Visual Art Curriculum Map Digital Art II

Introduction

In 2014, the Shelby County Schools Board of Education adopted a set of ambitious, yet attainable goals for school and student performance. The District is committed to these goals, as further described in our strategic plan, Destination 2025.

By 2025,

§ 80% of our students will graduate from high school college or career ready § 90% of students will graduate on time § 100% of our students who graduate college or career ready will enroll in a post-secondary opportunity.

In order to achieve these ambitious goals, we must collectively work to provide our students with high-quality, College and Career Ready standards-aligned instruction. Acknowledging the need to develop competence in literacy and language as the foundations for all learning, Shelby County Schools developed the Comprehensive Literacy Improvement Plan (CLIP) and the SCS Curriculum Maps for Arts Education.

Designed with the teacher in mind, the Arts Education (Orff Music, Visual Art, Media Arts, Dance, Instrumental Music, and Vocal Music) curriculum maps focus on teaching and learning in the domains of Perform, Create, Respond, and Connect. This map presents a framework for organizing instruction around the TN State Standards so that every student meets or exceeds requirements for college and career readiness. The standards define what to teach at specific grade levels, and the SCS Arts Education curriculum maps provide guidelines and research-based approaches for implementing instruction to ensure students achieve their highest potentials.

The SCS Arts Education curriculum maps are designed to create artistically/musically literate students by engaging them both individually and collaboratively in creative practices of envisioning, investigating, constructing, and reflecting. To achieve these goals the curriculum maps were developed by expert arts teachers to reflect the conceptual framework of the four artistic processes: present, create, respond, and connect.

How to Use the Arts Education Curriculum Maps

The SCS Arts Education curriculum maps are designed to help teachers make effective decisions about what content to teach and how to teach it so that, ultimately, our students can reach Destination 2025. Across all arts disciplines, this is generally reflected in the following quarterly framework:

Knowledge and Skills- This column reflects the anchor standards and essential tasks associated with grade level mastery of each discipline.

Activities and Outcomes- Generally phrased similar to “I Can” statements, this portion identifies the specific performance indictors that are expected for students at a given time within the quarters/semester.

Assessments- This section of the quarterly maps focuses on the formative and summative methods of gauging student mastery of the student performance indicators listed in the activities/outcomes section.

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Resources And Interdisciplinary Connections- In this column, teachers will find rich bodies of instructional resources/materials/links to help students efficiently and effectively learn the content. Additionally, there are significant resources to engage alignment with the Comprehensive Literacy Improvement Plan (CLIP) that are designed to strengthen authentic development of aural/visual literacy in the arts content areas as well as support larger district goals for improvement in literacy.

Throughout this curriculum map, you will see high-quality works of art/music literature that students should be experiencing deeply, as well as some resources and tasks to support you in ensuring that students are able to reach the demands of the standards in your classroom. In addition to the resources embedded in the map, there are some high-leverage resources available for teacher use.

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QUARTER 1 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES PERFORM: Standard 1 Students will understand and apply media, techniques, and processes. Standard 2 Students will use knowledge of structures and functions. Procedures Establish and continually reinforce classroom Demonstrate consistency following procedures. Book with Website: rules and procedures. Teach Like A Champion: Doug Lemov, www.josseybass.com

Computer Etiquette & Work Habits Review common-practice etiquette for Demonstrate organization of folders and Websites: computer usage. subfolders. www.digitalclassroom.com https://sites.google.com/site/managingadigitalcl Demonstrate desktop navigation & Perform basic computer functions. assroom/home organization. • Setting desktop preferences

• Simple maintenance /care of computer Review computer OS functions. • Mouse/tablet/pen settings Perspective (Linear, Atmospheric) Utilize a combination of different techniques to Demonstrate an understanding of depth within Artists/Artworks: establish a strong sense of perspective in the a composition utilizing a combination of Giorgio de Chirico creation of a surrealistic landscape. perspective techniques including: Salvador Dali Linear (1pt, 2pt, 3pt) • Paul Cezanne

• Atmospheric Architectural Renderings

• Overlapping

• Color variation Website: • Detail variation Composition and Design http://www.goshen.edu/art/ed/Compose.htm Balance & Symmetry Utilize the principles of radial balance and Demonstrate: Website: Use of Gradient/Value symmetry to create an optical illusion of depth • Control of values/ gradients to represent www.ritsumei.ac.jp/~akitaoka/opart-e.html using ONLY gradients and/or values from gray sense of depth scale. (No line or color) • Use of gray scale only Book: • Radial balance Introduction to Design, Alan Pipes (Chap.4) • Symmetry • Optical illusion of depth

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QUARTER 1 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES Balance & Symmetry Utilize the principles of radial balance and Demonstrate: Website: Use of monochromatic and/or symmetry to create an optical illusion of depth • Control of values/ gradients to represent www.ritsumei.ac.jp/~akitaoka/opart-e.htmll using ONLY gradients and/or values from complementary color scheme sense of depth monochromatic and/or complementary color schemes. (No line) • Use of monochromatic and/or Book: complementary color schemes Introduction to Design, Alan Pipes (Chap.4) • Radial balance

• Symmetry Product Styles: • Optical illusion of depth Fashion Design that utilizes patterns inspired by Optical Illusions (Tie Prints, 1970’s polyester shirts, etc.) CREATE: Standard 3 Students will choose and evaluate a range of subject matter, symbols, and ideas. Articulation of design decisions for Explain through written or oral response how Discuss and defend decision process for use Website: gradients and/or values used with radial an optical illusion of depth has been created of: www.ritsumei.ac.jp/~akitaoka/opart-e.htmll balance to create an optical illusion of through the use of radial balance using • Gradient and/or value range using gray depth gradients and/or values / monochromatic scale, monochromatic and/or Book: and/or complementary color schemes. complementary color schemes Introduction to Design, Alan Pipes (Chap.4) • Control of contrast Address the following questions: • Balance of radial pattern • Which treatment (gradients and/or values Product Styles: • Relationship of radial design to optical /monochromatic and/or complementary Fashion Design that utilizes patterns inspired illusion of depth color schemes) was the most effective? by Optical Illusions (Tie Prints, 1970’s • Relationship of gradient and/or value Why? polyester shirts, etc.) • range to balance of radial pattern RESPOND: Standard 4 Students will understand the visual arts in relation to history and cultures. Standard 5 The student will reflect upon and assess the characteristics and merits of their work and the work of others. Historical and cultural relationships to Compare and contrast the illusion of depth in at Support discussion through the artist’s Artists / Artworks: Illusion of depth least one example from each of the following treatment of: Giorgio de Chirico artists: • Linear perspective (1pt, 2pt, 3pt) Salvador Dali Giorgio de Chirico • • Atmospheric perspective Paul Cezanne • Salvador Dali • Overlapping Architectural Renderings • Paul Cezanne • Color variation

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QUARTER 1 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES • Detail variation Book: Introduction to Design, Alan Pipes (Chap.4) Critiquing Methods for Illusion of depth Critique personal and/or peer work using: Critique the illusion of depth through the Website: ● Oral or written form personal or peer’s treatment of: www.ritsumei.ac.jp/~akitaoka/opart-e.htmll ● Appropriate vocabulary ● Linear perspective (1pt, 2pt, 3pt) ● Observed vs. judgmental information ● Atmospheric perspective Product Styles: ● Overlapping Fashion Design that utilizes patterns inspired ● Color variation by Optical Illusions (Tie Prints, 1970’s ● Detail variation polyester shirts, etc.)

Book: Introduction to Design, Alan Pipes (Chap.4) CONNECT: Standard 6 Students will make connections between visual arts and other disciplines. CCSS.Math.Practice.MP2 Correlate the gradient application of a gray Demonstrate the correlation between the Website: Reason abstractly and quantitatively scale with the range of values needed to create gradient application of a gray scale with: www.ritsumei.ac.jp/~akitaoka/opart-e.htmll an optical illusion of depth. • Full range of values (1 - 10)

• Ratio of high contrast vs. low and middle Product Styles: contrast on the picture plane Fashion Design that utilizes patterns inspired by Optical Illusions (Tie Prints, 1970’s polyester shirts, etc.) CCSS.ELA-Literacy.CCRA.R.10 Read and comprehend complex literary and Discuss and compare how each of these artists Artists/Artworks: Range of reading and level of text complexity informational texts. created the illusion of depth by researching Giorgio de Chirico and reading about their techniques: Salvador Dali Giorgio de Chirico • Paul Cezanne • Salvador Dali • Paul Cezanne

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QUARTER 2 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES PERFORM: Standard 1 Students will understand and apply media, techniques, and processes. Standard 2 Students will use knowledge of structures and functions. Digital Illustration - Painting application Incorporate digital skills in painting programs Demonstrate ability to emulate the following Websites: focus (i.e. Corel Painter, Sketchbook Pro) to simulate traditional paper media in a digital www.corel.com/corel/pages/index.jsp?pgid=80 traditional paper media such as watercolor, ink environment: 0067&storeKey=us&languageCode=en and stains, acrylic while creating each of the • Watercolor www.photoshopcreative.co.uk/category/digital_ following: • Ink and stains painting • Still-life composition • Acrylic http://edex.adobe.com • Portrait Through the application of the following • Landscape techniques: Books: • Brushstroke The Complete Guide to Digital Illustration, • Mark making Steve Caplin Design Synectics: Stimulating Creativity in • Layering Design, Nicholas Roukes Digital Painting Fundamentals with Corel Painter 12, Rhonda Draws History of Poster Design - Introduction Independently research and produce a Present a PowerPoint that demonstrates: Websites: PowerPoint that investigates a specific • Knowledge of artist’s personal http://www.designhistory.org designer or period from the history of poster background (e.g., birthplace, date, www.nga.gov design. For example: education, etc.)

• Jules Cheret • Knowledge of artist’s professional Book: • Alphonse Mucha background (e.g., employers, mentors, styles, dates, etc.) History of Graphic Design, 5th edition, Phillip • M. Cassandre B. Meggs • Artist’s major contribution to poster design • Hannah Hoch • Examples of artist’s work in timeline • Herbert Matter fashion (e.g., comparison of early work vs. • Edward Kauffer present work)

• Skill of PowerPoint layout and Posters of WPA presentation

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QUARTER 2 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES Master Study - Style focus Reproduce an artwork by a Master painter or Demonstrate: Artists/Artworks: prominent designer into a digital version • Ability to emulate traditional media in a Alphonse Mucha matching image, style, color, font and text digital environment Toulouse-Lautrec usage. • Ability to translate and match a specific

artist’s image, style, color, font and text Book: usage Digital Painting Fundamentals with Corel Painter 12, Rhonda Draws Presentation of Information in a Visual Apply principles of Visual Hierarchy in an Demonstrate skills in the use of: Poster Styles: Format original design for a movie poster. • Visual hierarchy Horror Movie Posters from 1950’s • Communication of specific information Hitchcock’s Film Posters • Crafting an original design for a movie poster Website: http://www.smashingmagazine.com/2013/02/2 6/creating-visual-hierarchies-typography/

Book: Design Synectics: Stimulating Creativity in Design, Nicholas Roukes CREATE: Standard 3 Students will choose and evaluate a range of subject matter, symbols, and ideas. Articulation of design decisions for a Explain through written or oral response how Discuss and defend: Artists/Artworks: Master Study - Style focus you were able to reproduce an artwork by a • Decision process for digital tool usage Alphonse Mucha Master painter or prominent designer into a Toulouse-Lautrec digital version matching image, style, color, • Trials and errors experienced font and text usage. • Problem solving strategies used

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QUARTER 2 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES RESPOND: Standard 4 Students will understand the visual arts in relation to history and cultures. Standard 5 The student will reflect upon and assess the characteristics and merits of their work and the work of others. Historical and cultural relationships to the Compare and contrast one poster design from Support discussion through comparison of the Websites: History of Poster Design each of the following bullets: artist’s treatment of: www.designishistory.com/1850/posters/ • 1800’s (i.e. Toulouse-Latrec, Henry van • Visual hierarchy http://memphisinmay.org/category/bsmfposters de Velde, Jules Cheret, John Heartfield) • Color • 1900’s (e.g., Herbert Matter, Josep • Image Local Poster Designs: Müller-Brockmann, Alvin Lustig, Neville Brody, James Montgomery, Milton Glaser, • Text Search “Poster Design in Memphis” on internet Peter Max) • Media • 2000’s (e.g., Michael Bierut, Daniel • Arrangement of elements Book: Eatock, Ellen Lupton, Michael Johnson) • Message History of Graphic Design, 5th edition, Phillip • Memphis posters (e.g., Memphis in May, B. Meggs Beale Street Music Fest) Critiquing Methods for the Presentation of Critique personal and/or peer work using: Critique the visual hierarchy used in the Poster Styles: Information in a Visual Format • Oral or written form student-created movie posters including Horror Movie Posters from 1950’s commentary on the text, image, and message Hitchcock’s Film Posters • Appropriate vocabulary applied through: Observed vs. judgmental information • • Scale Website: • Style http://www.smashingmagazine.com/2013/02/2 • Color 6/creating-visual-hierarchies-typography/ • Placement • Direction • Visual flow CONNECT: Standard 6 Students will make connections between visual arts and other disciplines. CCSS.Math.Practice.MP6 Calculate the needed accuracy and efficiency Demonstrate the accuracy and efficiency of Artists/Artworks: Attend to precision of digital tools to digitally translate and visually using digital tools by comparing the visual Alphonse Mucha match a specific artist’s image, style, color, font matching of the student’s work to the original Toulouse-Lautrec and text usage. artist’s:

• Image • Style

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QUARTER 2 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES Color • Font • Text usage CCSS.ELA-Literacy.CCRA.R.9 Develop a PowerPoint timeline illustrating the Present a PowerPoint that demonstrates: Websites: Integration of Knowledge and Ideas major contribution to poster design made by • Identification and timeline of artist’s major http://www.designhistory.org each of these artists: contribution to poster design www.nga.gov Jules Cheret • • Example of artist’s major contribution to • Alphonse Mucha poster design Book: • M. Cassandre • Skill of PowerPoint layout and History of Graphic Design, 5th edition, Phillip • Hannah Hoch presentation B. Meggs

• Herbert Matter • Edward Kauffer

Posters of WPA Science Utilize the illusion of depth in a landscape Digitally illustrate the use of atmospheric Websites: Problem-Solving/Scientific Inquiry through the use of atmospheric perspective, perspective through arrangement / placement www.corel.com/corel/pages/index.jsp?pgid=80 of color: 0067&storeKey=us&languageCode=en • Hue www.photoshopcreative.co.uk/category/digital_ • Value painting • Intensity http://edex.adobe.com

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QUARTER 3 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES PERFORM: Standard 1 Students will understand and apply media, techniques, and processes. Standard 2 Students will use knowledge of structures and functions. Understanding Typography/Typesetting Create a design using one character from nine Demonstrate ability to: Websites: History of Typesetting different font families. Place each character on • Apply visual hierarchy to each www.fontshop.com/glossary a 4x4 inch card so that at least the character Review of Typography terminology composition using the individual www.fonts.com touches three of the edges. The entire characteristics of the font type Procedures for finding fonts online and character doesn’t have to be seen, but enough www.designhistory.org downloading into digital library information from the character needs to • Reinforce spatial relationships between www.historybuff.com/library/reftype.html positive and negative spaces illustrate which font family it belongs to. • Visually represent recognizable characteristics from each font family to Books:

which the character belongs History of Graphic Design, 5th edition, Phillip

B. Meggs

On the back of each 4X4 card demonstrate the The Complete Guide to Digital Illustration, ability to: Steve Caplin • Name the font family used • Use correct terminology in describing the characteristics of the font family to which the character belongs Application of Typography Design a wedding invitation using only Demonstrate ability to: Websites: typography as visual elements (no • Incorporate different font styles into one http://edex.adobe.com photographs or drawings). comprehensive design www.designhistory.org

• Utilize understanding of composition

• Utilize visual hierarchy of information

• Utilize typography only as visual elements (no photographs or drawings) Scale/Proportion of Human Figure Incorporate figurative gesture drawings from Demonstrate the: Artists/Artwork: several sketches completed in class on paper • Ability to retain gestural qualities of Alberto Giacometti into a digital composition that emphasizes the original sketches Michelangelo looseness of the sketches and the overall proportion of the human figure. • Correct proportions of figure Pablo Picasso • Ability to create a complete composition constructed from the arrangement of Books:

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QUARTER 3 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES several different sketches The Artist’s Complete Guide to Figure Drawing, Anthony Ryder Design Synectics: Stimulating Creativity in Design, Nicholas Roukes CREATE: Standard 3 Students will choose and evaluate a range of subject matter, symbols, and ideas. Articulation of design decisions for the Explain through written or oral response how Discuss and defend your choices for each part Websites: Application of Typography you were able to design a wedding invitation of the composition including: http://edex.adobe.com using only typography as visual elements (no • Font www.designhistory.org photographs or drawings). What problems did you encounter and how did you solve them? • Font style www.fonts.com • Font size • Elements of design used • Principles of design used • Trials and errors experienced • Problem solving strategies used RESPOND: Standard 4 Students will understand the visual arts in relation to history and cultures. Standard 5 The student will reflect upon and assess the characteristics and merits of their work and the work of others. Historical and cultural relationships to the Research the history of Typesetting. Compare Support discussion through comparison of the Websites: Understanding of Typography / Typesetting and contrast one letter of the alphabet in each letter’s treatment in each venue / style www.fontshop.com/glossary of the following venues / styles: considering: www.designhistory.org Egyptian Hieroglyphics Typeset/hand drawn • • www.historybuff.com/library/reftype.html • Medieval Manuscripts • Image included/type only http://www.nlm.nih.gov/hmd/medieval/articella. • Gothic (style lettering) • Serif/sans-serif html • Roman (style lettering) • Contrast between major and minor http://visual.ly/history-typography-timeline • Old English (style lettering) strokes within the letter of choice http://www.creativebloq.com/typography/what- is-typography-123652 • One lettering style of choice • Positive/negative spatial relationship within the letter of choice

Overall legibility • Book:

History of Graphic Design, 5th edition, Phillip B. Meggs

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QUARTER 3 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES

Research the meaning/origin of these Visually document the meaning of these Typesetter Resource: typographical terms: typographical terms: Interview or video a typesetter. • Leading • Leading • River • River • Gutter • Gutter • Widow • Widow • Orphan • Orphan • Justification • Justification • Alignment • Alignment • Tracking • Tracking • Kerning • Kerning • Bowl • Bowl • Stem • Stem • Counter • Counter • Arm • Arm • Ligature • Ligature • Terminal • Terminal • Spine • Spine • Apex ear • Apex ear • Crossbar • Crossbar • Finial • Finial • Dingbat • Dingbat • Ascender • Ascender • Descender • Descender

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QUARTER 3 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES Critiquing Methods for the Critique personal and/or peer work using: Critique the human figure composition Artists/Artwork: Scale/Proportion of the Human Figure • Oral or written form including: Alberto Giacometti • Appropriate vocabulary • Ability to retain gestural qualities of Michelangelo original sketches • Observed vs. judgmental information Pablo Picasso • Correct proportions of figure

Ability to create a complete composition • Book: constructed from the arrangement of several different sketches The Artist’s Complete Guide to Figure Drawing, Anthony Ryder CONNECT: Standard 6 Students will make connections between visual arts and other disciplines. CCSS.Math.Practice.MP3 Compare and contrast one letter of the Justify the comparison of the letter’s treatment Websites: Construct viable arguments and critique the alphabet in each of the following venues/styles: in each venue/style by considering: www.fontshop.com/glossary reasoning of others. • Egyptian Hieroglyphics • Typeset/hand drawn www.designhistory.org • Medieval Manuscripts • Image included / type only www.historybuff.com/library/reftype.html • Gothic (style lettering) • Serif / sans-serif http://www.nlm.nih.gov/hmd/medieval/articella. • Roman (style lettering) • Contrast between major and minor html • Old English (style lettering) strokes within the letter of choice http://visual.ly/history-typography-timeline

• One lettering style of choice • Positive / negative spatial relationship within the letter of choice Book: • Overall legibility History of Graphic Design, 5th edition, Phillip B. Meggs CCSS.ELA-Literacy.CCRA.R.6 Design a wedding invitation using only Assess how point of view or purpose shapes Websites: Craft and Structure typography as visual elements (no the content and style of a text by http://edex.adobe.com photographs or drawings). demonstrating the ability to: www.designhistory.org • Incorporate different font styles into one comprehensive design • Utilize understanding of composition • Utilize visual hierarchy of information • Utilize typography as only visual elements (no photographs or drawings)

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QUARTER 4 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES PERFORM: Standard 1 Students will understand and apply media, techniques, and processes. Standard 2 Students will use knowledge of structures and functions. Establishing complex formatting of Create a digital composition that incorporates Demonstrate the ability to use complex Artists/Artworks: narrative and imagery within one frame both narrative and action placed in multiple layering of image and text through the: Roy Lichtenstein locations on one page without the use of • Use of only one frame (no sequential use Steve Ditko (Dr. Strange) sequential frames. of frames) Dave Gibbons (Watchmen) Break the space of the page into several focal • Placement of both narrative and action in Craig Thompson points, arranged by the flow of a story. multiple locations Apply color to connect and focus the relevant • Use of multiple focal points to control the parts of the story. flow of the story Book: Design Synectics: Stimulating Creativity in • Application of color to connect and focus Design, Nicholas Roukes Create dramatic structure in the narrative of the the relevant parts of the story text including:

Introduction • Demonstrate the ability to create dramatic • Rising action structure in the narrative text covering: • Climax • Introduction • Falling action • Rising action • Resolution • Climax • Falling action • Resolution Combining Text and Imagery to create Utilize an original piece of student’s writing to Demonstrate the ability to: Artists / Artworks: tone/mood construct a visual work that incorporates • Present textual information as a visual Roy Lichtenstein part/all of the text into the final image. element Carrie Mae Weems • Establish a tone within the artwork based Clarissa Sligh on the “meaning” of the text Graphic Text Artists: Fernand Leger Filippo Marinetti Guillaume Apollinaire

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QUARTER 4 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES Book: Design Synectics: Stimulating Creativity in Design, Nicholas Roukes Student Presentation of Artwork Create an interactive digital portfolio that can Demonstrate mastery of: Website: be uploaded for online viewing or downloaded • Digital organization and preservation of http://edex.adobe.com onto a storage device. artwork • Digital presentation of original artwork CREATE: Standard 3 Students will choose and evaluate a range of subject matter, symbols, and ideas. Articulation of design decisions for Explain through written or oral response how Discuss and defend your decisions through Artists/Artworks: Establishing complex formatting of you were able to create a digital composition the: Roy Lichtenstein narrative and imagery within one frame that incorporates both narrative and action • Use of only one frame (no sequential use Steve Ditko (Dr. Strange) placed in multiple locations on one page of frames) without the use of sequential frames. Dave Gibbons (Watchmen) • Placement of both narrative and action in Craig Thompson multiple locations

• Use of multiple focal points to control the flow of the story Books: The Complete Guide to Digital Illustration, • Application of color to connect and focus Steve Caplin the relevant parts of the story

Design Synectics: Stimulating Creativity in Design, Nicholas Roukes RESPOND: Standard 4 Students will understand the visual arts in relation to history and cultures. Standard 5 The student will reflect upon and assess the characteristics and merits of their work and the work of others. Historical and cultural relationships to Choose one example from three of the Support discussion through comparison of the: Website: Artists of American Comic Books - The following artists. Compare and contrast how • Action www.acomics.com/best8.htm Historical Treatment of establishing each artist was able to create a composition complex formatting of narrative and that incorporates both narrative and action • Narrative/text imagery within one frame placed in multiple locations on one page • Line characteristics Artists/Artworks: without the use of sequential frames. • Color Roy Lichtenstein • Neal Adams • Positive/negative spatial relationship of Steve Ditko (Dr. Strange) • Jack Kirby page layout Dave Gibbons (Watchmen) Craig Thompson 15 of 17 Visual Art Curriculum Map Digital Art II

QUARTER 4 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES • Lou Fine • Overall flow of composition • John Buscema Book: • John Romita Sr. Include information about the artist’s: The Complete Guide to Digital Illustration, Steve Caplin • Gene Colan • Personal background • George Perez • Contributions to American comic book art • Dave Stevens • Frank Miller Include the dramatic structure of the narrative text covering: • One artist of choice • Introduction • Rising action • Climax • Falling action • Resolution Critiquing Methods for Combining Text and Critique personal and/or peer work using: Critique the overall tone/mood of the final Artists/Artworks: Imagery to create tone/mood • Oral or written form composition created from the combination of Roy Lichtenstein an image with part/all of the text from an Carrie Mae Weems • Appropriate vocabulary original piece of student’s writing. Include • Observed vs. judgmental information defense of how: Clarissa Sligh • Textual information was presented as a visual element Graphic Text Artists: • Tone/mood was established within the Fernand Leger artwork based on the “meaning” of the Filippo Marinetti text Guillaume Apollinaire Add:

• Suggestions for improvement Book: • Articulation of best points from the piece The Complete Guide to Digital Illustration, Steve Caplin

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QUARTER 4 KNOWLEDGE & SKILLS ACTIVITIES/OUTCOMES ASSESSMENTS RESOURCES CONNECT: Standard 6 Students will make connections between visual arts and other disciplines. CCSS.Math.Practice.MP4 Apply proportional reasoning in the creation of Justify your reasoning through the: Website: Model with mathematics. an interactive digital portfolio that can be • Interactive success of the digital portfolio http://edex.adobe.com uploaded for online viewing or downloaded onto a storage device. • Digital organization and preservation of artwork

• Digital presentation of original artwork

CCSS.ELA-Literacy.CCRA.R.4 Interpret words and phrases as they are used Demonstrate the ability to: Artists/Artworks: Craft and Structure in a student’s original text, including technical, • Present textual information as a visual Roy Lichtenstein connotative, and figurative meanings, and element Carrie Mae Weems analyze how specific word choices shape meaning or tone. • Establish a tone within the artwork based Clarissa Sligh on the “meaning” of the text

Graphic Text Artists: Fernand Leger Filippo Marinetti Guillaume Apollinaire

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