Haagbrandanunitofstudyembroideryartspring2017 1

Unit of Study
Traditions, Relations, &

Belonging
Embroidery Art and Drawing
Brandan Haag
The lessons in this unit are geared towards a high school located within the northwestern region
of Texas. This elementary school has roughly 6000 students and has a roughly 20 students to a
classroom. This elementary school is situation within a higher socioeconomic class, with roughly 15%
of students being economically disadvantageous, and has a slightly diverse student ethnic population;
58% White, 14% Hispanic, 12% Asian or Pacific Islander, 10% African American, and 3% Two or
more races.
This Unit focuses on themes of tradition, relation, and belonging and how these ideas can be
depicted within artwork. The four cohesive lesson plans will provide students with the education
necessary for developing knowledge in traditional artmaking techniques, media, and cross-cultural
identities. Introducing students to alternative forms of artwork like embroidery can be very rewarding
and influential for students as it expands their skills beyond formal art practices, like drawing and
painting, as well as presenting art in a deeper sense. The medium of the artwork effects the message of
the work and students will be able to develop their skills at creating intertextuality artwork. Also by
connecting historical context into the art, students will gain a higher understanding of why art and art
making is an important part of our culture and history.
Lesson Plan
University of North Texas Art Education
I. Lesson Number, Grade Levels, Title, and Duration:

Lesson #1 - Thematic Artwork: Different Expressions, High School Fibers I, 330 minutes over six
class periods, 55 minutes each
II. Lesson Rationale:
Students will learn about the various aspects associated with the themes of tradition, relation, and
belonging.
Students will learn how different themes are presented in artwork.
Students will learn about iconography and symbology in relation to artwork.
III. Key Concepts:
Tradition, relation, belonging, thematic art, iconography, symbology
IV. Essential Question:
What are the various aspects associated with tradition, relation, and belonging?
How are different themes present in artwork?
What is iconography and symbology in relation to artwork?
V. Lesson Objectives:
Students will be able to associate various aspects with tradition, relation, and belonging.
Students will be able to identify how different themes are presented in artwork.
Students will be able to recognize iconography and symbology in relation to artwork.
VI. Specific Art Content:
Iconography, Symbology, Critique, Visual Culture, Elements and Principles of Art and Design
VII. Resources & Materials for Teacher:
Faig Ahmed. Graffiti. (2007-2016). Handmade Woolen Carpet

Faig Ahmed. Virgin. (2016). Handmade Woolen Carpet
Faig Ahmed. Set you life on fire [sic]. (2016). Handmade Woolen Carpet
Faig Ahmed. Gravity and Antigravity. (2015). Handmade Woolen Carpet, silk threads
Gade. Mahakala, (2013), Acrylic and oil on canvas.
Gade. Diamond Series: The Hulk (2008). Acrylic and oil on canvas.
Gade. New Buddha Series: Spiderman (2008). Acrylic and oil on canvas.
Gade. Diamond Series: Ultraman (2008). Acrylic and oil on canvas.
Jeffrey Gibson. Get up, Stand up (2016). Wool army blanket, rawhide, artificial sinew, glass beads,
nylon fringe, metal jingles, druzy crystal.
Jeffrey Gibson. American History (JB). (2015), Wool, steel studs, glass beads, Artificial sinew, metal
jingles, acrylic yarn, nylon fringe, canvas
Jeffrey Gibson. Know Your Magic, Baby (2016). Repurposed punching bag, wool army blanket, tin
jingles, glass beads, metal studs, artificial sinew, nylon fringe, steel
Marilou Schultz. Commission (No Date). Handmade Woolen Carpet
Marilou Schultz. Transition Moqui Blanket (No Date). Handmade Woolen Carpet
Marilou Schultz. Navajo Churro Storm Pattern (No Date). Handmade Woolen Carpet
Joann Johnson. Ascension Basket (No Date). Woven basket.
Joann Johnson. Navajo Rainbow Basket (No Date). Woven basket.
Joann Johnson. Navajo Going with the Flow Basket (No Date). Woven basket.
Joann Johnson. Navajo Doodle Basket (No Date). Woven basket.
Elsie Holiday. Navajo Corn Basket with Lid (No Date). Woven basket.
Elsie Holiday. Navajo Three Necklaces Basket (No Date). Woven basket.
Elsie Holiday. Birds-of-a-Feather Basket Vase (No Date). Woven basket.
Elsie Holiday. Navajo Polychrome Dream Basket (No Date). Woven basket.
Lee Baker. Kite Battle. (2011). Wood, paper, string, acrylic paint
Lee Baker. Watch Over Me. (2008-11). Silk screen print.
Lee Baker. Thames to Tama. (2011), Mixed media installation.
VIII. Resources & Materials for Students:
Internet and computer access Pencils Student Journals
Butcher Paper Thumbtacks Scissors
Vocabulary: Thematic Art, Tradition, Relation, Belonging, Iconography, Analysis, Evaluation,

Critique, Elements and Principles of Art and Design
IX. Instruction and Its Sequencing:
Day One of the Lesson

1. Introduction/Motivation:
Students will come into class and prepare to start a new unit of study.
2. Guided Practice
The teacher will lead a class discussion introducing the theme of tradition:
What is a tradition?
What are the different kinds of traditions?
As a class, the teacher will create a list with the different kinds of traditions that students come up with.
This list will be created on a long sheet of butcher paper that will be placed in the class for the rest of
the unit.
.
3. Independent Practice
After the discussion, students will categorize the traditions from the class list in their journals.
Some possible examples are as follows:
Holidays, like Christmas, are examples of religious traditions. Christmas is a Christian tradition
Walking the bridge down the aisle is an example of gender traditions; the father giving away
his daughter to another man is prevalent in history and visual culture.
Running for presidency is a political tradition, with a history of smear campaigning.
4. Closure
As a class, return to the class list of traditions. Categorize the traditions based on students individual
lists. One tradition can belong to multiple categories.
As the teacher, ask students to reflect on todays class:
How do students view the same traditions differently?
What traditions do students have in common?
Conclude with having students reflect on how they relate to tradition:
How do you practice traditions differently from others?
5. Formative Evaluation
Student progress will be assessed at multiple times during the lesson for progress.
The speed of instruction will be adjusted to meet their level of understanding.
Students will be asked if any areas of the lesson need to be explained again or with more clarity.
6. Classroom Management Procedures

Observing students while they work for activity.
Asking if students need clarification on parts of the assignment.
Asking students to demonstrate the process they are using for the assignment.
Day Two of the Lesson

Students will partner up with their neighbor to Think, pair, share;
Students will individually reflect on how people practice traditions differently before sharing
with their partner. Students should note any differences between their and their partners reflections.
2. Guided Practice
As the teacher, prepare students for another class discussion.
As a class, revisit and review the list of traditions: are there any changes that should be made?
The teacher will begin the next class discussion:
How do we relate to traditions?
How are traditions shared or spread?
.
Students will work in their journals as they describe how the traditions on the class list are spread.
Examples of how traditions are spread identify the individuals responsible:
Christmas is spread through family celebration and is passed on through generations.
Engagement was popularized through advertisement and romantic relationships.
Fishing is seen as a male bonding activity, usually a father and son.
The teacher should encourage students to focus on interpersonal exchanges.
4. Closure
As a class, return to the class traditions list and write down the relations students associated with these
traditions.
Before the end of class, the teacher will assign a short journaling assignment for outside class.
Students will be asked to reflect on other traditions that they engage in.
Students will be asked to describe the kinds of relationships that are present or influential.
Student progress will be assessed at multiple times during the lesson for progress

Day Three of the Lesson

Students will have a brief individual journal entry that they may choose to share with the class.
Was there a time when you felt included?
Was there a time when you felt excluded?
How do we feel when things change?
2. Guided Practice
The teacher will lead a class discussion on the idea of belonging and what this may look like.
What makes us feel welcomed in a space or group?
How can we be more welcoming to other people or ideas?
Students will work individually in their student journals to describe how they experience belonging
with the class tradition list.
Students will be asked the following questions:
How have these traditions changed?
Do you feel welcome in this tradition or not, and why?
Can strong relations make us feel more welcomed?
4. Closure
As a class, the teacher will ask students to brainstorm a few different ways that we can forge a strong
sense of belonging within the classroom.

Day Four of the Lesson

The teacher will display an artwork that will be used for a short written assignment. This assignment
will be used to assess student understanding of the previous class assignments
Students will be asked to write about the following questions:
What traditions can you identify, if any?
What relations are present, if any?
Do you think the artist feels a sense belonging?
Does the artist make you feel like you belong?
2. Guided Practice
The teacher will present a short PowerPoint that introduces how theme is present in artwork. The
teacher will present to students multiple contemporary artists that cover a range of themes.
Students will verbally respond to the following questions during the class presentation:
How are the different themes in the artwork expressed?
How does the medium of the artwork influence the meaning?
How does the medium of the artwork influence our interpretation?
How does the style of the artwork affect our evaluation?
4. Closure
Students will compile a list of what traditions they are interested in, the associated relations, and how
the student feels like they belong.
This list will be used later to help create their embroidery project.
Students will be asked if any areas of the lesson need to be explained again or with more clarity

Day Five of the Lesson

In small groups, students will briefly review elements and principles of art and design.
2. Guided Practice
The teacher will present the artwork in the PowerPoint presentation from the previous class.
As a class, the teacher will lead students in:
Explaining what iconography is in relation to art
Examining artwork in the presentation for iconography
Compare and contrast the different symbols present in the artwork.
.
Students will create lists of the symbols that they see in the presented artwork in their journals.
Students will be asked to interpret their meanings and explain how symbols may have more than one
meaning or are unclear.
In small groups, students will share the symbols they found and record any differences in their
interpretations of these symbols.
After, each group will share their list of symbols and possible meanings with the rest of the class. The
teacher will create a list of symbols for the classroom on butcher paper to be hung with the class list of
traditions. This list will be used for the remainder of the unit.
4. Closure
Before the end of class, the teacher will have students brainstorm where else symbols might be used
outside of artworks. Students will note the locations of the symbols in their journals.

Day Six of the Lesson

Students will meet in small groups for a short discussion:
Where do you see symbols outside of art?
What do these symbols represent?
Do these symbols have multiple meanings depending on the context?
2. Guided Practice
As a class, the teacher will lead a short review on the symbol list from the last class.
After the review, the teacher will introduce an art assignment to be completed by the end of class.
Students will create multiple symbols to use later in the unit.
.
Students will create between 5 and 10 symbols on their own to use later in the unit.
Students can use the class symbol list for direction.
Students can use the class traditions and relations list for direction.
Students will also write a short journal entry over their symbols:
Students will explain what each symbol means and why it was chosen to represent that
meaning.
4. Closure
Students will partner up with another student in order to analyze the other students work.
Students only need to analyze 2 symbols each.
Students will guess the meanings of the symbols as an evaluation of the symbols clarity.

X. Summative Assessment and Evaluation:
Students will be assessed based on participation in class discussion. Students will be assessed on the
lists that they created throughout this lesson as well as their journaling assignments. Participation in
class will count for 15 points. Each journaling assignment will count as 7 points towards their grade
while the artwork assessment will count for 20 points. The symbols students create will be worth up to
30 points. Students will be graded on the following rubric. Students will be graded according to the
rubric:
Grading Rubric
No credit Needs Satisfactory Excellent
(0% of available Development (50%-79% of (80%-100% of
points) (1%-49% of available points) available points)
available points)
Participation The student does The student The student The student always
in discussions not participate in participates rarely participates participates in class,
(15 points) class, group, or in class, group, or frequently in group, or partner
partner discussions partner class, group, or discussions and
and hinders the discussions and partner makes thought-
discussion. makes small discussions and provoking,
contributions to makes substantial meaningful
the discussion. contributions to contributions to the
the discussion. discussion.
Journaling The student did not The student only The student only The student
Assignments work on any of the completed one or missed one completed all
(7 points each, journaling two journaling journaling journaling
assignments during assignments or did assignment and assignments and
total of 35
this lesson or did not address the addresses the addresses the
points) not turn them in. prompt in their prompts fairly prompt fully with
journals. well. meaningful entries.
Artwork The student did not The student only The student The student
assessment complete the addressed one or addressed all addresses all the
(20 points) artwork two of the questions for the questions for the
assessment. questions for the artwork artwork assessment
artwork assessment and and provided deep,
assessment and answered the meaningful answers.
lacked depth to questions fairly
their answers. well.
Symbols The student did not The student The student The student created
Project create any symbols created less created the more than the
(30 points) for this project. symbols than the minimum number minimum number of
minimum of symbols and symbols and
requirement or did showed a basic showed a strong
not show unique understanding of understanding of the
symbols. the project. project.
_______ pts out of available 100
XI. Interdisciplinary Connections:
XII. References & Resources:
Barnett, P. (2016). Tradition and Innovation in Art. Art In History. ArtID. Retrieved April 10, 2017
from http://artid.com/members/peterbarnett/blog/post/3762-tradition-and-innovation-in-art,
eHowArtsAndCrafts. (2012, December 08). What Is Thematic Drawing? : Art Projects. Retrieved April
10, 2017, from https://www.youtube.com/watch?v=fvUul4eAyUo
LaFarge, J. (1943). Tradition and Art. The Irish Monthly, 71(843), 372-380. Retrieved April 10, 2017
from http://www.jstor.org/stable/20515177
Stewart, M. (2012). Launching the imagination: A comprehensive guide to basic design, 4th edition.
McGraw Hill.
XIII. Art TEKS:
(1) Foundations: observation and perception. The student develops and expands visual literacy skills
using critical thinking, imagination, and the senses to observe and explore the world by learning about,
understanding, and applying the elements of art, principles of design, and expressive qualities. The
student uses what the student sees, knows, and has experienced as sources for examining,
understanding, and creating original artworks. The student is expected to:
(A) use visual comparisons to illustrate concepts and ideas from direct observation, original
sources, experiences, narration, and imagination for original artworks;
(B) identify and apply the elements of art, including line, shape, color, texture, form, space,
and value, as the fundamentals of art in personal artworks;
(C) identify and apply the principles of design, including emphasis, repetition/pattern,
movement/rhythm, contrast/variety, balance, proportion, and unity in personal artworks; and
(D) explore suitability of art media and processes to express specific ideas such as content,
meaning, message, appropriation, and metaphor relating to visual themes of artworks using art
vocabulary accurately.
(2) Creative expression. The student communicates ideas through original artworks using a variety of
media with appropriate skills. The student expresses thoughts and ideas creatively while challenging
the imagination, fostering reflective thinking, and developing disciplined effort and progressive
problem-solving skills. The student is expected to:
(A) create original artwork using multiple solutions from direct observation, original sources,
experiences, and imagination in order to expand personal themes that demonstrate artistic
intent;
(B) apply design skills in creating practical applications, clarifying presentations, and
examining consumer choices in order to make successful design decisions;
(D) create original artwork to communicate thoughts, feelings, ideas, or impressions;
(F) select from a variety of art media and tools to communicate specific ideas in drawing,
painting, printmaking, sculpture, ceramics, fiber art, jewelry, mixed media, photography, and
digital art and media.
(3) Historical and cultural relevance. The student demonstrates an understanding of art history and
culture by analyzing artistic styles, historical periods, and a variety of cultures. The student develops
global awareness and respect for the traditions and contributions of diverse cultures. The student is
expected to:
(A) examine selected historical periods or styles of art to identify general themes and trends;
(B) analyze specific characteristics in artwork from a variety of cultures;
(D) examine and research career, entrepreneurial, and avocational opportunities in art.
(4) Critical evaluation and response. The student responds to and analyzes the artworks of self
and others, contributing to the development of the lifelong skills of making informed
judgments and reasoned evaluations. The student is expected to:
(A) interpret, evaluate, and justify artistic decisions in artwork by self, peers, and other artists
such as that in museums, local galleries, art exhibits, and websites;
(B) evaluate and analyze artwork using a method of critique such as describing the artwork,
analyzing the way it is organized, interpreting the artist's intention, and evaluating the success
of the artwork;
(C) use responses to artwork critiques to make decisions about future directions in personal
work;
(D) construct a physical or electronic portfolio by evaluating and analyzing personal original
artworks to provide evidence of learning; and
(E) select and analyze original artwork, portfolios, and exhibitions to form precise
conclusions about formal qualities, historical and cultural contexts, intentions, and meanings.
XIV. National Art Standards:

Anchor Standard 1: Generate and conceptualize artistic ideas and work
Individually or collaboratively formulate new creative problems based on students existing
artwork.
Choose from a range of materials and methods of traditional and contemporary artistic
practices to plan works of art and design.
Anchor Standard 2: Organize and develop artistic ideas and work.
Through experimentation, practice, and persistence, demonstrate acquisition of skills and
knowledge in a chosen art form.
Anchor Standard 3: Refine and complete artistic work.
Engage in constructive critique with peers, then reflect on, reengage, revise, and refine works
of art and design in response to personal artistic vision.
Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.
Analyze, select, and critique personal artwork for a collection or portfolio presentation.
Anchor Standard 6: Convey meaning through the presentation of artistic work.
Make, explain, and justify connections between artists or artwork and social, cultural, and
political history.
Anchor Standard 7: Perceive and analyze artistic work
Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of
specific audiences
Anchor Standard 8: Interpret intent and meaning in artistic work.
Identify types of contextual information useful in the process of constructing interpretations of
an artwork or collection of works.
Anchor Standard 9: Apply criteria to evaluate artistic work.
Determine the relevance of criteria used by others to evaluate a work of art or collection of
works.
Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar
subjects through artmaking.
Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to
deepen understanding
Compare uses of art in a variety of societal, cultural, and historical contexts and make
connections to uses of art in contemporary and local contexts.
Lesson Plan
Lesson #2, Abstraction versus Representation, High School Fibers I, 275 minutes over five class
periods, 55 minutes each
Students will learn about abstract artists and their artwork.

Students will learn about representational artists and their artwork.
Students will learn about the art movements in abstract and representational artwork.
III. Key Concepts:
Abstraction, Representation, Realism, Impressionism, Stylization, Minimalism, Cubism, Pop Art,

Nonobjective, Art Movements
What are abstract artists and what is their artwork?

What are representational artists and what is their artwork?
What are the art movements in abstract and representational artwork?
Students will be able to identify abstract artists and their artwork.

Students will be able to identify representational artists and their artwork.
Students will be able to discriminate the art movements in abstract and representational artwork.
Abstraction, Representation, Realism, Impressionism, Stylization, Minimalism, Cubism, Pop Art,

Nonobjective, Art Movements
Claude Monet. La Promenade. (1875). Oil on canvas.

Claude Monet. Woman With a Parasol. (1886). Oil on canvas.
Claude Monet. Camille Aka The Woman In a Green Dress. (1866). Oil on canvas.
Edouard Manet. A Bar at the Folies-Bergere. (1882). Oil on canvas
Edouard Manet. Berthe Morisot With a Bouquet of Violets. (1872). Oil on canvas.
Henri Matisse. Draped Nude. (1936). Oil on canvas
Henri Matisse. Green Stripe. (1905). Oil on canvas
Henri Matisse. Portrait of Lydia Delectorskaya. (1947). Oil on canvas
Brett Bigbee. Portrait of Ann. (2004-2008). Oil on canvas
Brett Bigbee. Joe and James. (2001-2003). Oil on canvas
Brett Bigbee. Spring. (1988). Oil on canvas
Jeff Koons. Lobster. (2007-2012). Coated steel chain, polychromed aluminum, steel chain
Jeff Koons. Bouquet of Tulips. (2016). Polychromed bronze, stainless steel, and aluminum
Jeff Koons. Balloon Dog. (1995-1998). Stainless steel, transparent color coating
Jeff Koons. Cat. (1991). Marble.
Claes Oldenburg. Lipstick (Ascending) on Caterpillar Tracks. (1974). Weathering Steel
Claes Oldenburg. Spoonbridge and Cherry. (1988). Aluminum, stainless steel, paint
Claes Oldenburg. Cupid's Span. (2002). Stainless steel, structural carbon steel, fiber-reinforced plastic,
cast epoxy, polyvinyl chloride foam; painted with polyester gelcoat
Claes Oldenburg. Big Sweep. (2006). Stainless steel, aluminum, fiber-reinforced plastic; painted with
polyurethane enamel
Claes Oldenburg. Free Stamp. (1991). Steel and aluminum; painted with polyurethane enamel.
Internet and computer access Pencils Student Journals
Vocabulary: Abstraction, Representation, Realism, Impressionism, Stylization, Minimalism, Cubism,

Pop Art, Nonobjective, Art Movement

Students will start with a short journaling assignment, Students will reflect on the symbols that they
created last class period.
Examples of guiding questions for students to use:
What was the base for this symbol? Was it inspired by something in reality?
2. Guided Practice
The teacher will present a Powerpoint on representational art. The teacher will give an explanation of
what representative art is and the different art movements associated with it.
Some possible art movements to include in the teacher presentation of representational art:
Realism, Impressionism, Stylization, etc.
.
During the presentation, students will practice identifying the different art movements in
representational art. Students will work in small groups to correctly identify the remaining artworks.
Students should keep personal notes in their journals about the differences between the representational
art movements.
4. Closure
As a class, the teacher will lead a short review of the different representative art movements presented.
Students will be expected to conduct independent practice outside of class on identifying
representational art styles.


Students will practice identifying limited number of representational artworks.
2. Guided Practice
The teacher will lead students in a class discussion:
Students will discuss the benefits of representational artwork
Students will discuss the challenges of representational artwork
Students will discuss the traditions associated with representational artwork
Students will discuss their comfort working with representational artwork
.
Students will work on a short research assignment for the remainder of class. Students will research 3-
5 contemporary representational artists and write a paragraph detailing the medium(s) used, the
thematic nature of the work, and how the artist relates to the movements discussed in class previously.
This assignment should be between 1 to 2 pages long.
4. Closure
Students will share top favorite researched artist with the class

Day Three of the Lesson

Students will turn in their research assignment from the last class.
2. Guided Practice
The teacher will present a Powerpoint on abstract art. The teacher will give an explanation of what
abstract art is and the different art movements associated with it.
Some possible art movements to include in the teacher presentation of abstract art:
Minimalism, cubism, nonobjective, etc.
.
During the presentation, students will practice identifying the different art movements in abstract art.
Students will work in small groups to correctly identify the remaining artworks. Students should keep
personal notes in their journals about the differences between the abstract art movements.
4. Closure
As a class, the teacher will lead a short review of the different abstract art movements presented.
Students will be expected to conduct independent practice outside of class on identifying abstract
art styles.


Students will practice identifying limited number of abstract artworks.
2. Guided Practice
The teacher will lead students in a class discussion:
Students will discuss the benefits of abstract artwork
Students will discuss the challenges of abstract artwork
Students will discuss the traditions associated with abstract artwork
Students will discuss their comfort working with abstract artwork
.
Students will work on a short research assignment for the remainder of class. Students will research 3-
5 contemporary abstract artists and write a paragraph detailing the medium(s) used, the thematic nature
of the work, and how the artist relates to the movements discussed in class previously. This assignment
should be between 1 to 2 pages long.
4. Closure
Students will prepare for the test to assess their knowledge of abstract and representational art as well
as the movements associated with them next class.


Students will turn in their research assignment from the last class.
2. Guided Practice
The teacher will lead a short class review about representational art, abstract art, and the associated
movements that were presented previously in class. The teacher will pass out a short test to assess
student knowledge of this lessons material.
.
Students will take a test to assess their knowledge of abstract and representational art as well as the
movements associated with them.
4. Closure
Students will reflect on what they have learned about abstract and representational art and the art
movements associated with them.

Students will be assessed by their participation in class, their research assignments, and the abstract
versus representation test. Participation will be worth 20 points for this lesson. Each writing
assignment will be worth 20 points for a total worth of 40 points. The test over the lessons material
will be worth 40 points. Students will be graded according to the rubric:
Grading Rubric
(0% of Development (50%-79% of (80%-100% of
available (1%-49% of available points) available points)
points) available points)
Participation in The student The student The student The student always
discussions does not participates participates participates in class,
(20 points) participate in rarely in class, frequently in class, group, or partner
class, group, group, or partner group, or partner discussions and
or partner discussions and discussions and makes thought-
discussions makes small makes substantial provoking,
and hinders contributions to contributions to meaningful
the the discussion. the discussion. contributions to the
discussion. discussion.
Research The student The student The student The student

Assignments did not either only completed both completed both
(20 points complete completed one of research research
either of the the research assignments with assignments with
each, total of
research assignments or the minimum more than the
40 points) assignments. did not meet the number of minimum number
minimum contemporary of contemporary
number of artists with artists with a depth
contemporary adequate of information on
artists for the information. the artists and their
assignments. work.
Abstract v The student The student The student The student did not
Representation did not take missed the missed a few of miss any of the
Test the test or majority of the the questions on questions on the test
missed all the questions on the the test and and demonstrated
(40 points)
questions. test but demonstrated a an advanced
demonstrated a satisfactory understanding of the
basic understanding of material.
understanding of the material.
the material.
Barr, A. H. (1975). Cubism and abstract art. Secker and Warburg.
Feist, G. J., & Brady, T. R. (2004). Openness to experience, non-conformity, and the preference for
abstract art. Empirical Studies of the Arts, 22(1), 77-89.
Furnham, A., & Bunyan, M. (1988). Personality and art preferences. European Journal of Personality,
2(1), 67-74.
Furnham, A., & Walker, J. (2001). Personality and judgements of abstract, pop art, and representational
paintings. European Journal of Personality, 15(1), 57-72.
Hagen, M. A. (1986). Varieties of realism: Geometries of representational art. CUP Archive.
Knapp, R. H., & Wulff, A. (1963). Preferences for abstract and representational art. The Journal of
social psychology, 60(2), 255-262.
Schapiro, M. (1937). Nature of abstract art (pp. 185-86). American Marxist Association.
XIII. Art TEKS
intent;
expected to:
of the artwork;
work;
XIV. National Art Standards

artwork.
political history.
specific audiences
works.
LESSON PLAN
Lesson #3: Developing Drawing Skills, High School Fibers I, 385 minutes over seven class periods, 55
minutes each
Students will learn how to communicate themes of tradition, relation, and belonging through drawing.
Students will learn how to critique artwork before, during, and after creating drawings.
Students will learn about the drafting process when making art.
III. Key Concepts:
Tradition, relation, belonging, elements and principles of art and design, drafting process
How do we communicate themes of tradition, relation, and belonging through drawing?

How do we critique artwork before, during, and after creating drawings?
What is the drafting process when making art?
Students will be able to create drawings that communicate themes of tradition, relation, and belonging.
Students will be able to critique artwork before, during, and after creating drawings.
Students will be able to demonstrate the drafting process when making art.
Elements and principles of art and design, Drafting,
Rough draft examples of various sizes:

Example of a Final Draft:
Embroidery Hoop Pencils Student Journals
Transfer paper Lightbox Colored Pencils
Vocabulary: Elements and Principles of Art and Design

The teacher will return graded student's tests from previous class and prepare them for the next
activity.
2. Guided Practice
The teacher will lead a class discussion regarding the project goal for this lesson.
Students will be going through the drafting process to create drawings
These drawings will be used a guide for their final art object in the final lesson.
The teacher will explain the activity for this class period.
Students will be creating thumbnail sketches that they will refine over the next few days.
These thumbnails will build upon prior information in the unit.
.
Students will create at least 10 thumbnail sketches, roughly 2 inches by 2 inches in size.
5 of the thumbnails must be abstract and 5 must be representative.
Students may utilize the research they did on contemporary artists and class discussions.
Students must incorporate at least one theme in their sketches
Students may choose between tradition, relations, and belonging.
4. Closure
Students will continue developing their thumbnails in preparation for next class.


Students will select 5 of their best thumbnails to continue to develop.
Students will use these thumbnails to base their rough drafts off of.
2. Guided Practice
The teacher will facilitate a short class discussion on critique.
Students have already practiced small portions of critique unknowingly;
Critique was practiced minorly on days 4 and 5
.
Students will practice critique in small groups using the students 5 best thumbnails.
Some examples of student-led critique focus on questions like:
How are the thumbnails successful?
What can be improved in the thumbnails?
How do these thumbnails represent the themes of this unit?
4. Closure
Students will have short journaling assignment at the end of class reflecting on the critique of their
thumbnails. Students should note what was more successful and changes that they may make for their
rough drafts next class.

Day Three the Lesson

Students will review their thumbnails and select up to 3 sketches to develop into their rough draft.
2. Guided Practice
The teacher will lead a short class discussion on how to introduce students to the rough drafting
process. The first step began with creating thumbnails which the students have already done. Now,
students will use these thumbnails to create larger rough drafts that students will eventually use to
create their final drawing. Additionally, the teacher will introduce students to the first embroidery tool
they will use; an embroidery hoop.
.
Students will work independently on developing their rough drafts.
Students will be able to create up to three rough drafts.
Students will be introduced to embroidery hoops: students will trace the inner ring of the embroidery
hoop to use as size guide for the rough draft.
4. Closure
Students will prepare for the next class where they will continue to develop their rough drafts.


Students will return to work on their rough drafts.
2. Guided Practice
The teacher will review the student progression and development on their rough drafts, recovering
previous material as necessary.
.
Students will work independently on developing their rough drafts.
Students will be able to create up to three rough drafts.
Students will be introduced to embroidery hoops: students will trace the inner ring of the embroidery
hoop to use as size guide for the rough draft.
4. Closure
Students will prepare for the next class where they will critique their rough drafts


Students will use Think pair share to critique their rough drafts.
Students will partner up with someone and use critique to narrow down student work to the best
rough draft which will be used to create the final.
2. Guided Practice
The teacher will lead a class discussion to review student progression on the project. The teacher will
introduce students to the final drawing process. Students will create professional quality full color
drawings to use as reference when creating their final artwork in the next lesson.
.
Students will work independently on developing their final draft. Students will create professional
quality full color drawings from their rough drafts.
Students will be utilize embroidery hoops as a guide students will trace the inner ring of the
embroidery hoop to use as size guide for the final draft.
4. Closure
Students will prepare for the next class where they will continue to develop their final drafts.

Day Six of the Lesson

Students will return to work on their final drafts.
2. Guided Practice
The teacher will review the student progression and development on their final drafts, recovering
.
4. Closure
Students will prepare for the next class where they will continue to develop their final drafts.

Day Seven of the Lesson

Students will return to work on their final drafts.
2. Guided Practice
The teacher will review the student progression and development on their final drafts, recovering
.
4. Closure
Students will prepare for the new lesson beginning next class.

Repeat 1-6, as needed, for each class session needed for this one lesson.
Students will be assessed on class participation. Students will be assessed on the completion of their
thumbnail sketches, their rough draft(s), and their final draft. Students will be assessed on how well
they address the themes of the unit in their art. Students will be graded according to the rubric:
Grading Rubric
Participation The student The student The student The student always
in does not participates participates participates in class,
discussions participate in rarely in class, frequently in class, group, or partner
class, group, group, or partner group, or partner discussions and
(10 points)
or partner discussions and discussions and makes thought-
discussions makes small makes substantial provoking,
and hinders contributions to contributions to meaningful
the the discussion. the discussion. contributions to the
discussion. discussion.
Thumbnail The student The student The student The student created
sketches did not created some of created the more than the
(20 points) complete any the thumbnail minimum minimum requirement
of the sketches but did requirement of of thumbnail sketches
thumbnail not meet the thumbnail sketches and strongly
sketches. minimum and briefly addressed the themes
requirement or addressed the of the unit in their art.
did not address themes of the unit
the themes of the in their art.
unit in their art.
Rough Draft The student The student The student The student created
(20 points) did not created some of created the more than the
complete any the rough drafts minimum minimum requirement
of the rough but did not meet requirement of of rough drafts and
drafts. the minimum rough drafts and strongly addressed the
requirement or briefly addressed themes of the unit in
did not address the themes of the their art.
the themes of the unit in their art.
unit in their art.
Final Draft The student The student The student The student created
(50 points) did not created the final created the final the final draft and
complete the draft but did not draft and briefly strongly addressed the
final draft. address the addressed the themes of the unit in
themes of the themes of the unit their art.
unit in their art. in their art.
Chaet, B. (1978). The art of drawing. Holt, Rinehart and Winston.
De Zegher, M. C., & Newman, A. (2003). The stage of drawing: gesture and act: selected from the
Tate Collection (Vol. 36). Tate Gallery Publishing.
Enstice, W & Peters, M. (2012). Drawing: Space, form, and expression, 4th edition. Pearson.
Gidjunis, R. (2017). Art & Craft: The Drafting Process. Retrieved April 12 2017 from
https://prezi.com/fm6oo7rgd_os/art-craft-the-drafting-process/
Stewart, M. (2012). Launching the imagination: A comprehensive guide to basic design, 4th edition.
McGraw Hill.
Wilson, B., Hurwitz, A., & Wilson, M. (1987). Teaching drawing from art. Davis Publications.
XIII. Art TEKS
intent;
expected to:
of the artwork;
work;

artwork.
political history.
specific audiences
works.
Lesson Plan
Lesson #4: Embroidery Art, High School Fibers I, 605 minutes over eleven class periods, 55 minutes
each
Students will learn how to create embroidery artwork using a variety of techniques.
Students will learn how to translate drawings into embroidery art.
Students will learn how media affects the meaning of artwork.
III. Key Concepts:
Embroidery, Needlework, Textile, Floss, Stitch, Chain stitch, Satin stitch, Backstitch, French Knot,
Running stitch, Lazy Daisy stitch, Stem stitch, Split stitch

What various techniques are used to create embroidery artwork?
How do you translate drawings into embroidery art?
How does media affect the meaning of artwork?
Students will be able to reproduce various techniques used to create embroidery artwork.
Students will be able to demonstrate how to translate drawings into embroidery art.
Students will be able to identify how media affects the meaning of artwork.
Embroidery, Needlework, Textile, Floss, Stitch, Chain stitch, Satin stitch, Backstitch, French Knot,
Running stitch, Lazy Daisy stitch, Stem stitch, Split stitch
Rolfe, A. (2014, May 27). 7 Basic Embroidery Stitches | 3and3quarters. Retrieved April 15, 2017,
from https://www.youtube.com/watch?v=Ff9-1ZPAdSs
Ana Teresa Barboza. Animales Familiares (series). (2011). Graphite and Embroidery on cloth.
Ana Teresa Barboza. Cieneguilla. (2014). Embroidery and Graphite On Cloth
Ana Teresa Barboza. Suspensin 3. (2013), Embroidery and yarn on cloth.
Sarah K. Benning. Girl and Potted Jungle. (2016). Embroidery on cloth.
Sarah K. Benning. Plant Interior With Rug. (2016). Embroidery on cloth
Sarah K. Benning. DSC_0215. (2016). Embroidery on cloth
Cayce Zavaglia. Garrett. (2014). Hand Embroidery: Crewel Wool and Acrylic on Linen
Cayce Zavaglia. Luca Nicolo (Age 7). (2016). Hand Embroidery: Wool and Cotton on Belgian Linen
with Acrylic Paint
Cayce Zavaglia. Luca. (2016). Hand Embroidery: Wool and Cotton thread on Raw Belgian Linen
Cayce Zavaglia. Raphaella in her Winter Coat (After Alex). (2015). Hand Embroidery: Wool on
Belgian Linen with Acrylic Paint
Lisa Smirnova. Untitled. (2015). Embroidery on cloth.
Meghan Willis (TsuruBride). Lipstick. (2017). Embroidery and sequin on cloth.
Meghan Willis (TsuruBride). Handmaiden. (2017). Embroidery on cloth.
Meghan Willis (TsuruBride). Organza Study. (2017). Embroidery on cloth and organza.
Meghan Willis (TsuruBride). Imprint. (2017). Embroidery and acrylic paint on leather & linen.
Jacque Davis. Free form embroidery on black. (2010). Embroidery on cloth.
Jacque Davis. Free form embroidery. (2010). Embroidery on cloth
Jacque Davis. Sashiko Pillow. (2016). Embroidery on cloth
Takashi Iwasaki. Tomoharaharashibigorei. (2012). Embroidery floss and fabric.
Takashi Iwasaki. Dentakangl. (2008). Embroidery floss and fabric.
Takashi Iwasaki. Kazuteru (2006). Embroidery floss and canvas.
Takashi Iwasaki. Kanshoutansa (2008). Embroidery floss and fabric.
Nicolette Darita de la Brown. El Barrio Bodega (series). (2013). Embroidered plastic bags.
Teacher and student examples of embroidery practices
Teacher example of finished art project:

Embroidery Hoop Embroidery Floss Embroidery Needles
Embroidery Scissors Plain Fabric Pencil
Transfer paper Lightbox Student Journals
Vocabulary: Embroidery, Needlework, Textile, Floss, Fabric, Stitch, Chain stitch, Satin stitch,
Backstitch, French Knot, Running stitch, Lazy Daisy stitch, Stem stitch, Split stitch
Day One of the Lesson:
Students will watch a short video on various embroidery stitches.
2. Guided Practice
The teacher will lead a class discussion based on the material in the video.
Questions to ask students:
What did you see in the video?
What stuck out to you the most?
The teacher will then introduce the assignment for todays class.
The teacher will demonstrate how to stretch fabric on the embroidery hoop, how to thread the
embroidery needle with embroidery floss, and how to make a basic stitch.
Students will familiarize themselves with different embroidery tools. Students will practice how to
stretch fabric on the embroidery hoop, how to thread the embroidery needle with embroidery floss, and
how to make a basic stitch.
Students will build their confidence by freely exploring the tools before beginning to practice stitches.
4. Closure
Students will prepare for the next class where they will begin to practice a variety of basic stitches.

Day Two of the Lesson:
Students will practice preparing materials for todays embroidery activity. Students will practice how
to stretch fabric on the embroidery hoop and how to thread the embroidery needle with embroidery
floss,
4. Guided Practice
The teacher will introduce the current activity; students will be using 2 small embroidery hoops or 1
large embroidery hoop to practice a variety of basic stitches. The 2 smaller hoops will be divided into
fourths for each stitch and the 1 larger hoop will be divided in eighths for each stitch.
The teacher will demonstrate how to create 4 basic stitches: the Running stitch, the Lazy Daisy stitch,
the Stem stitch, and the Split stitch. The teacher will also pass out handouts explaining how to do each
stitch step by step for future student reference.
Students will practice each stitch until the section of their embroidery hoop is filled; one fourth for a
smaller hoop and 1 eighth for a larger hoop.
5. Closure
Students will be asked to research other embroidery stitch techniques that they are interested in or
would like to use for their final project.

Day Three of the Lesson:
Students will practice preparing materials for embroidery
6. Guided Practice
The teacher will demonstrate how to create 4 basic stitches: the Chain stitch, the Satin stitch, the
Backstitch, and the French Knot. The teacher will also pass out handouts explaining how to do each
stitch step by step for future student reference.
Students will practice each stitch until the section of their embroidery hoop is filled; one fourth for a
smaller hoop and 1 eighth for a larger hoop.
6. Closure
Students will be asked to research other embroidery stitch techniques that they are interested in or
would like to use for their final project.

Day Four of the Lesson:
Students will revisit the final draft they had finished from the previous lesson. Students will use their
knowledge of embroidery stitches to detail on their final draft which stitches they will use to translate
their drawing to embroidery. Students must include at least 3 different stitch techniques to use in their
embroidery artwork.
2. Guided Practice
The teacher will explain how to transfer student drawings onto fabric for their embroidery project. The
different methods that students can use are transfer paper, light boxes, or redrawing their image onto
the fabric.
Students will cut out the fabric 2 inches larger than their embroidery hoop on all sides. Students will
work individually to transfer their drawings onto this fabric for their embroidery project.
4. Closure
Students will stretch their fabric over the embroidery hoop in preparation for the next class.

Day Five of the Lesson:
Students will have their embroidery project ready to work on beginning today,
2. Guided Practice
The teacher will lead a brief discussion about the expectations for the final project. Students will use
their final draft from the previous lesson that combined themes of tradition, relation, and belonging.
Students will be expected to use at least 3 embroidery techniques that students detailed on their final
draft. Students must also create a rationale explaining their artwork and how the work addresses the
themes of tradition, relation, and belonging.
Students will work independently on their embroidery project. Students will work independently on
their rationale.
4. Closure
Students will review their journals and class resources to help guide them throughout their embroidery
project.

Day Six of the Lesson:
Students will have their embroidery project ready to continue working on today,
2. Guided Practice
The teacher will provide examples of finished embroidery projects for student reference. The teacher
will provide examples of complete rationales for student reference.
their rationale.
4. Closure
project.

Day Seven of the Lesson:
2. Guided Practice
their rationale.
4. Closure
project.

Day Eight of the Lesson:
2. Guided Practice
their rationale.
4. Closure
project.

Day Nine of the Lesson:

Students will finish working on their embroidery project today
2. Guided Practice
their rationale.
4. Closure
Students will prepare for a class critique over the next two class periods.

Day Ten of the Lesson:
Students will hang their embroidery artwork and final draft for class critique. Students will submit their
finished rationale to the teacher before critique begins.
2. Guided Practice
The teacher will randomly divide the class into 2 sections; one group will present today and the other
group the next class period. The teacher will explain the rules of critique to students:
Students will compare and contrast the embroidery artwork to the final draft.
Students will also make note of any changes between the two works.
Students will evaluate whether the piece successfully addresses the themes of tradition,
relation, and belonging.
Students will lead critique for the work presented.
4. Closure
Students who presented will fill out a self-evaluation from to assess themselves on the project.

Day Eleven of the Lesson:
Students will hang their embroidery artwork and final draft for class critique. Students will submit their
finished rationale to the teacher before critique begins.
4. Guided Practice
The teacher has randomly divide the class into 2 sections; one group presented last class and the other
group will present this class period. The teacher will explain the rules of critique to students:
Students will compare and contrast the embroidery artwork to the final draft.
Students will also make note of any changes between the two works.
Students will evaluate whether the piece successfully addresses the themes of tradition,
relation, and belonging.
Students will lead critique for the work presented.
5. Closure
Students who presented will fill out a self-evaluation from to assess themselves on the project.

Repeat 1-6, as needed, for each class session needed for this one lesson.
Students will be assessed based on their participation in critique worth up to 10 points. Students will be
assessed based on their embroidery practices worth up to 10 points. Students will be assessed on their
embroidery project worth up to 40 points. Students will be assessed on their accompanying embroidery
rationale worth up to 40 points. Students will be graded according to the rubric:
Grading Rubric
Participation The student The student The student The student always
in critique does not participates rarely participates participates in
(10 points) participate in in critique and frequently in critique and makes
critique or makes small critique and makes thought-provoking,
hinders the contributions to the substantial meaningful
critique. critique. contributions to the contributions to the
critique. critique.
Embroidery The student The student did not The student The student
Practice did not complete the completed the completed all of the
(20 points) complete majority of the majority of the basic embroidery
any of the basic embroidery basic embroidery stitch practices and
basic stitch practices and stitch practices and filled each of the
embroidery did not fill the filled most of the sections
stitch sections sections completely. completely.
practices. completely.
Embroidery The student The student did not The student The student created
Project did not complete majority completed the the final
(20 points) complete the of the final majority of the final embroidery project
final embroidery project embroidery project and exceeded the
embroidery or did not meet the and meet the minimum
project. minimum minimum requirement of
requirement of requirement of embroidery
embroidery embroidery techniques
techniques. techniques
Embroidery The student The student created The student created The student created
Rationale did not a rationale but does a rationale that a rationale that
(50 points) include a not address how briefly addresses addresses in depth
rationale. their art relates to how their art relates how their art relates
the themes of the to the themes of the to the themes of the
unit. unit. unit.

Dick Blick Art Materials (2015). Stitch it up! Retrieved April 12 2017 from http://cdn.dick-
blick.com/lessonplans/stitch-it-up/stitch-it-up-stitch-it-up.pdf
Watt, Melinda. Textile Production in Europe: Embroidery, 16001800. In Heilbrunn Timeline of Art
History. New York: The Metropolitan Museum of Art, 2000.
http://www.metmuseum.org/toah/hd/txt_e/hd_txt_e.htm (October 2003).
Peck, Amelia. American Needlework in the Eighteenth Century. In Heilbrunn Timeline of Art
http://www.metmuseum.org/toah/hd/need/hd_need.htm (October 2003).
Watt, Melinda. English Embroidery of the Late Tudor and Stuart Eras. In Heilbrunn Timeline of Art
http://www.metmuseum.org/toah/hd/broi/hd_broi.htm (May 2010).
Parker, R. (2010). The subversive stitch: Embroidery and the making of the feminine. IB Tauris.
Schuette, M., & Mller-Christensen, S. (1964). The art of embroidery. London: Thames and Hudson.
Thomas, M., & Eaton, J. (1998). Dictionary of embroidery stitches. Trafalgar Square Books.
Victoria & Albert Museum. Knightsbridge, London.
Chojun Textile & Quilt Art Museum. Myeongdong, Seoul, South Korea.
American Textile History Museum. Artist Textiles: Picasso to Warhol. Lowell, Massachusetts,
XIII. Art TEKS
intent;
expected to:
of the artwork;
work;

artwork.
political history.
specific audiences
works.

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Unit of Study

Traditions, Relations, &

I. Lesson Number, Grade Levels, Title, and Duration:

II. Lesson Rationale:

III. Key Concepts:

Tradition, relation, belonging, thematic art, iconography, symbology

IV. Essential Question:

VI. Specific Art Content:

VII. Resources & Materials for Teacher:

Faig Ahmed. Graffiti. (2007-2016). Handmade Woolen Carpet

VIII. Resources & Materials for Students:

Internet and computer access Pencils Student Journals

Butcher Paper Thumbtacks Scissors

Vocabulary: Thematic Art, Tradition, Relation, Belonging, Iconography, Analysis, Evaluation,

IX. Instruction and Its Sequencing:

Day One of the Lesson

6. Classroom Management Procedures

Day Two of the Lesson

6. Classroom Management Procedures

Day Three of the Lesson

6. Classroom Management Procedures

Day Four of the Lesson

6. Classroom Management Procedures

Day Five of the Lesson

6. Classroom Management Procedures

Day Six of the Lesson

6. Classroom Management Procedures

X. Summative Assessment and Evaluation:

_______ pts out of available 100

XI. Interdisciplinary Connections:

XII. References & Resources:

XIII. Art TEKS:

XIV. National Art Standards:

I. Lesson Number, Grade Levels, Title, and Duration:

II. Lesson Rationale:

Students will learn about abstract artists and their artwork.

III. Key Concepts:

Abstraction, Representation, Realism, Impressionism, Stylization, Minimalism, Cubism, Pop Art,

IV. Essential Question:

What are abstract artists and what is their artwork?

Students will be able to identify abstract artists and their artwork.

Abstraction, Representation, Realism, Impressionism, Stylization, Minimalism, Cubism, Pop Art,

VII. Resources & Materials for Teacher:

Claude Monet. La Promenade. (1875). Oil on canvas.

VIII. Resources & Materials for Students:

Internet and computer access Pencils Student Journals

Vocabulary: Abstraction, Representation, Realism, Impressionism, Stylization, Minimalism, Cubism,

IX. Instruction and Its Sequencing:

Day One of the Lesson

6. Classroom Management Procedures

Day Two of the Lesson

6. Classroom Management Procedures

Day Three of the Lesson

6. Classroom Management Procedures

Day Four of the Lesson

6. Classroom Management Procedures

Day Five of the Lesson

6. Classroom Management Procedures

X. Summative Assessment and Evaluation:

Research The student The student The student The student

_______ pts out of available 100

XI. Interdisciplinary Connections:

XII. References & Resources: