Day 1 – Introduction

• Briefly describe the history of sundials, provide examples of sundials and ask:
  o  How do sundials work?
  o  What is a contour (or silhouette)?
• Introduce contour drawings and look at shadow drawings (art of others) and ask:
  o  How was this image created?
  o  Why does the sun move across the sky?
• Discuss artistic language and focus on positive/negative space and composition and ask:
  o  What is a composition?
  o  Share tips on a successful composition (balance of positive and negative space, one or two large objects with more smaller objects, etc.)
  o  What objects will you bring in?
  o  How do you think the shadow will change?
• Discuss project goals and expectations.
• Ask students to begin bringing non-fragile items from home to use in their still-life compositions. 

Day 2 – Artmaking

• Students will draw each other’s shadows using chalk. They will repeat this exercise as many times as possible and ask:
  o  How does the drawing differ from the actual person?
  o  How did the shadow change each time you drew it?
• Remind students to bring in non-fragile items to use in their still-life composition.

Day 3 – Artmaking

• Students will use a drawing board (and clips to hold paper down), their still-life objects and colored pencils, head outside as a class and begin the shadow drawing activity.
• In approximately seven minute intervals, have students draw their complete still-life composition outline. Instruct students to choose a new color for each iteration.

Day 4 – Artmaking

• To increase visual interest, students will finalize their drawings and add texture and pattern with colored pencils to areas where they notice overlap.
• If time allows, students will title their work and begin writing their artist’s statement.

Day 5 – Presentations

• Students will finalize artist statement paragraph.
• Students will display their artwork and artist statement and participate in a gallery walk where they will observe each other’s works and give feedback to at least two of their peer’s work. Class discusses what they observed in their peer’s work.

• What is a sundial?
  o  How does a sundial work?
  o  Why does the sun move across the sky?
• Share different sundials around the world over time/history of sundials
• How Artists use shadows
  o  Share the work of various artists who incorporate shadows into their work
• Show shadow drawings
  o  Share samples of other child art made with shadows
• Positive and Negative Space
  o  Ask students what each is and provide explanations as needed
  o  Share shadow drawings that use positive and negative space differently and ask students to identify which they find more visually interesting
• What is composition?
  o  Explain what composition is to students and how artists choose every aspect that they incorporate into their artwork
  o  Share examples of shadow art and talk with students about which compositions they find more interesting and what kinds of shapes they will want to include in their still-life collections.
• Art Goals
• Education Goals
• Artist statement question prompts to help students write their own artist statement
• Resources

• What objects did you include in your composition?
• Why did you choose those objects?
• What was your strategy when grouping your objects to create an interesting composition?
• How did your shadows change? Why?

Day 1 – Introduction

Introduce the project with a slide show (see additional resources)

Questions to ask during the slide show include:

• What do you see?
• How do you think the artists created this art?
• Why do you think the artists created this art?
• How do you think these artists used science in their art?

Explain the creative process for the project

Demonstrate paper manipulation techniques

• Kirigami (decorative paper cutting and folding)
• Quilling (rolling and gluing paper)

If time remains, students can experiment with paper techniques

Day 2 – Artmaking

Divide students into small groups based on compound /molecules and the number of elements in each

Some students can work alone if the atom has only one element

Students should begin designing and sketching their sculpture

Day 3 – Artmaking

Discuss/demonstrate how to safely use an X-ACTO knife and glue gun

Students should start working on creating their sculptures, using the paper manipulation techniques

Students should refer to their sketches when creating their elements 

Day 4 – Artmaking

Students should work on creating their sculptures

Encourage the students to finish their sculptures

Day 5 – Artmaking

Students should finish their elements

Students should work in their groups to arrange and connect their sculptures on the poster board

Students should use paper manipulation techniques to connect their sculptures

Remind students to put their names on the back of the poster board  

Day 6 – Presentations

Student groups should prepare to present their sculptures to the class

Students should present their sculptures to the class

At the end of the class, the teacher can collect student work to display in the hall

Day 7 – Artist Statements

Students should write their individual artists statements

Slide examples:

Examples of science and art

Examples of paper art

Examples of paper manipulation techniques

• Cutting / kirigami
• Folding / shadows
• Quilling
• Stacking / layering

Project Goals:

• Choose a compound and determine what elements / molecules make up the compound you have chosen
• Make a plan of attack with your group
• Sketch your composition
• Build your composition
• Write an artist statement
• Display       

Art used in the original slide show:

• “Specimen Case No. 12” by Roxy Paine
• “Neuron” by Roxy Paine
• “Daily Petri Dish” by Klari Reis
• Rogan Brown
• Chinese Paper Cutting
• Japanese Kirigami
• French Renaissance religious quilling and paper filigree (used to decorate books)
• Swiss and German folded and flat cut
• French silhouettes
• Mexican papel picado – fine tissue paper cut with chisels
• Matisse drawing with scissors
• Jean or Hans Arp (Dada) – composition is left to chance
• Sachin Tekade paper cutting
• Peter Callesen
• Kumi Yamashita
• Yulia Brodskaya
• “Daydream” by Lauri Brown
• Jen Stark
• Crystal Wagner
• Lauren Clay

charlesclary.com

crystalwagner.com

jenstark.com

kumiyamashita.com

petercallesen.com

roganbrown.com

http://hubpages.com/art/paper-cutting-art-techniques-how-to-cut-intricate-patterns-projects-for-beginners

Day 1 – Introduction

Introduce the slide show

The slide show should be interactive, prompting questions and discussions

Some of the questions the teacher can ask are:

• What do you see?
• Why do you think the artists did that?
• How do you think the artist did that?

Introduce the project, going over the project goals with the class

If time remains, students can begin researching and brainstorming

Day 2 – Artmaking

Students will use resources provided and research an animal that corresponds to individual character traits

• Provide examples of character traits or personal strengths
• Students should list their own strengths and find animals that symbolically correspond

Students brainstorm ideas for their mask

Day 3 – Artmaking

Demonstrate different techniques they can use to decorate and form their masks

Students will be given the remainder of class to work on their spirit animals

• Encourage them to consider traditional uses of color, shape, and line
• Encourage them to be mindful of form and texture as well

Day 4 – Artmaking

Remind students of artistic considerations, including texture, shape, balance, color, and form

Students may also want to think about their strengths and how they can use color and form to communicate them in their design

Students will spend class working on their masks

Day 5 – Artmaking

The students will work on and complete their masks

If they finish their masks, they will use their time to write and prepare their monologues

Day 6 – Presentations

Students should take turns presenting their work to the class

In their presentations students should talk about

• The animal they chose
• What traits the animal poses
• How those traits relate to themselves

Slide examples:

Our goal for this project is to facilitate the opportunity for students to identify their strengths and explore them through the metaphor of an animal. Additionally, teachers may want to implement a cultural element to promote cross-cultural exploration and connection.

We incorporated a cultural element by connecting the project to Native American tribes in Northwestern Canada.

• We used the second slide to show examples of how the different tribes used different artistic elements in their mask and totem making.

Techniques and Colors usage: we focused on techniques of form and color in how they functioned to communicate certain symbolic and cultural meanings through the masks. 

• We went through different colors and their symbolic meanings.
• We also showed how different stylistic techniques are used.
• We showed how these differed from tribe to tribe.
• We also noted that students could connect their own personal meanings to colors.

A sequence of different examples of animal masks were then shown and students were asked to identify colors, techniques, and textures used.

Uses of Masks: go over how masks were used and their purpose within a cultural framework.

Choosing your spirit animal: Provide questions to encourage students in their consideration and identification of strengths.

• What are my strengths?
• What are some words that describe me?
• What do I like to do? What do I do a lot? What character traits do I poses?
• Have you ever been drawn to a particular animal or creature?
• Does a certain animal appear a lot in your life?
• Have you ever had a recurring dream in which a specific animal often appears?

Thinking about Strengths: students will get out a blank piece of paper and record their strengths, things that are important to them, and describe their personality.

• We chose to put our masks together in a totem pole-the next slide refer to that.

Creating a totem pole: Go over the why, who, and how.

• We asked students to present a monologue.

The monologue and presentation: go over what a monologue is and what the expectations are for presenting.

Reiterate Goals

Resources: Provide access to examples or artwork and ideas.

• Introduce your spirit animal
• Tell us which tribe or region it comes from in Canada
• Explain what traits it represents and how these relate to you

Day 1 – Introduction

Introduce the project with a slide show (see additional resources).

Questions to ask while viewing examples of wearable sculptures include:

• What do you see?
• How do you think the artist created this art?
• Why do you think the artists created this art?
• How do you think these artists used math in their art?

Explain the creative process for the project

• Students will practice with the materials
• Students will sketch ideas for their wearable art
• Students will create their wearable art using at least three shapes

Day 2 – Artmaking

Review the project goals

Create a wearable sculpture by:

• Building a 3D model using a template net
• Calculating scale factor and surface area of the 3D model
• Documenting the finished sculpture with a photo shoot

Show the class samples of 3D objects created from 2D nets.

• Let the students experiment with the nets

Students should start brainstorming and sketching ideas for their wearable art

• Recommend that they use different sizes of the 3D forms or different shapes

Show the class how to create 3D objects with straws and pipe cleaners

• Straws can be used as frames for the objects
• Straws can be held together with pipe cleaners and hot glue

Day 3 – Artmaking

Review the project goals

Create a wearable sculpture by:

• Building a 3D model using a template net
• Calculating scale factor and surface area of the 3D model
• Documenting the finished sculpture with a photo shoot

Students should begin creating their wearable sculpture using the materials and their sketches as a guideline

Students could use scale factor to create different size shapes

Students should record shape dimensions and calculate surface area

Day 4 – Artmaking

• Students should finish creating their wearable art. Embellishments can be added with paint, tinfoil or paperclips.

Day 5 – Presentations

• Each student will wear their sculpture and have it photographed. Students can present their projects to the class. The students should be able to talk about the art choices they made and be able to answer any geometry questions.

Slide examples:

Wearable art and geometric art

• Introduce project
• Encourage students to share what they see in the slide show: there are no wrong answers

Leonardo Da Vinci’s drawings

• Mathematician, inventor, and artist
• Measurements of the Canon of Beauty

M.C. Escher

• How does Escher use math in his drawings?
• Shapes
• Measuring

Jay Nelson’s “Golden Gate” vehicle

• How does this artist use math?
• Measurements
• Angles

Design first, and then build

• Paige Smith’s “Urban Geode Project”
• What geometric shapes do you see here?
• 3D triangle = pyramid
• Your artwork needs to hold itself together

Nick Cave’s “Soundsuits”

• How does this artist use math?
• How does this artist make his art wearable?

Phil Ferguson

• From Australia; made wearable sculptures to see how many friends he could make on Instagram
• How does he use math?

Nora Fok

• She makes wearable sculptures
• Students will focus their project on a specific body part

Head Pieces

• Makotoyabuki.com, Hector Sos, Tracey Featherstone, Fred Butler (including picture of Lady Gaga)

Neck Pieces

• Tatiana Inglis, Suo Emiko, Bin Dixon-Ward, Sarah West

Examples of open form and closed forms

• Closed forms look heavier, open forms look lighter

Shoulder and Chest Pieces

• Tine De Ruysser, Tracey Featherstone, Dominique Thomas Vansteenberghe, Mashallah Design

Back Pieces

• Tracey Featherstone, Birgit Toke Tauka Frietman

Arm, Hand and Finger Pieces

• Bin Dixon-Ward, Hande Akcayli, Murat Kpcyigit and Linda Kostowski, Tracey Featherstone, Bryan Cera

Day 1 – Introduction

Introduce the project with a slide show

• Describe how art and math are related
• Provide examples of graphic design considerations (ex. balance, movement, pattern, symmetry, color, and shape)

Day 2 – Artmaking

Students will be shown a demonstration of how to record their equations prior to beginning their sculptures

• They will need to plan out the equivalent equations prior to building

Students will cut, color, and measure the shapes that they need for their project

Students will begin to organize and plan out their designs for each side of the equation

• They should try to have this finished by the end of the day

Students should sketch or take a photo of their layout for reference

At the end of class, students should put all of their work and papers in a large envelope to save their work for the next class

Day 3 – Artmaking

• After students have chosen a color scheme and cut, colored, and measured their shapes, they should build their cube and then adhere their designs
• At the end of class, students should put all of their work and papers in a large envelope to save their work for the next class

Day 4 – Artmaking

Students should finish gluing their projects together

Students will write an artist statement, which should include:

• A description of their piece, including the colors and materials they used
• An explanation of how art and math are related
• The equations they used, and how they are equal
• A description of how their piece shows movement, balance, color, and symmetry

Day 5 – Presentation

Students take turns presenting their work to the class, talking about:

• Their design and their use of symmetry, balance, color, movement, and rhythm
• Their mathematical equation
• How they discovered art and math are related

The Intersection of Math and Art
The Golden Rule

Slide examples:

Our goal for this project is to use expressions and equations to create graphically designed 3D shapes

How are art and math related?

Students will create a 3D sculpture with a different design on each side. Each side will incorporate symbols to create designs that are mathematically equivalent equations. Consider the elements below in your design.

• Rhythm—repetition and placement of similar colors, shapes and lines throughout
• Balance—colors, shapes and lines placed symmetrically or asymmetrically so the design looks evenly distributed
• Movement—colors, shapes and lines that lead the viewer’s eye in and out of and around the art
• Symmetry—when it is the same on both sides

To complete the project:

• Develop an equation and create equivalent equations for each side of the sculpture
• Create a design that corresponds to each equation
• Assemble the structure and make designs using construction paper cut-outs
• Write a brief artist statement (3 sentences) about the process, equations, and the combination of art and math
• Present the artist statement and sculpture

Day 1 – Introduction

Introduce the project with a slide show

Questions the teacher can ask:

• What do you see here?
• How do you think the artist created this?
• Why do you think the artist created this piece?

Demonstrate how a tunnel book is created

Show the accordion fold and how the pages are glued to the accordion fold

Students will sketch ideas for their tunnel books

Day 2 – Artmaking

Students will create their tunnel books, following the directions and any additional criteria added by the teacher to support project learning goals

Day 3 – Artmaking

Students will finish their tunnel books

Students will write an artist statement.

• The artist statement should contain information about the student’s design choices, the art terms and the subject area terms (see attached artist statement guidelines)

Students print their artist statements and display them with their tunnel books

• Examples of tunnel books
• Examples of vocabulary terms to be taught during the lesson
• Examples of art terms to be taught
• Short description of tunnel book directions

• Create a plan for your tunnel book. Sketch ideas. What will each page show? How many pages will the book have?
• Accordion fold two pieces of paper. The accordion pages should match. Depending on how the student glues the pages, each accordion valley will hold a page.
• Draw the background first. Fold about half an inch back on each side. Glue the folded sides to the last fold of each accordion page.
• Create additional pages, gently folding the paper to cut out a middle section. The middle sections will create the tunnel effect that the viewer will see when they look at the tunnel book. Glue these pages to the accordion folds, starting in the back, working towards the front of the tunnel book.