Altered Perspectives

Big Idea: Students will learn that art can be effectively used as metaphor to alter people’s perspectives on traditional subject matter, specifically architecture.

Social Issue: Diversity, changing points of view; the future

Essential Questions:

• What is important about teaching the concept of perspective to pre-adolescents?
• How does teaching perspective as a concept with multiple meanings benefit art students?
• Can understanding perspective as a relative term help pre-adolescents relate to social issues?
• How is perspective used in classical, historical contexts?
• How is surrealism used to change people’s perspectives on subject matter and composition?
• How can a mixed media art lesson on altered perspectives help pre-adolescents understand multiple points of view?

List of Concepts of Art, Artists, and Culture Involved in this Lesson:

Artists/Art: Leonardo de Vinci – The Last Supper, Pietro Perugino – Sistine Chapel fresco, Raphael – The School of Athens, Kurt Wenner – Sarasota Chalk Festival, Tom Ryaboi – Photographer, Vladimir Kush – Surrealist, Salvador Dali – Surrealist, Max Ernst – perspective and surreal, René Margritte – perspective and surreal, Giorgrio De Chirico – perspective and surreal

Architectural examples: Dome of Florence, Colosseum, John Hancock Building, Sydney Harbour Bridge, Notre Dame de Paris, Eiffel Tower, Pagodas, Arc de Triomphe, Incan Temple, Big Ben, Cinderella’s Castle, Roman Aqueduct, Great Wall of China, Golden Gate Bridge, Tower of Pisa, St. Basil’s Cathedral, White House, Willis (Sears) Tower

List of Teaching Resources: Visual tri-fold board, Powerpoint, Photographs for the project (see architectural examples above)

Class Information: 

• Grade Level: 4^th
• Number of Students: 10
• Time available for this lesson: three 40-minute periods
• Class Location: St. Mary’s School, DeKalb, IL
• Teaching Dates: 10/8, 10/15, and 10/22

1.0 Objectives:

1.1 Conceptual/Cognitive Objectives:

OBJECTIVE I: Given the knowledge of perspective coupled with surrealism, students will accurately identify elements of design, composition, and use of perspective in examples given.

OBJECTIVE II: Given examples of different types of architecture throughout history and how perspective is used in two-dimensional artworks, students will successfully describe how architects and artists use the idea of perspective in their work.

OBJECTIVE III: Given a presentation and discussion on different meanings of the word perspective, students will effectively discuss and explore different points of view and the connotations of each.

1.2 Artistic Skill Objectives:

OBJECTIVE IV: Given a discussion on different aspects of perspective, students will creatively design a drawing based on balanced composition, line, and form.

OBJECTIVE V: Given the elements of perspective and surrealism, students will successfully produce a drawing that demonstrates integration of purposely-altered perspectives.

OBJECTIVE VI: Given paper, pen and ink, and paint, students will skillfully create an architectural surreal piece that demonstrates good composition, craftsmanship, and knowledge of perspective.

2.0 Assessment:

OBJECTIVE I: Students skillfully identified aspects of design, composition, and perspective based on historical, cultural, and current examples.

OBJECTIVE II: Students successfully remembered how artists and architects use perspective to enhance their work.

OBJECTIVE III: As a class, students effectively discussed different connotations of perspective together.

OBJECTIVE IV: Students successfully produced a drawing using elements of line and form to create a balanced composition.

OBJECTIVE V: Students produced an effective drawing employing the correct usage of elements of perspective and surrealism.

OBJECTIVE VI: Students demonstrated good composition and craftsmanship by getting rid of all pencil marks, keeping clean lines and forms, using paint to enhance their piece, and producing a finished product.

3.0 Learner Characteristics

3.1 Developmental Rationale: I chose this lesson to introduce and combine topics otherwise untouched in fourth grade. At this age, according to Lowenfeld (1987) children have, “a greater awareness and concern for detail” than before (p. 309). Starting fourth grade children also “develop an interest in particular, individualistic subject matter” (p. 333). Capitalizing on his theories of development, I designed a lesson plan that will hopefully interest and challenge fourth grade students. I really wanted to introduce some skill based art techniques that students can take with them into later years of art class and development. Combining all of these thoughts, I came up with Altered Perspectives. I will introduce examples of perspective in art first in 2-D pieces and then proceed to show examples of architecture from around the world. I want them to open their minds to the amount of influences there are out in the world. I will do this by incorporating as many different cultures, in both 2-D and 3-D, into the lesson as possible. In addition to learning about perspective in the traditional sense, I want students to experience more than one point of view of the same piece of architecture. An example of this is to show multiple pictures of the Eiffel Tower. Most students will know what this monument looks like. But to help them alter their perspective of it, I will show pictures of different ways of looking at the Eiffel Tower such as a close up, looking up, or looking down from it. These different references will help students gauge and understand how a different point of view affects perception of the same object. Even though Lowenfeld (1987) mentions, “children are eleven before they can free themselves from their own point of view” (p. 316), I believe that nine and ten year olds will be challenged with this lesson but not overwhelmed. The project students will complete is based on the idea of creating a future environment using an existing piece of architecture as the catalyst/basis. Students will work with chosen photographs and gessoed pieces of cardboard to create their artworks as well as with pen and ink and paint. By using simple line, and adding paint for effect, students will draw off of the photo references and create their own future environments. With this freedom of expression “support should be given to the free use of exaggeration and distortion for emotional effect” (p. 322) students will be utilizing in their designs. Overall, this lesson will make students more aware of sharing different points of view with one another by using perspective and their own views to design future environments based on an existing piece of architecture today.

3.2 Students with special needs: This lesson can be easily adapted to fit any students’ needs. It is purposely made ambiguous so a variety of results can be had from it. The project is also individualized to every student so a student with special needs should not feel any less capable of completing the project successfully. If the student is having problems, the teacher’s helper should be able to assist in any way possible.

4.0 Literature and References

4.1 Rationale: Incorporating academic skills and vocabulary in this lesson allows for students to become more proficient in their art making.  According to Lowenfeld (1987) students, particularly middle school students, have, “a greater awareness and concern for detail” than before (p. 309). By teaching them tangible skills, they will become more confident in their art making abilities. At this age, students also “develop an interest in particular, individualistic subject matter” (p. 333). To incorporate both skills development and the ability to have unique concepts into a lesson, I developed the concept of Altered Perspectives. In this lesson, students use the knowledge of perspective learned from the cube exercise in class directly in their finished art pieces. They also utilize their alternate definitions of perspective to develop creative, surrealistic scenes. To connect the two aspects of this lesson, and to help with the development of initial idea generation, photographs are used. They act as a starting point for developing composition and content. At the culmination of this lesson, students will be able to understand and discuss the ideas of perspective and surrealism and how to make connections between the two in art and life.

4.2 Background: Being able to alter one’s point of view is an important skill to have – one that students are still developing as they mature into high school. Every person’s perspective is different – how they view the world, how they think about the world, how they feel about the world. One can argue that since art has begun to be made, it illustrates a point of view in its use of media, composition, form, color, and many other elements. Being able to identify with different perspectives and points of view helps open channels of communication and understanding between people. In art, the term perspective is often paired with images of buildings and architecture. Architecture is most often seen as sturdy and grounded, giving balance to compositions such as in Raphael’s School of Athens. Its form helps to create directional lines and can also create visual movement throughout a piece of work. Architecture serves as the vehicle for context and can also add content. Today, architecture, even great architecture, is sometimes taken for granted. If really looked at and appreciated, architecture has the power to transform people’s expectations and ideals of histories juxtaposed against society today – allowing people to alter their perspectives on preconceived points of view.

4.3 Information

• Tom Ryaboi: http://www.mymodernmet.com/profiles/blogs/exclusive-interview-with-a
• Kurt Wenner: http://kurtwenner.com
• Giorgio De Chirico: http://www.artchive.com/artchive/D/de_chiricobio.html#images
• René Magritte: http://www.rene-magritte.org
• Max Ernst: http://www.abcgallery.com/E/ernst/ernst.html
• Salvador Dali: http://www.salvador-dali.org/en_index.html

There are many more references listed in the section List of Concepts, Art, and Artists above. The ones with specific urls in this Information section are the ones I would like to focus more heavily on in this lesson plan. I will use visual examples of all of these artists to show variety and an array of options for working on this project.

Tom Ryaboi is a rooftopper photographer. Alice (2011) states, “As one of today’s most well-known rooftoppers, Ryaboi seeks out tall skyscrapers in major metropolitan cities, and then proceeds to take photos right over their edge” (paragraph 1). This artist will be fantastic for idea cultivation for students thinking about different types of perspective to use in their art piece.

Kurt Wenner is a well-known sidewalk chalk artist. He uses very specific perspective to create illusions of three dimensionality on a 2-D surface. If standing in the correct position (the same it is photographed at), his artwork is unbelievably life-like. His art is a good tool to show differences in perspective and the importance of having specific points of view.

Giorgio de Chirico, Max Ernst, Salvador Dali, and René Magritte are all artists who incorporate both (usually traditional) perspective and elements of surrealism into some of their art pieces. Showing these to students will indicate how to integrate both aspects of the project into a cohesive end product as these artists have done.

4.4 Art terms/Vocabulary

• Perspective – the illusion of parallel lines converging in order to emulate the illusion of depth and distance, synonym to point of view (depending on the context)
• Point of View – a place or position, or an idea of a position, from which something is considered individually
• Altered Perspectives – changing how typical scenes are viewed
• Surrealism – fantastical elements, artwork using out of the norm elements
• Juxtaposition – Comparing two or more dissimilar things or ideas
• Line – basic structure of creating forms
• Color – an element that adds character and depth
• Form – shape and structure of an object
• Space – organization of forms in relation to one another and the area around them
• Direction – where the lines and space are leading the viewer’s eye
• Proportion – how objects are measured in relation to one another
• Scale – proportion between two objects

4.5 Visual Example Descriptions: Explained briefly in previous sections, I will show students multiple examples of every aspect of this lesson, from perspective to surrealism to architectural examples. I will use pieces by Ryaboi and Wenner to illustrate the importance of changing points of view. I will use de Chirico, Ernst, Dali, and Magritte to give examples of how surrealism and perspective can be combined in famous fine art pieces to create cohesive wholes. I will also use and show examples of famous architecture from around the world. I will juxtapose standard views of these ‘buildings’ with atypical views to emphasize the importance of perspective and points of view in artwork. Lastly, I will also discuss how artists’ personal perspectives can alter artwork and interpretations of them.

4.6 References

Alice. (2011, July 24). Exclusive Interview with a Death-Defying Rooftopper – My Modern Metropolis. My Modern Metropolis. Retrieved September 21, 2013, from http://www.mymodernmet.com/profiles/blogs/exclusive-interview-with-a

Fundació Gala – Salvador Dalí – Fundació Gala – Salvador Dalí. (n.d.). Fundació Gala – Salvador Dalí – Fundació Gala – Salvador Dalí. Retrieved September 21, 2013, from http://www.salvador-dali.org/en_index.html

George, P. S. (1992). The Middle school–and beyond. Alexandria, Va.: Association for Supervision and Curriculum Development.

Lowenfeld, V., & Brittain, W. L. (1987). Creative and mental growth (4th ed.). New York: Macmillan.

Max Ernst – Olga’s Gallery. (2013, June 13). Olga’s Gallery – Online Art Museum. Retrieved September 21, 2013, from http://www.abcgallery.com/E/ernst/ernst.html

Ravenal, J. (n.d.). Monumental Sculpture by Sol LeWitt, John Ravenal. Blackbird: an online journal of literature and the arts | v12n1. Retrieved September 21, 2013, from http://www.blackbird.vcu.edu/v7n1/gallery/ravenal_j/lewitt.htm

René Magritte – paintings, biography, quotes of Rene Magritte. (n.d.). Rene Magritte – paintings, biography, quotes of Rene Magritte. Retrieved September 21, 2013, from http://www.rene-magritte.org

Robert, H. (n.d.). Giorgio De Chirico. Mark Harden’s Artchive. Retrieved September 21, 2013, from http://www.artchive.com/artchive/D/de_chiric

Wenner, K. (n.d.). Kurt Wenner – Master Artist and Master Architect. Kurt Wenner – Master Artist and Master Architect. Retrieved September 21, 2013, from http://kurtwenner.com

 

5.0 Integration/Connecting Links

5.1 Idea mapping:

5.2 Daily/Ordinary objects: In the introduction, vases are used as a quick perspective/point of view exercise. Three should be used that are all different shapes, sizes, motifs, and colors. They should also be placed in very different areas of the room. This exercise helps students to visualize the topic we are discussing.

5.3 Non-art related subject areas: This lesson stresses the importance of having a unique perspective. Students use skewed perspectives on famous pieces of architecture coupled with surrealism to articulate these altered points of view. It teaches them to consider how an object or an idea can be thought about in different contexts.

6.0 Looking at and talking about ART

6.1 Can anybody describe what they see when looking at this piece? (Painting, color, people, lines, buildings, space)

6.2 Can anybody tell me how this piece would be different if it was shown through the eyes of one of the figures? (Closer to the other people, buildings look different, view would change)

6.3 Would the story of this piece be different because of that change? (It wouldn’t show the whole picture anymore, that figure’s point of view [Instead of whose?], instead of away from the people)

6.4 How does changing the point of view of something change the way you think about it?  (Changes the story, changes the characters, changes the point of view, puts yourself in other people’s shoes)

6.5 Can anybody describe what elements of fantasy add to artworks? (More to the story, make-believe, imagination, uniqueness)

7.0 Illinois State Goals

7.1 State Goal 25: Know the language of the arts.

A. Understand the sensory elements, organizational principles and expressive qualities of the arts.

25.A.3d Identify and describe the elements of value, perspective, and color schemes; the principles of contrast, emphasis and unity; and the expressive qualities of thematic development and sequence.

In this lesson, the student will identify and describe elements of perspective and color in their own work as well as in the examples of artists’ works such as Ryaboi, Wenner, and de Chirico given in the lesson introduction.

25.A.3e Analyze how the elements and principles can be organized to convey meaning through a variety of media and technology.

In this lesson, the student will analyze how the elements and principles of line, form, perspective, color, and space can be organized to convey meaning through mixed media, specifically using photographs, pen and ink, and paint.

B. Understand the similarities, distinctions, and connections in and among the arts.

25.B.3 Compare and contrast the elements and principles in two and more art works that share similar themes.

In this lesson, the student will compare and contrast elements and principles in different art pieces through side-by-side discussion of different artists and their works.

7.2 State Goal 26: Through creating and performing, understand how works of art are produced.

B. Apply skills and knowledge necessary to create and perform in one or more of the arts.

26.B.3d Demonstrate knowledge and skills to create 2- and 3-dimensional works and time arts (e.g. film, animation, video) that is realistic, abstract, functional, and decorative.

In this lesson, the student will demonstrate knowledge and skills to create a 2-dimensional piece of artwork that is realistic with its use of perspective, abstract with its creation of a futuristic environment, and decorative with its use of line and color to create a pleasing composition.

7.3 State Goal 27: Understand the role of the arts in civilizations, past and present.

B. Understand how the arts shape and reflect history, society, and every life.

27.B.3   Know and describe how artists and their works shape culture and increase understanding of societies, past and present.

In this lesson, the student will know and describe how artists such as Ryaboi and Wenner use alternative perspectives to shape and alter society’s preconceived perceptions.

8.0 Materials:

8.1 Day One

• 12 Cardboard sheets, 18” x 24” with gesso pre-applied
• 30 Pieces of printer paper, 8.5” x 11”
• For scrap practice with perspective
• 20 Photographs, 4” x 6”
• 15 Pencils
• 12 Rulers
• 15 sets of pen and ink
• 12 Bottles of clear drying glue
• 12 Handouts

8.2 Day Two

• 10 Started projects
• 30 Pieces of printer paper, 8.5” x 11,” For scrap practice with perspective and brainstorming
• 15 Pencils
• 12 Rulers
• 15 sets of pen and ink
• 12 Bottles of clear drying glue

In case students are ahead:

• Paint – assorted, varied colors
• Paint brushes – assorted, various sizes; multiples of each
• 12 Water cups
• Paper towels
• 20 Trays for paint

8.3 Day Three

• 10 Projects
• 15 Sets of pen and ink
• Paint – assorted, varied colors
• Paint brushes – assorted, various sizes; multiples of each
• 12 Water cups
• Paper towels
• 20 Trays for paint

9.0 Instructional Procedure with Time Frame

9.1 Day One

9.1.1 Introduction (20 minutes): “Hello students! How are you today? Good to know. I am excited for the next few classes together! My name is Miss Kedzior. Today we will be learning about what perspective is and different points of view. We’re going to talk about some pretty cool artists such as Salvador Dali – Has anybody ever heard of him? We’ll also talk about some famous architecture from around the world and then get to our project. Since the first part of class today is mostly a power-point, here is a handout for what we are going to learn about today so it makes it easier for you to follow along. Please fill in the blanks when we get to them. Let’s get started!”

Topic Questions

• What makes you you? Who can tell me what makes me different from you different from you? (Hair, eyes, skin color, body type, personalities)
• Why is being different from other people a good thing? (no one is the same as another, uniqueness)
• Who can tell me what a point of view is? (How people see and think about something in different ways)
• Who can describe to me how people’s points of view can be different? (People in different places looking at the same thing, people’s stories are different)
• What is perspective? (How 3-D is shown in a 2-D space)
• How is perspective different from point of view? How can it be the same? (Different: How 3-D is shown in a 2-D space; Same: perspective is another word for point of view, how a scene/thing is viewed)
• Who can tell me what another word for fantasy is? (Surrealism, make-believe)
• Who can tell me what architecture is? (Buildings, buildings’ design)

Association Questions

• Who can give me some examples of why being different from your classmates is a good thing? (Everything would be the same otherwise, there would be nothing interesting anymore)
• Who can give some examples of ways to view this object differently? (Bird’s eye view, looking up, close-up)
• How is your point of view from this object different than theirs? (View from the left vs. right, far away vs. close)
• How can art express different points of view? (Every artist is different, every person looks at things in a different way, art is a creative way to show your point of view)
• Who can tell me why understanding and knowing different perspectives is important? (Puts yourself in other people’s shoes, better way to understand another person’s story and what they are going through)
• How do you create different perspectives in art that are still interesting? (Showing the same scene from different vantage points, using different color schemes, adding other elements like different mediums or fantasy)
• Why would an artist want to do this? (To tell stories, to communicate different perspectives)
• How is fantasy used in art to show points of view? (Adds to the identity and story)

Visualization Questions

• Who can guess where this scene, in Delivery of the Keys by Perugino, is taking place? How can you tell? (Outside, a long time ago, Europe; There is sky, the way the people dress, the building in the background)
• Who can tell me how this picture would be different if it was shown from a different point of view? (The buildings would look different, the people would be closer and more detailed, etc.)
• What do you see in these photos by Tom Ryaboi and Kurt Wenner? What makes them interesting? (Skewed perspectives on popular images; how Tom Ryaboi puts himself in the photos and his vantage points, Fantasy elements in Kurt’s sidewalk art)
• Who can tell me how fantasy is used in these pieces of art? (Out of place things in a different environment)
• How does fantasy add to the stories of the pieces? (Makes them more interesting, adds unexpected elements and twists to a story)
• Who can tell me how these pieces of architecture are viewed differently? (Different points of view, makes them look not quite like the buildings they are)

Transition: Now that we’ve talked about points of view and different artists and ideas that will inspire our art, let’s get started on our Altered Perspectives project. First we will learn how to draw and practice drawing accurate perspectives. Everybody take out their handouts – let’s begin!

9.1.2 Demonstration and Art Making Activities (15 minutes)

	Teacher Activities	Student Activities
Step 1	Directs students to turn attention to handouts – specifically the square, boxed off area. Have students gather rulers and pencils.	Efficiently take out handout and other indicated materials.
Step 2	Demonstrates how to draw a cube using one, two, and three-point perspective with a ruler, pencil, and paper. Alternate demonstrations can include on a white board in front of the class.	Listen attentively and ask questions.
Step 3	Articulate the use of the horizon line and vanishing point in all three perspectives.	Listen attentively and ask questions.
Step 4 Work Time	Indicate for students to practice back at their own seats. Display examples for reference. Walk around the room and answer questions as necessary.	Students practice all three perspectives. Ask questions. Understand how the point of view/perspective is changing with each perspective.
Step 5	Once students have completed practice, explain Altered Perspective project. Show how photographs will be integrated and utilized as inspiration for art projects.	Ask questions if necessary.
Step 6	Introduce and pass out extra materials for the day of gessoed cardboard and glue. Students should still have a ruler and pencil.	Ask questions if necessary.
Step 7	Gather students where photographs are displayed. Have students choose photograph. Students will place photo on cardboard based on compositional choices.	Students will choose photos, get supplies and begin working. Ask questions if necessary.
Step 8 (If there is time)	Instruct students to begin sketching scene off of photograph based on vision of the future. Have them integrate personality and fantasy elements.	Work on design.
Step 9	Issue time warning.	Students continue to work.
Step 10	Instruct students to clean up materials and store artwork in designated drying area.	Begin clean up procedure.

9.1.3 Clean Up (2 minutes)

• Students will clean up supplies used and place art projects in their designated place to dry. Teacher will collect nametags. Any spilled glue should be cleaned up with towels and cleaner.

9.1.4 Lesson Closure (3 minutes)

• What were some of your favorite artworks you learned about today? Can you describe them for me? What did you enjoy about them?
• Who can tell me what we learned about perspectives today?
• Remember to continue to brainstorm ideas for your projects for next class period! We will be starting right away. Have a good rest of your day!

9.2 Day Two

9.2.1 Introduction: (10 minutes)

• Hi! How was your week? To begin class, I would like to just do a little bit of remembering of what we learned last class period.

Topic Questions

• Who can tell me what the main idea for project is that we talked about last class? (Altered perspectives)
• Who can name one artist we talked about? (Salvador Dali, Max Ernst, Tom Ryaboi, etc.)
• Who can describe for me what surrealism is and how we are using it in our projects? (Fantasy elements to change our point of view of the buildings in the photographs)
• Who can remind me what perspective is and its multiple meanings? (How space is defined on a 2-D surface, the point of view of something)

Association Questions

• Has anybody used a different perspective in their day to day life this past week? (I put myself in somebody else’s shoes)
• How is point of view being used in our artwork? (we are using photos of architecture that aren’t normal)

Visualization Questions

• What did we practice drawing towards the end of class last time? (Cubes in different perspectives)
• How is fantasy going to be incorporated into our art? (We are designing a scene based on what it would look like in the future and adding our own personal twist into it)

Transition: Who can tell me where we left off? Have you been brainstorming design ideas? Let’s get to work on our perspective project! Remember to use your own unique point of view to create and design your fantasy scenes of the future.

9.2.2 Demonstration and Art Making Activities (25 minutes)

	Teacher Activities	Student Activities
Step 1	Instruct students to gather materials needed for continuation of the project: ruler, pencil, pen and ink.	Gather indicated materials.
Step 2 Work Time	Pass out projects to students.	Begin to work on projects.
Step 3	Walk around answering questions if applicable and offering advice on design choices.	Continue to work and ask questions if necessary.
Step 4	Introduce added element of pen and ink over pencil drawings. Allow the students to think about how paint will be added in to the final product.	Ask questions if necessary. Contemplate and plan how paint will be used.
Step 5	Walk around answering questions if applicable and offering advice on design choices.	Continue to work and ask questions if necessary.
Step 6	Issue time warning.	Students continue to work.
Step 7	Instruct students to clean up materials and store artwork in designated area.	Begin clean up procedure.

9.2.3 Clean Up (3 minutes)

• Students will clean up supplies used and place art projects in their designated place to dry. Teacher will collect nametags. Any paper scraps should be recycled or filed for later use.

9.2.4 Lesson Closure (2 minutes)

• How are adding fantasy elements to your design changing the design? Does it help tell a better story?
• How does everyone feel with the progress they have made today? We will finish the project! How do you feel about drawing off of the photos? Is it easier or harder than you expected? What do we have to do next class period?
• See you next week!

9.3 Day Three

9.3.1 Introduction: (2 minutes)

• How is everyone? Let’s jump right in and finish our projects! They are looking good so far everyone.

Topic Questions

• Who can remind me where we left off last week? (Drawing our designs and tracing them)

Association Questions

• How is point of view being used in our artwork? (Using photos of architecture that aren’t normal)
• How is fantasy being used? (Designs based on personal views of the future)

Visualization Questions

• Who can tell me what our finished projects might look like? (Different worlds/scenes, creative views of the future, colorful, filled with lines and forms)
• Who can tell me why we might be adding paint to our projects? (Add color and dimension, mixed media)

Transition: Let’s continue working on our projects and aim to finish them. Can anybody volunteer to show the class their progress?

9.3.2 Demonstration and Art Making Activities (28 minutes)

	Teacher Activities	Student Activities
Step 1	Demonstrate how to apply paint to the project.	Listen and ask questions.
Step 2	Instruct students to gather paint trays and paint. Pass out paintbrushes.	Gather indicated materials.
Step 3 Work Time	Pass out projects to students.	Begin to work on projects.
Step 4	Walk around answering questions if applicable and offering advice on design choices.	Continue to work and ask questions if necessary.
Step 5	Issue time warning.	Students continue to work.
Step 6	Instruct students to clean up materials and store artwork in designated drying area.	Begin clean up procedure.

9.3.3 Clean Up (5 minutes)

• Time to clean up once your projects are finished! Lay them out to dry on the table please. Put away your materials where you found them and recycle any tiny scraps of paper you find lying around. This classroom needs to be as clean as we found it! Also, wash your hand if they are sticky with paint.

9.3.4 Lesson Closure (5 minutes)

• What were people’s favorite parts about this project? (Using imagination and different materials, learning about perspective)
• What is one thing you learned how to do? (how to draw a box multiple ways, use different points of view in art, how to think about different people’s perspectives and how it affects them)
• What about people’s least favorite part? Why? (Gluing, tracing over design correctly)
• Can anyone tell me why having and understanding different points of view is important? (Teaches understanding and acceptance and creativity)
• Thank you for being such a great class!

10.0 Teaching Tips

• Be as organized as possible. Be prepared for students to finish early or be unproductive. Make supplies easily accessible.
• Always have extra paper towels. Everything gets messy somehow. Better to be prepared than in need.
• Your students are smart. Lead them to the answers they already have on their tongues. Sometimes it just takes different ways of asking questions.
• Do not be afraid to ask questions and wait for answers. They will speak up eventually.
• Make personal connections with your students and their artwork. Art is personal. Make sure you inquire about the purpose behind their work.
• Be silly. Students love to know their teachers are just as weird as they are.

11.0 Critical Reflection

This was such a great experience overall. The biggest surprise for me was how excited my students were to learn and discuss and create their projects. The first day they were intelligently asking questions and expressing interest in the ideas and images shown to them. We had excellent discussion about art works such as School of Athens, African Sonata, and roof-topping pictures by Tom Ryaboi. We especially had a lively discussion about the point of view of one of his photos. It was amazing how invested all of the students were in getting their opinion out and collaborating with the rest of their peers to form an articulate consensus as a whole about what they were actually looking at.

Every student had an idea or thought to contribute to all of the topics covered. They were not afraid to collaborate ideas or ask and answer questions. One of my favorite dialogues we shared was about Tom Ryaboi’s perspective looking down a ladder picture. Since the point of view was one that none of the children had experienced before, we had a huge debate about what type of point of view we were actually viewing in his photograph. They talked about directional lines, atmospheric perspective, foreground clarity, and vanishing points without even realizing they were discussing such challenging concepts. With this one picture they determined that the viewer was looking down at a rooftop from a ladder because of the haziness of objects in the background, clarity of the close-up lines, and the safety rungs leading into the composition. It was with this discussion that I realized I underestimated these fourth graders vastly.

One of the best questions I was asked was, “You know how we drew a cube the other day using all of those lines and rulers and erasing? How does that go with what we are doing now?” Addyson, a student who is amazingly aware for her age, asked this.  She caught me off guard at first because it was in the middle of work time.  I really loved this question because it made me realize the disconnect I had in my lesson and that my students really did want to apply the skills they had learned to their projects if they did not know how to already. I pride myself on my organizational skills in the classroom. I now need to transfer that physical organization into more structured mental organization so my students can learn as much as possible from the lesson being taught.

Admiring their finished art after the last day of teaching, I am so in awe of the concepts these nine and ten year olds came up with to integrate into their art. Although I am very proud, meticulousness in my students’ artwork is actually an area I want to improve on. My students’ drawings were so detailed and creative! But when paint was added, they lost a lot of those details and contrast. Next time I hope to better explain contrast and preservation of details in my demonstration of paint application.

Over all, teaching this lesson was a wonderful experience with great insight into what middle school students are interested in as well as how they function as a unit. The students’ pieces all turned out excellent, especially considering their extra-large size of 18” x 24.” Their pieces were colorful, expressive, imaginative, and very rewarding to look at. So many stories could be made when viewing each individual piece because all of the products were so vastly different in concept and composition. I am so extremely proud of the progress my students made from day one of teaching. I hope my students took as much away from this experience as I did.

12.0 Recommendations for Future Use

• A similar lesson could be implemented using collage and mixed media instead of strictly pen and paint. This would give students more of an opportunity to be hands on and experiment with layout and layering in addition to composition.
• Allowing students to go out and photograph their own version of a skewed view of a piece of architecture they identify with would create a more personal connection with this project.
• This lesson could be introduced on the heels of a fieldtrip to a museum or a city. Students could begin the project by brainstorming what they recall from their experience and having their memories serve as inspiration for the content of their piece.

13.0 Attachments

13.1 Rubric and Assessment Tools

Objectives	Missing	Poor	Average	Outstanding
OBJECTIVE I: Students skillfully identify aspects of design, composition, and perspective based on knowledge of perspective and surrealism.	The student could not identify anything.	The student could not accurately identify elements of design, composition, and perspective use from the examples given.	The student could somewhat identify elements of design, composition, and perspective use from the examples given.	The student accurately identified elements of design, composition, and perspective use from the examples given.
OBJECTIVE II: Students successfully remembered how artists and architects use perspective to enhance their work.	The student did not describe anything.	The student had immense difficulty describing how architects and artists use the idea of perspective in their work.	The student somewhat described how architects and artists use the idea of perspective in their work.	The student successfully described how architects and artists use the idea of perspective in their work.
OBJECTIVE III: As a class, students effectively discussed different connotations of perspective together.	The student did not discuss anything.	The student barely discussed and explored different points of view and their possible meanings.	The student discussed and explored different points of view and their possible meanings.	The student effectively discussed and explored different points of view and their possible meanings.
OBJECTIVE IV: Students successfully produced a drawing using elements of line and form to create a balanced composition.	The student did not design a drawing.	The student badly designed a drawing with little basis on composition, line, or form.	The student designed a drawing based on composition, line, and form.	The student creatively designed a drawing based on composition, line, and form.
OBJECTIVE V: Students produced a successful drawing employing elements of purposely-altered perspectives, including the use of surrealism.	The student did not produce a drawing.	The student inadequately produced a drawing that integrates little perspective or surrealism.	The student adequately produced a drawing that integrates perspective and surrealism.	The student successfully produced a creative drawing that integrates perspective and surrealism to created a purposely-altered perspective.
OBJECTIVE VI: Students demonstrated good composition and craftsmanship by getting rid of all pencil marks, keeping clean lines and forms, using paint to enhance their piece, and producing a finished product.	The student did not create a piece.	The student poorly created a piece of art that demonstrates poor composition choice and craftsmanship.	The student adequately created a piece of art that demonstrates good composition and craftsmanship.	The student skillfully created a piece of art that demonstrates great composition and craftsmanship.

13.2 Visual examples for instruction

• Power-point

• Visual board – with teacher example displayed

• Teacher Example

13.3 Students’ artwork examples

13.4 Class photos

13.5 Handout

13.6 Safety regulations in classroom: Safety regulations in the classroom should be nothing out of the norm. Some rules to keep in mind: Share the assortment of paint and be conscious of the amounts used. Everybody help one another to clean up when the time comes.

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