimensional features represented by contour lines on a topographic map.

ü Students will gather, organize and present research information that supports their gallery design.

ü Students will produce a computer generated solid model of their design in Inventor.

Conclusion Have students complete a reflection for the following topics as they relate to their own

work. Students should provide facts and evidence to support their opinions. Each

student will type the critique for their own work. All attending students will verbalize

these same topics during the individual critique.







Resources: • BUILDING A TOPOGRAPHIC MODEL by ELLEN P. METZGER

http://www.ucmp.berkeley.edu/fosrec/Metzger1.html#topographic#topographic • A Lifetime of Color - Art & Education Room

http://www.sanford-artedventures.com/teach/lp_design_house_contents.html



®


Studio Project Two PERSONAL SKETCHBOOK & PORTFOLIO

Preface California graduation requirements state that all students must

complete a S.P.E.(Senior Portfolio Exhibition). This unit will

introduce students to the concepts needed to launch their

portfolio development. One of the great benefits of organizing a

portfolio is that it helps bring clarity and direction to a student’s

educational and career direction; showing what they have the

potential to become. A portfolio can also give potential employers concrete examples of

experience, education, accomplishments, and skill sets. In the design industry, college

acceptance and job interviews will almost always require the submission of a portfolio.

Concepts Here are just a few more reasons for developing a personal portfolio NOW.

ü Could help when applying for grants, scholarships and certain college programs.

ü It keeps a running record of your work and educational history.

ü Helps students identify skills, strengths and interests.

ü When students wish to get credit for prior learning experiences, they have

samples.

Optional activity: Personal Sketchbook: Outside of class sketchbook assignment and

portfolio development will require students to organize a series of sketches and projects

of their choice. Sketching techniques and subject matter are to reflect the units of study

throughout the course as students develop their artistic skills.


Standards Addressed

VAPA 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts ü 1.6 Compare and contrast similar styles of works of art done in electronic media with

those done with materials traditionally used in the visual arts. VAPA 2.0 CREATIVE EXPRESSION Communication and Expression Through Original Works of Art ü 2.2 Prepare a portfolio of original two-and three-dimensional works of art that reflects

refined craftsmanship and technical skills.

Equipment

• Coin3 Login & Password

• Student Internet Access

• Teacher computer projector and screen

• Teacher access Color Scanner

• Photo editing software (MS Photo Editor)

• Optional – Students’ personal Spiral Sketchbook

Procedure Day 1: Review the supporting concepts from the IED PowerPoint in Lesson on

Portfolio Development. Have students locate the portfolio template supplied by

Project Lead the Way. Each student should fill in as much information as possible in

the appropriate slides. Have students write out a table of contents for all class

projects to date. This should be in outline form.

Day 2: Begin class with a demonstration on how to create bitmap (.bmp) files of

Autodesk Inventor files and insert them into PowerPoint. Students should focus in-

class activity time on opening and saving Inventor files into a separate computer

folder named ‘Portfolio Images’ Print the simple “How to” instructions for saving files


from Inventor. Suggest taping it to the side of each computer monitor. Continue

portfolio development with format and editing demonstrations for PowerPoint: How

to size an image, how to remove background color, how to create a text box, etc.

Coin3 Online Activity: Instructor will need to obtain a Coin3 Login ID &

Password for this activity. Each school site has a login as this website is directly

connected to S.P.E. requirements. Contact your E.O.S. (Employment Outreach

Specialist) for this information. Print the handouts attached for Coin3 Activity. Write

in your Site ID and Login. Emphasize to students that once they take a survey, they

MUST print the results because it will not save. If they wish to quickly link to various

occupations, they should leave the website results open at all times.

Deliverables

• Students will edit an electronic portfolio template with personal information • Students will develop a table of contents for course project work • Students will save bitmap images of all Autodesk Inventor project files. • Students will complete an online career assessment activity from Coin3 website

Conclusion This is an ongoing project that should be finalized at the completion of each school

year. Students will need to access this same file the following year; in school or after

graduation. If you have a network server for your site, ensure that it will store student

files during summer break. It is strongly suggested that students create a folder for

saved information at the conclusion of each school year:

i.e. \$Student Folders$\My Documents\2007_SAVED

References • Job Skills Portfolio: Giving You an Edge in the Marketplace by Randall S. Hansen, Ph.D.

http://www.quintcareers.com/job_search_portfolio.html • Creating Portfolios: For Success in School, Work and Life. Kimeldorf, Martin. Minneapolis, MN:

Free Spirit Publishing Inc., c.1994. • Coin Career Library http://library.coin3.com

CCOOIINN33 -- PPEERRSSOONNAALL CCAARREEEERR LLIIBBRRAARRYY Follow the steps below.

ü PRINT 2 copies of each bar graph. Turn one in.

1. INTERNET: (NO www.) Library.coin3.com ü Site ID is ______________

ü Login is ______________

2. Click on the Exploration Center (top left)

3. Select Assessments (left column)

4. Take the CAREER CLUSTER SURVEY SKILLS ASSESSMENT & SELF ASSESSMENT SURVEY

• Answer all the questions. • TYPE YOUR FIRST AND LAST NAME at the end. • PRINT 2 copies of each!!! Turn in one print. Place the 2nd copy in your folder.

Choose your 3 favorite Occupational Interests from your survey results and answer the questions below by clicking on each occupation for more info.

• You can always find the occupation again through a QUICK SEARCH under ‘Exploration Center’

Favorite Occupation Choice: _____________________________________

1. CAREER CLUSTER: List at least one career interest from this list: ____________________________________________________________

2. Write the 3 letter HOLLAND INTEREST CODE here: ___ ___ ___

3. What is the California Estimated Salary Average for San Diego? _________________

4. Find RELATED OCCUPATIONS. List 2 that interest you.

• ___________________________________________________ • ___________________________________________________

5. List 4 interesting things from DUTIES & RESPONSIBILITIES / INTERESTS & ABILITIES

• __________________________________________________________ • __________________________________________________________ • __________________________________________________________ • __________________________________________________________

6. List ALL the SUGGESTED HIGH SCHOOL SUBJECTS: ________________________________________________________________________________________________________________________________________________________________________________________________________________________

2nd Favorite Occupation Choice: _____________________________________





• ___________________________________________________ • ___________________________________________________


• __________________________________________________________ • __________________________________________________________ • __________________________________________________________ • __________________________________________________________


3rd Favorite Occupation Choice: _____________________________________





• ___________________________________________________ • ___________________________________________________


• __________________________________________________________ • __________________________________________________________ • __________________________________________________________ • __________________________________________________________




®

APPENDIX RESOURCES & REFERENCES

• Bayles, David and Orland, Ted. Art and Fear. 2001. • Betti, Claudia and Sale, Teel. Drawing: A Contemporary Approach. 2003. • Ching, Frank D.K. Architecture: Form, Space and Order. John Wiley and Sons, Inc.,

1996. (standard college text) • Edwards, Betty. Drawing on the Right Side of the Brain. Penguin Putnam, Inc., New

York, 1999. • Gatto, Joseph A; Porter, Albert W.; and Selleck, Jack. Exploring Visual Design: The

Elements and Principles. • Madsen, David; Folkestad, James; Schertz, Karen A.; Shumaker, Terrence M.;

Stark, Catherine; and Turpin, J. Lee. Engineering Drawing and Design, 3rd Edition. Delmar, a division of Thomson Learning, Inc., 2004. (standard college text)

• Tansey, Richard and Kleiner, Fred S. Gardner’s Art Through the Ages, 10th Edition (standard college text)

• A Lifetime of Color - Art & Education Room http://www.sanford-artedventures.com • T.L. Heath (translator), Euclid's Elements • The Enrichment Hub at Town for Kids http://www.town4kids.com • Popular Science Magazine - October Issue 1944 • Rosalind Ragans. ArtTalk by McGraw-Hill (Hardcover - Jan 1, 2000) • Lippincott's Magazine, http://www.njit.edu/v2/Library/archlib/pub-domain/sullivan-

1896-tall-bldg.html March 1896. • http://www.ergonomics.org • http://www.websters-online-dictionary.org • BUILDING A TOPOGRAPHIC MODEL by ELLEN P. METZGER

http://www.ucmp.berkeley.edu/fosrec/Metzger1.html#topographic#topographic • A Lifetime of Color - Art & Education Room • http://www.sanford-artedventures.com/teach/lp_design_house_contents.html • Job Skills Portfolio: Giving You an Edge in the Marketplace by Randall S. Hansen,

Ph.D. http://www.quintcareers.com/job_search_portfolio.html • Creating Portfolios: For Success in School, Work and Life. Kimeldorf, Martin.

Minneapolis, MN: Free Spirit Publishing Inc., c.1994. • Coin Career Library http://library.coin3.com