Light Passages: A Model Visual Arts Lesson Grade 2

The Visual Art Model Curricula Development Team, operated by the Ohio Department of Education, has given me the chance to work with nine other art teachers from around Ohio and with Nancy Pistone, the Visual Arts Consultant with the ODE. Together we discuss, explore and dissect lesson development, implementation strategies and alignment with the standards.

Our team has collaborated with a variety of consultants from the field in the drafting of their lessons. Each team member is asked to develop four lessons over a two-year contract period with the ODE. The four sets of lessons are each field tested by other art teachers throughout Ohio in grades K-12. The feedback from these tests are considered in the final revisions of the lessons.
The following “Light Passages” lesson, an interdisciplinary lesson, targets second grade and presents a classroom-ready lesson, developed to meet the new Visual Art Standards for Ohio.
Lesson Summary:
In this lesson, students identify stained glass as an art form which has history and purpose, and affects people and interior spaces. Through their art making, crafted in paper, students apply the affective qualities of color and light to express personal interpretations of stained glass designs. Students combine their mathematics knowledge of symmetry and pattern and their study in science of light with their artistic decision-making processes. They experience and discuss the expressive qualities of colorful illuminated designs by observing examples of stained glass, making artworks and integrating concepts from math and science.

Estimated Duration: Three to five sessions (approximately one hour each)

Commentary:
Stained glass is an early example of people’s desire to combine beauty and aesthetics with the practical form of architecture. Throughout history, advances in science and technology have given artists new ways to express their ideas and visions. During the 1100s, artisans used these advances to capture their ideas and visions in the expressive and functional art form of stained glass windows. Craftspeople used light and color effects to transform internal spaces, which in turn, affected the people within those spaces. The expressive qualities of light through colored glass—transparency, translucency and opaque properties—contributed to the magnificence of the cathedrals of the time. The same principles and artistic drive that created those brilliant windows carries through time to others’ design creations. The works of architect Frank Lloyd Wright and artist Louis Comfort Tiffany are well- known examples of glassworks in America. Still, the nature and elements of light and color continue to guide contemporary artists, like Dale Chihuly, who stretch and explore the boundaries of art glass. Sharing this background information on stained glass throughout the lesson will help students appreciate the art of stained glass and understand what they learn and do at school has
real-world applications.

A wonderful time to introduce the art of stained glass is during the time students are studying light in a science class; how it travels and the terms to describe how it travels. Light travels through transparent glass or paper, scatters when encountering translucent surfaces and is blocked by opaque surfaces. Students will connect the effects of light on different colored papers to their choices in art making. Connections to symmetry and extended patterns in their design creations will reinforce concepts from mathematics. This study is rich with opportunities for developing the descriptive aspects of language. Students can experience expressive language opportunities related to color and design by using descriptive words, similes and metaphors.

The enduring idea in this lesson is that stained glass is an art form with rich, expressive qualities that influence and affect people and places.

Students will explore and discover the expressive qualities of stained glass through these topics and guiding questions:
• How is stained glass made? How did it look long ago? How has it changed? Where do we find stained glass?
• How does light affect stained glass? What ways can stained glass change a space? How can this affect our emotions or moods?
• What guides artists’ choices of transparent, translucent and opaque materials in using the properties of light and color? How do color choices affect an artwork?
• How do symmetry and pattern affect designs?
•
Pre-Assessment:
• Display examples of authentic piece(s) of stained glass and pictures of stained glass from posters or books in the classroom. Have the authentic piece or a sample paper, one created ahead of time, against a dark background. Ask students:
• What they see in the examples displayed;
• What the art is called.
• Bring the stained glass to a window or hold it up to a light. Tell students that it is stained glass or like stained glass. Ask students:
• What makes the stained glass look different? The light.
• Where have you seen stained glass before? Home, church, or public buildings, etc.
• Do you think this is an old art (made long ago) or a newer art (made today)?
• Do any of the examples show symmetry? What is symmetry? Where is the line of symmetry?
• Are there any repeated shapes or patterns in any of the examples? Where?
• Distribute a variety of three-inch squares of paper to each table or desk. Each student should get one transparent paper (colored cellophane), one translucent paper (colored tissue paper) and one opaque paper (colored construction paper or colored copy paper). Consider giving each group a flashlight or other concentrated light source to make their observations.
• Invite the students to explore the papers on their own for several minutes and then share their observations with partners (a think-pair-share technique). They should discuss how light affects the papers.

Scoring Guidelines:
• Having the students explore the papers and share the qualities of light on different papers with partners demonstrates how well students observe and what they understand. Circulate and listen to student responses. This provides an opportunity to talk one-to-one with quieter students.
• The pre-assessment discussion and exploration time provide opportunities to gather information on what students know about stained glass, light properties and symmetry through teacher observation.
• Make notes to monitor each student’s participation.
Post-Assessment:
At the completion of all sessions, the artwork and final assessment are combined in the student evaluation.
• Guide students as they participate in a whole-group discussion to develop criteria for the finished artwork. Have them use Attachment A, Student Project Criteria Checklist during artmaking.
• Read the final assessment questions aloud to students. The final assessment instrument combines student reflection and data gathering through a variety of questions. Refer to Attachment C, Post-Assessment.
• Have students look at their own artwork for the reflection portion of the assessment.
• Have two examples of stained glass not studied before by students posted for one of the assessment tasks.
• Have the word and phrase list developed by the students available or posted during the assessment. Refer to Attachment E, Qualitative Language.

Scoring Guidelines:
Refer to Attachment B, Rubric for Project Criteria.
Refer to Attachment D, Post-Assessment Scoring Guide.

Instructional Procedures:
Day One
1. As instruction begins following the pre-assessment session, refer to the Commentary section for introductory information on stained glass.
2. Using the pre-assessment papers, discuss how the papers differ. List the student observations on the board.
3. Bring out a large-sized paper prepared with these terms and definitions:
Transparent - light goes through it; you can see through it clearly;
Translucent - light goes through it; you cannot see through it clearly;
Opaque - light does not go through it; you cannot see through it.
Students work with partners to decide which paper sample is placed by each definition. After coming together as a whole group, students will agree on which sample is placed by each definition on the large-sized paper with terms and definitions. Students take this group-created poster back to (or it stays in) the classroom at the end of this class. It is important to remind students during this session that although stained glass is made of colored pieces of glass held together with metal strips, the papers have the same properties of light interaction as the stained glass does.
4. Go back to the visual references displayed in the room. Students work in small groups, with partners or individually to observe a single resource sample and answer these questions:
• What colors did the artist or craftsperson use?
• What effect do these illuminated colors have on you? Describe, with a word or phrase, the emotion, mood or feeling you experience.
• Are there examples of transparent, translucent or opaque glass in the examples in front of you? Answers will vary according to the resources they are viewing.
• Do any designs have symmetry? Which ones? Where is the line of symmetry?
• What do we call those that do not have symmetry? Asymmetrical.
• What happens to the shapes in symmetrical designs? The shapes or designs are repeated or show balance.

Instructional Tips:
Phrase these questions to fit students’ comprehension and expression levels. Write these questions on slips of paper and have individuals, partners or small groups come up with observations and ideas. Then, have them report to the whole group. The teacher should add information about stained glass to the discussion. Have a brief discussion about the availability of materials, the tradition that stained glass was commissioned and that designs and colors were dictated to the craftsperson. Discuss ways stained glass and color affected the interior spaces of structures.

A teacher participating in the field test of this lesson felt these questions also worked well in a whole-group discussion format.

Encourage descriptive language as students are responding to the effects that color and light have on emotions, moods or feelings. Start a list of the words and phrases that students used in the discussion. This list will be added to and be kept up in the room throughout this study.
A discussion on development of expressive language within this lesson is found in Attachment E, Qualitative Language.

Production:
5. Provide students with squares of paper. Ask them if the paper is transparent, translucent or opaque. Use a simple thumbs up check for each. Ask them to put up their hands if they have ever cut out snowflakes from folded paper.
6. Demonstrate the folding technique and then repeat with students following the steps of folding. Fold a corner to a corner, carefully matching edges, and ask students what shape they have made (triangle). Fold in half once, then in half again before cutting.

Instructional Tip:
Construction paper or colored copy paper, in 8 1/2-, 9-, or 12-inch squares can be used. Copy paper is thinner and easier to fold and cut. However, the stiffness of construction paper helps when the colored papers are glued to the shape openings. Review and reinforce the concept of symmetry and using the lines of symmetry to create a design. This is an ideal math application in the artmaking process of this lesson.

7. Demonstrate the cutting technique. It is important that students hold the folded corner to avoid cutting the square into pieces. Tell them they will make two cut shapes into each of the folded sides. Turn or flip the paper over to be able to cut into it with the dominant hand. Demonstrate a geometric cut and an organic or free-form cut on the folded sides.
8. Open the paper and show the results. Have students choose which shapes they would like to cut for their designs. Point out the line of symmetry and the resulting shapes. Tell students to be aware of this effect, as it will help them decide how to cut their shapes. Ask students:
• What is this fold line called? The line of symmetry.
• How many lines of symmetry have you made on your piece? One fold equals one, two folds make two.
9. Place the open square on the board on a light background and draw attention to the shapes, then number matching shapes; one, two, horizontally and three, four, vertically. Ask students:
• Do you see a pattern here?
• How would it look if we continued or extended the number patterns? Write the continuation of numbers as students give them. If the shapes are simple, draw them and number them.
10. Have students get paper and scissors.
11. Repeat the fold-and-cut demonstration for those that want to follow the teacher while cutting, but confident cutters may go ahead. Students with fine-motor or cutting challenges may cut one shape on each side of the paper square. Those with greater skills may cut more than two on each side.

Instructional Tips:
• Students will look at their work, unfolding and refolding, to determine and plan what cuts they will make on their next pieces.
• The demonstration assumes students are familiar with the terms organic and free-form shapes. If these are new concepts, more time may be required to teach, or rephrase the terms to fit your students’ needs.

12. After completing one cut-paper design, each student will choose another paper square and make another design based on refined and revised ideas.
13. Circulate to assist those who want help with cutting. Students who have finished their pieces can partner with those who want or need extra help. Save the work for the next class. Put names on the items and place them in class or individual folders. Students will make decisions about the colors in their pieces and complete the production of cut-paper stained glass designs in the next class.

Instructional Tip:
• Use white crayons or pencils to label dark-colored squares.
• At the end of class ask students if they can remember which mathematics word describes the folding and cutting results. Symmetry and, possibly, pattern.
• Tell students that their bodies have symmetry, and ask them where those lines of symmetry are on their bodies.
• Ask if any student can make a symmetrical shape using his or her body.
• Change to shapes that are asymmetrical and ask students if these shapes feel different. Add their observations to the word and phrase list.

Day Two
Today, the lesson builds on and extends the art form of stained glass, the properties of light and attributes of a symmetrical design.
14. Student partners view a stained glass example and share what they like best or find most beautiful about the stained glass example.
15. Place squares of transparent, translucent and opaque papers on the desks or tables. Have students view the squares. Ask them to pick up a transparent paper, then a translucent paper and, lastly, an opaque paper. They should show each paper and identify it to their partners.
16. Display the overheads, posters and postcards of stained glass samples. Draw students’ attention to the colors each artist chose. Ask students how the color choices affect the artwork. Do the colors create a certain mood or feeling?
17. Show two completed paper pieces that have opposite color insets.

Instructional Tip:
Make these completed samples ahead or use previous student work. For example, one piece could be all shades of blue and purple and the other could be red and orange. Each piece should have some translucent and some transparent papers.

18. Notice that the paper pieces show transparent, translucent and opaque elements, just as works in glass would. Put these on top of the overhead projector. They may need to be lifted off the surface for the best effect. Or, put some large pieces of colored cellophane and tissue papers on the overhead projector to give the whole wall the color effect as the light passes through as it does in stained glass. Encourage students to tell about feelings or moods they experience when looking at each piece or as the colors fill the space.
19. Write student responses on the developing word and phrase list. Redirect some answers to expressions of moods or feelings and add some words to start or finish this task. Refer to Attachment E, Qualitative Language.
20. Go back to the poster or book examples. Explain how the craftsmen and artists wanted to affect the interior spaces by adding these stained glass windows. In cathedrals, the windows were supposed to emotionally move those inside to places of beauty and a sense of being in a spiritual or special place. Ask students:
• Have you been in a place with stained glass windows? If so, how did it affect your mood or what did you feel?
• Are there other special places that affect you? Where? How? In what ways?
21. Students look again at the resources. Ask them:
• Can you describe details in the work(s) that create mood or feeling?
• What do you think was the purpose or intent of the artist for this artwork?
22. Allow time for student observations.

Instructional Tip:
One teacher participating in the field test showed a video on structures with walls of stained glass. The film’s narration was above the comprehension level for second-graders, so the teacher turned the sound off, played a CD of dulcimer music and provided the narration.

23. Distribute students’ previous work. Have them make their own decisions about stained glass artwork including the designs, the colors and the effects they want to create with their pieces. Ask students what their pieces need so they can use their papers to show the same things that they enjoy in stained glass. Discuss and make a list of criteria with the students for their pieces. Guide this discussion and write down the students’ criteria in a simple checklist.
The criteria should be shaped to include:
• Use of transparent, translucent and opaque papers;
• Symmetry and shape patterns using geometric or organic designs or a combination;
• Choice and use of color to express moods or feelings;
• Skillful and careful use of the materials and tools.

Other criteria may be added based on group or teacher ideas. Post this checklist for students to refer to during production. Refer to Attachment A, Criteria Checklist, and Attachment B, Project Assessment Rubric.

PRODUCTION:
24. Students get supplies including all the types of paper, scissors and glue. They can use either of the squares cut in the last session or create new ones. Students revise their cutting plans if they have new or different ideas or goals for their works. Encourage them to try out a variety of paper colors in their designs before gluing so they are able to make choices, revisions and changes.
25. Demonstrate how to place the glue around the edge of the cut openings on the paper cut-out piece rather than on the paper that is being added. Show students how to cut the colored paper larger than the opening and how excess paper can be trimmed.
Circulate among students to offer guidance as they get supplies, choose colors and start to glue. Anyone needing special assistance with glue application can use a craft stick or cotton swab. Those that work quickly may be able to complete several works. To extend design options, students can use hole punches. Demonstrate the use of the hole punch and suggest limits on the holes made as students can make too many holes.
26. Tell students the goal is one completed work by the end of class. They check their work against the listed project criteria.
27. Students write the moods they expressed in their works. They may refer to the word and phrase list kept posted or available. Be sure that they write their names on the backs of their works.
At the end of class, work that needs to dry should be put on a drying rack or shelf.

Instructional Tip:
A teacher who participated in the field test used waxed paper for students to work on while making their art. The waxed paper with the artwork was placed on a large envelope labeled with the student’s name and then placed on the drying rack. When dry, the work was slipped into the envelope.
• At the end of class, ask students to express the moods and feelings in their paper designs by making facial expressions, then using their whole bodies.

Day Three
28. Display three stained glass references. Select works that show different time periods. For example, an early church window such as the North Rose Window in Notre Dame, a Frank Lloyd Wright designed window and a Dale Chihuly piece. Compare and contrast these glass artworks.
29. List responses. Use the three-column list or Venn diagram format. Develop questions or prompts from this list:
• What materials are used?
• Where do you think this artwork is found? In what sort of structure?
• What do you think the artist wanted you to think or feel?
• When the artist made this piece, do you think it affected people or their environment in a new way? How?
• Which looks like it is older? Newer? Look at the subject, glass qualities and construction of the piece.
• Do the artworks contribute to the lives of others or to your life? How?
• What ways do the artworks affect people or the spaces they are in?
• How does light interact with these art pieces?
• How are math and art connected in these glass works?

Instructional Tip:
These are possible prompts. Select from them or guide this discussion with other prompts. The teacher may need to remind students of the technology used to make colored glass today as they try to guess which pieces are older and where or how stained glass is placed in a structure. This does not need to be a long discussion, as students need time for the final assessment. The questions could be displayed on a poster and students asked to think of an answer for one of the questions. Give about three to five minutes thinking time, then go down the list asking for volunteers to share answers or call on students. Single questions could be written on slips of paper and given to partners to answer and shared with the whole group.

30. As the whole group finishes this process, students place the artworks in temporal order. Students will put #1 by the oldest one (created a long time ago) and # 3 by the most modern.

At the end of class, ask students to reflect on their own artworks and the learning they have achieved during this lesson.

Instructional Tip:
Another option is to have students write the numbers on self-adhesive notes and bring them up to place by their choices or the teacher could collect and place them.

The preceding discussion has probably explored the reasons behind the student choices for temporal placement. Any teacher-led connections could finalize this part of the lesson. In addition, some students could be called on to justify or share their reasoning.

31. Take down the three artworks used in the discussion and display two that they have not seen before. This is an exercise on the final assessment. Put#1 by the piece that is older and #2 by the most modern piece. Tell students you will read the questions for them on the assessment.
32. Students receive their artworks and the final assessment sheets. This assessment is both a reflective and a data-gathering instrument on student learning. Refer to Attachment C, Post-Assessment, and Attachment D, Post-Assessment Scoring Guide.

Differentiated Instructional Support:
Instruction is differentiated according to learner needs, to help all learners either meet the intent of the specified indicator(s) or, if the indicator is already met, to advance beyond the specified indicator(s).
• Invite students to explore the papers on their own for several minutes, then share their observations with partners. Start a think-pair-share technique.
• Students work with partners to decide which paper sample is placed by each definition. After coming together as a whole group, they agree on which sample is placed by each definition on the large-sized paper with terms and definitions.
• Write lesson questions on slips of paper and have individuals, partners or small groups come up with observations and ideas, then have them report to the whole group.
• Open the paper, show the results and let students choose which shapes they would like to cut for their designs during the snowflake activity.
• Students are encouraged to describe the feelings or moods they experience when looking at each piece or as the colors fill the space. Model this so they understand how to express themselves in this way.
• Additionally, differentiated assistance could include adaptive tools, precut shapes, predrawn lines as cutting guides or templates for tracing.
• Individual lesson extensions could include research into student-selected areas of interest related to stained glass or art glass. Research could include technology resources pursued at school or home and reported back to the whole group. The student-selected option could include an artwork developed by the student and inspired by the class work.

Extensions:
• The classroom teacher not only can use the stained glass works to reinforce the science study of light, but also can lead into the light and shadow properties which are part of this same science unit. Shadow puppets or silhouette art could be studied.
• The art teacher can continue the study of the affective qualities of color through the study of Fauvism, Impressionism, Post Impressionism or other similar art periods. This could take the form of a single-artist study.
• The art teacher could continue a lesson in radial symmetry design, using examples from other cultures that display this element, such as quilts or shields.
• The art teacher could continue the study of extensions of pattern, again using examples from other cultures’ textiles such as cloth or weavings.
• An extension into architecture could include the design and purpose of structures in the lives of people and cultures.

Vocabulary:
• asymmetrical
• opaque
• pattern
• stained glass
• symmetry
• translucent
• transparent

Additional vocabulary could be included. This lesson has strong language development connections possible through the expressive qualities of descriptive words, analogy and metaphor. Refer to Attachment E, Qualitative Language.

Technology Connections:
Mathematics software could provide practice in symmetry or pattern extensions.

Library Connections:
Most of the references for this lesson can be found at the public library, especially in the oversized art books section.

Research Connections:
Dobbs, Stephen Mark. Learning in and Through Art: A Guide to Discipline-Based Art Education. Los Angeles, CA: The Getty Education Institute, 1998.

Ohio Arts Council, Ohio Department of Education and the Ohio Alliance for Arts Education. Vrabel, Debra et al. The Power of Arts Assessment in Teaching and Learning: A Process Guide for Teachers in Ohio Schools. Columbus, OH, 2001.

The National Arts Education Consortium. Transforming Education Through the Arts. Final Project Report. Columbus, OH: The Ohio State University, 2001.

Wiggins, Grant, and Jay McTighe. Understanding by Design. Alexandria, VA: Association for Supervision and Curriculum Development, 1998.

Home Connections:
Students can take small squares of the transparent, translucent and opaque papers home to share with family members. They can discuss the differences in the papers and how light interacts with them. Students can discuss how colors affect our feelings or moods.

Students can take home six- to nine-inch paper squares to demonstrate to family members how to create symmetry in designs by folding and cutting. One teacher who participated in the field test stated her students went home and shared symmetry design-making with their families and proudly returned to school with samples made from newspaper and whatever papers were available.

Materials and Resources:
The inclusion of a specific resources and references to particular artists or works of art in any lesson developed by the Ohio Department of Education should not be interpreted as an endorsement of that particular resource, artist or artwork or any of its contents, by the Ohio Department of Education. The Ohio Department of Education does not endorse any particular resource, artist or artwork. The Web addresses listed are for a given site’s main page; therefore, it may be necessary to search within the site to find the specific information required for a given lesson. Please note that information published on the Internet changes over time; therefore, the links provided may no longer contain the information related to a given lesson. Teachers are advised to preview all sites before using them with students.
Note: Some Web sites contain material that is protected by copyright. Teachers should ensure that any use of material from the Web does not infringe upon the content owner’s copyright.

For the teacher: authentic pieces of stained glass, any size or subject, that show pieces of colored glass held together with metal strips, including some examples that have a symmetrical designs; stained glass examples from postcard packets at museum shops or greeting card stores; calendars with stained examples; posters, slides and transparencies purchased through art material retail catalogs.

For the student: a variety of colored tissue paper, a variety of colored cellophane paper, squares of nine-inch, 12-inch, or eight- and one-half-inch colored construction paper or colored copy paper, scissors, white school glue, hole punches (optional)

Additional resources for the teacher:
These sites provide research-based, best practices and practical and creative ways to implement other standards-based lessons.

ArtsEdge - The National Arts and Education Network, a program of the Kennedy Center for the Performing Arts, www.artsedge.kennedy-center.org

ArtsEdNet - The Getty Education Institute for the Arts, www.getty.edu/artsednet

National Art Education Association (NAEA) www.naea-reston.org

Attachments:
Attachment A, Student Project Criteria Checklist
Attachment B, Rubric for Project Criteria
Attachment C, Post-Assessment
Attachment D, Post-Assessment Scoring Guide
Attachment E, Qualitative Language

Attachment A
Student Project Criteria Checklist

This is a sample of what the teacher and students develop during the project criteria-setting discussion. The teacher writes the group’s list on the board or a poster-size paper in this format for students to refer to during art production.

STAINED GLASS STUDENT CRITERIA CHECKLIST

I did it!
EXPRESSES A MOOD
Uses color expressively.
Identifies the mood on the artwork.
PATTERN
Shows symmetrical pattern horizontally and vertically.

SYMMETRY
Shows two lines of symmetry.

USE OF PAPER
Includes transparent and translucent papers.

CUT SHAPE DESIGN
Makes clean cuts.
Shows geometric or organic shapes.
Shows four to eight cut outs.

CRAFTSMANSHIP
Shows care in assembling and completing the design.
Makes clean cut outs.
Uses glue carefully.

Attachment B
Rubric for Project Criteria

GRADE TWO STUDENT NAME______________________________

Excels Accomplished Emerging No Evidence
Expresses a Mood

Pattern

Symmetry

Use of papers
Cut-paper designs

Craftsmanship

Expresses a Mood: For excels, the mood intent word(s) and color are very well matched (i.e., yellow and orange for an excited or energetic mood). For accomplished, the student identifies the mood in the work. For emerging, a mood word is not used.

Pattern: For excels, the repeated shape patterns are clear and complex in design.
For accomplished, the cuts repeat shapes clearly. For emerging, not all shapes repeat.

Symmetry: For excels, additional lines or folds are successfully completed. For accomplished, two lines of symmetry show. For emerging, one line of symmetry is evident.

Use of Papers: For excels, both types of papers are used to reinforce and enhance the symmetrical design. For accomplished, both transparent and translucent papers are used in the opaque framework. For emerging, only one of the paper types is used.

Cut-Paper Design: For excels, more than eight controlled, distinctive cuts made. For accomplished, the student shows geometric or organic cut shapes in each of the folded sides which result in eight cut-outs total per square. For emerging, fewer cuts are evident.

Craftsmanship: For excels, designs are complex, cleanly cut and carefully glued. For accomplished, cuts are cleanly made and matched, and the papers are carefully glued. For emerging, cuts or glued papers are less carefully applied.

Attachment C
Post-Assessment

NAME______________________________________Class_______________________
(Teacher will read questions aloud for the students.)

Look at your artwork.
1. What do you like best about the art you designed? _____________________________

______________________________________________________________________

If you created another one, what would you change? ____________________________

______________________________________________________________________

2. If you could design a stained glass piece for our school:

Where would you place it in the school? Think about our school. It has a library, gym, classrooms, hallways, cafeteria, art, music rooms and computer rooms. _______________________________________________________________________

What mood or feeling would you want your art to express in that space? _____________

_______________________________________________________________________

What colors, shapes or designs would you choose to show your ideas? ________________________________________________________________________

________________________________________________________________________

3. Look at the two examples of stained glass. Place the number of the one you think was
made long ago on the line ______________.

What makes this one seem older (made long ago)? _______________________________

Attachment C, Post Assessment (Continued)

4. Create a three-number pattern on line A and extend it into a shape pattern on line B.

A. ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___

B. ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___

5. MATCHING: Draw a line from the word to the definition

Transparent Colored glass pieces held together with metal strips.

Translucent Light does not go through it and you cannot see through it.

Opaque Designs or shapes divided by a line are the same on opposite sides of the line.

Stained glass Light goes through it and you can see through it clearly.

Symmetry Light goes through it but you cannot see through it clearly.

6. Draw a symmetrical shape and show two lines of symmetry on the shape.

7. Write some passages made of words about what happens when light passes through stained glass. Think about light travel, color moods, symmetry designs and extending patterns.

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

Attachment D
Post-Assessment Scoring Guide

STUDENT NAME __________________________________Class_______________

1. Student understands how to revise work to personal satisfaction.
Response: Clearly expressed, supported ____ Appropriate ____ Insufficient____

2. Student establishes and communicates a purpose for creating art and selected art elements to express emotions and moods, and produce a variety of visual effects.
Response: Clearly expressed, supported ____ Appropriate ____ Insufficient_____

3. Places art work in temporal order with appropriate justification.
Response: Clearly expressed, supported ____ Appropriate ____ Insufficient_____

4. Student creates simple number patterns and extends similar patterns with shapes.
Response: Achieved number and shape ____Achieved one pattern___ Insufficient ____

5. Student matches vocabulary words to definitions.
Response: Matched all _____ Matched four_____ Fewer than four correct_______

6. Student draws a symmetric shape and identifies line(s) of symmetry.
Response: Correctly drew and divided____ Achieved one task ____ Insufficient _____

7. Question seven in the Post-Assessment is designed to give the student an opportunity to express and synthesize learning from the lesson on a personal level. Encourage students to use vivid, descriptive language in their passages which could take many forms from sentences to poetry. The word and phrase list developed throughout the lesson would be available or posted during the assessment. Student responses offer the teacher information applicable to further lesson planning and differentiated instruction for students.

Attachment E
Qualitative Language

The students are truly inspired and affected by the illuminated colors in this study and love to share their thoughts and feelings with others. Encouraging them to think about and describe feelings, memories and personal preferences when responding to light, colors, symmetry or patterns, helps students participate in this lesson using expressive language. To increase and strengthen the use of expressive language, the teacher should model “feeling talk” and verbally support students as they incorporate or attempt to increase their use of qualitative terms. The teacher should keep a list or “bank” of words and phrases given by students. This list can be posted throughout the lesson and, if the teacher chooses, become a resource for students during the final assessment.

Artist and retired art educator, Jerry Tollifson, suggested the expansion of the expressive, “poetic talk” or “qualitative language” in this lesson. “Use more adjectives and verbs to modify nouns (jerky lines, glowing colors, prickly texture, curvy shapes, jagged shapes, or glowing light). Use metaphors and analogies (these colors are like a gentle wind on your face, or this shape hurts like a jab in the arm, or it’s like taking a bath in light). These are two ways the instruction in this lesson could help students more intensely feel the expressive qualities of color and shape. They could help inform your assessments,” Tollifson said.

A possible extension: when the teacher is placing colored papers on the overhead projector in a darkened room (Step 18), students are asked to respond to the color by thinking of feelings they experience or memories and thoughts that come to mind. This brainstorming session is guided by the teacher with suggestions or questions that ask students to qualify responses. “When you say it makes you feel happy, can you tell more about what that happiness feels like or reminds you of?” The teacher writes responses to add to the word and phrase bank developed throughout the lesson. Then, in a whole-group session, students and teacher work together to create a poem or “light passages” using words and phrases drawn from the word bank. Pursuing this extension would add another session to the lesson. One simple poetry method to help students get started is to give them a phrase such as “Colors make me feel…” to finish, which then becomes the first and last line of the poem. The group then selects from the word list for each color line. Here is an example of a poem or “light passages” from a second-grade group:

Colors make me feel wonderful,
Red is for scary movies, mom’s shoes, or me as happy as a swimmer,
Green is like Kentucky, my mom’s uniform, or it sometimes makes me feel glum,
Purple is a favorite color for my sister, my mom, my dad, Grandma May, and me,
Orange reminds me of a rainbow, or it’s hot outside, IT’S my favorite color!
Colors make me feel wonderful.

Barbara Walker, Springfield, Ohio City Schools