Humans of Art Unit Plan 2020

Humans of Art: 2020 Version
Drawing 3-4 Grade Level: 9-12
Theme and General Description:
People are a sum of their parts. What makes us human is almost never visible on the outside. In this unit, students learn
to explore identities beyond appearance of themselves and their communities. Drawing from Brandon Stranton’s Humans
of New York project and exploring portraiture through the lens of several artists, students learn to utilize artistic methods
of distortion to portray deeper meaning. Through self-reflection, conversation, and interviews with peers and community
members, students develop skills in empathy and connection. Students create several products, including 1) a modified
contour drawing of objects from childhood 2) a self portrait using cubism 3) modified contour drawing based on interview
with peers 4) a highly rendered modified/alternative portrait of a community member of their choosing based on interview.
Essential Questions:
How does art communicate?

How does art fit into historical contexts?
How does art help us to share the human experience?
Goals & Outcomes:

- Students develop deeper appreciation for the human experience
- Students develop skills in empathy and connection
- Students connect to their communities in new ways
- Students investigate art beyond the surface using contextual and historical clues
- Students reflect on sense of self through visual medium and reflective writing
- Students refine skills in contour drawing
- Students demonstrate and develop skills in modified contour drawing, distortion, and collage
- Students demonstrate skills in observational drawing
- Students investigate alternative mediums to render imagery

- Students utilize inquiry methods of observation, research, and experimentation to explore portraiture through art-
making.
Concepts:
- Artists break formal rules to convey hidden meanings in their work
- Modified contour drawings build upon traditional contour drawings by providing abstracted or unobserved
elements to an observed image, or altering the observed image
- Collage elements can add to or alter the mood of a drawing and inform viewers of narrative
- elements of art: line, shape, and color are used to alter, emphasize, and create narratives within artwork
- Symbolism is used to alter, emphasize, and create narratives within artwork
- Artists use contextual and historical experiences to generate narrative symbolism and convey meaning in their
artwork
Standards:
L1.V.CR.2: Shape an artistic investigation of an aspect of present-day life using traditional or contemporary practices of
art or design.
L2.V.CR.3: Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme,
idea, or concept.
L3.V.CR.2: Choose from a range of materials and methods of traditional and contemporary artistic practices to plan
works of art and design.
L3.V.CR.5: demonstrate how visual and material culture defines, shapes, enhances, inhibits, and/or empowers peoples
lives
L3.V.CR.6: Reflect on, re-engage in, revise, and refine works of art or design considering relevant traditional and
contemporary criteria, as well as personal artistic vision.
L2.V.CO.1, Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through
art-making.
L2.V.P.3: make, explain, justify connections between artists or artwork and social, cultural, political history
L1:V.R.3: interpret artworks or collection supported by relevant and sufficient evidence found in the work and various
context
L1.V.R.1: hypothesize ways in which art influences perception and understanding of human experiences
L2.V.R.3: identify types of contextual information useful in the process of constructing interpretations of an artwork or
collection
L3.V.R.3: analyze different interpretations of an artwork in order to select and defend plausible critical analysis
Products Created:
- Contour drawing of childhood object using modified contour technique to portray story associated with object
- Contour drawing self portrait, created upside down using cubist lens
- Contour drawing of member of class, modified to portray information gathered in interview
- Alternative portrait/skewed portrait of community member using interview material as information
Cultural Exemplars:
 Frida Kahlo: https://www.fridakahlo.org/
 Xana Abreu: https://www.xanaabreu.com/
o Na Tua Infacia; Mascaras; Segue-Me; Assalto De Plastico; Diaro De Viagem; Personogens series
 Pablo Picasso: https://www.pablopicasso.org/picasso-paintings.jsp
o Portrait of Sabartes, 1939; Reading, 1932; The Old Guitarist 1903; The Weeping Woman; Woman in Hat and Fur Collar;
Portrait of a Painter after El Greco
 Faith Ringgold: https://www.faithringgold.com/art/
o Black Light Series #11: US America Black, 1969; American People Series #17: The Artist and His Model, 1966; Early Works #17:
Black Man, 1964; Early Works #20: Black and Blue Man, 1964
 Jansson Stegner: http://www.janssonstegner.com/
 Kadir Nelson: https://www.kadirnelson.com/gallery
 Njideka Crosby: http://www.njidekaakunyilicrosby.com/
 Alice Neel: http://www.aliceneel.com/home/
o My Mother 1946; Gerard Melanga 1970; Andy Warhol 1970; Sari Dienes 1976; Marisol 1981; Jackiei Curtis and Rita Redd
1970; Benny and Mary Ellen Andrews 1972
Scope and Sequence of Lessons:
Session One: Introduction to HONY

- Introduce HONY through video: https://youtu.be/SiadSaXcXks (Humans of NY Series: One Story at a Time) ;
https://www.youtube.com/watch?v=Bcm6kwWv09o (The Human Behind HONY)
- Introduce 2-3 Powerful HONY Posts (use most relevant and recent)
- Discussion: HONY & Stories
- Introduce Frida Kahlo, and her story
- Introduce Xana Abreu
- Discussion: How artists use their work to show something beyond the surface: symbols, background imagery
- Visual Journal Response: Respond to HONY, consider what a story that has shaped you that isn’t visible to the
naked eye
- Homework:
o Find an object from childhood/present that has a story associated it not visible to the naked eye and bring
to class for session 2 drawings
o Find 2 HONY posts that inspire you
Session Two: Modified Contour Drawing Practice Using Objects From Home
- Students volunteer HONY inspo.
- Brief Review of Frieda and Xana Abreu through discussion
- DEMO Contour Drawing using object from own childhood (if necessary?) & “modifying”
- Students create modified contour drawing using object from home, then asked to modify using symbols
- Homework: Take selfie, email to me to print
Session Three: Portrait Drawings In the Lens of Cubists
- Starter: mini critique of finished modified contour objects with partner (6 mins)
- Introduce Pablo and Faith Ringgold cubism
- Discussion: how do these artists use shape in portraiture. What does the use of shape do to the portraits
themselves?
- Pablo Picasso or faith Ringgold’s work drawn upside down: students choose. Emphasis on line quality and
shapes.
- Homework: Visual Journal: symbols that represent my hidden story
Session Four: Cubist Selfie’s
- Review cubists works
- using selfie’s, students create portrait of themselves by drawing upside down.
- Students modify portrait, as they did with their at-home object, to demonstrate a story about themselves (from the
visual journal exercise homework in session 3)
- Homework: Visual Journal Reflection on process of self-portrait & find one recent HONY post
Session Five: Partner Modified Contour Drawings – Jansson Stegner and Kadir
- Students share HONY post inspo with partner
- Small group critique’s of Self-Portrait

- Introduce jansson stegner and Kadir: how do artists emphasize characteristics?
- Students pair up with partners for contour drawing
- Homework: Come up with questions to ask someone to get to know them
Session Six: Interviews and Modified Partner Drawings
- Continue and finish contour drawings of partners
- Group share “interview questions” & go over interview etiquette
- Interview partner
- Modify contour portraits of partner using the interview to inform
Session Seven: Finalize Partner Portraits and discuss
- Starter Prompt: Distort an object from every day life to emphasize a characteristic
- Finish contour portraits
- Reflective discussion and showcase – no critique
Session Eight: Introduce Njideka Crosby and Alice Neel
- Introduce Njideka Crosby and Alice Neel: collage and overall portrait mood… how we communicate hidden
meanings
- Students compare and contrast in small groups & discuss highlights of other artists we’ve talked about
- Introduce final project, review interview etiquette
- Homework: Conduct an interview with a ember of community. Get an image if you can, or draw them from life.
Session Nine: Finalize & Critique
- Take the next several class sessions to finalize and modify the community member portrait
- Critique in small groups
- Artist statement & showcase (?)
Evaluation Procedure:
Planning & Teaching: reflective journaling and planning for future lessons
- How effective was the scope and sequencing of the unit plan in getting students to reach goals and grapple with
essential questions?
- How could I change or improve moving forward?
- How effective were demos?
- How effective was instruction? What could I improve? Where were students struggling most with
comprehension?
Student Behavior: utilize student reflection and critical inquiry assessment
- Were students engaged in hooks?
- Did prompts, visual journals, and discussions generate more than 80% engagement from students?
- Did students extend their empathetic capacities?
- How engaged were students with each area of the project? What was most boring for them? What was most
exciting?
- What did students behavior indicate at various points in the unit?
Assessment of Products: rubrics and critiques
- At what level did student visual journal responses reflect their understanding of the theme?
- At what level did student contour drawing of home-brough objects reflect their skills and comprehension of
modified contour drawing
- At what level did student drawing of selves reflect cubism and use of line quality and symbolism for narrative
- At what level did contour portraits of classmates reflect questions in interviews and skill development of modified
contour
- At what level did the final product reflect a cumulation of knowledge and skills of the unit, deeper connection to
communit, and empathetic skills?
Date: ______________ Day of the Week and Class Period: ________________________________ Time: 72 mins
Content: _________________________________________________Total Number of Students: ______ # of IEPs:

_____
# of Children with Special Needs: _________ # of Identified Language Learners: _____________ Session: 1 of 9
Standards/Performance Indicators/Skills
State Standards L1.V.CR.3: engage in making a work of art or design without a pre-concieved plan
L3.V.CR.2: Choose from a range of materials and methods of traditional and contemporary
artistic practices to plan works of art and design.
L3.V.CR.6: Reflect on, re-engage in, revise, and refine works of art or design considering relevant
traditional and contemporary criteria, as well as personal artistic vision.
L3.V.CR.5: demonstrate how visual and material culture defines, shapes, enhances, inhibits,
and/or empowers peoples lives
L2.V.P.3: make, explain, justify connections between artists or artwork and social, cultural,
political history
L1:V.R.3: interpret artworks or collection supported by relevant and sufficient evidence found in
the work and various context
L1.V.R.1: hypothesize ways in which art influences perception and understanding of human
experiences
L2.V.R.3: identify types of contextual information useful in the process of constructing
interpretations of an artwork or collection
L3.V.R.3: analyze different interpretations of an artwork in order to select and defend plausible
critical analysis
Skills Addressed in the Lesson - Looking at artwork

- Identifying contextual information
- Analyzing interpretations of artwork and defending analysis
- Reflection and revision based on contemporary criteria and personal vision
- Choose from a range of practices and materials to create a work of art

- Working without a pre-conceived plan
Learning Objectives/Goals
Content Objectives Students will understand that:
- Artists break formal rules to convey hidden meanings in their work
- Artists use contextual and historical experiences to generate narrative symbolism and
convey meaning in their artwork
Learning Outcomes - Students will develop deeper appreciation for the human experience
- Students connect to their communities in a new way
- Students investigate art beyond the surface using contextual and historical clues
- Students utilize inquiry methods of observation, research, and experimentation to explore
the theme of hidden narrative
Language Objectives
Vocabulary: mood, theme/motif, narrative, symbol
Students will be able to listen, read, write about:
How do artists use symbols to inform narrative?
How do stories impact us?
How does context inform narrative?
Assessment (the type[s] of assessment used throughout the lesson)

ASSESSMENT BEFORE THE - Group question background check about HONY
LESSON
ASSESSMENT DURING THE - Group questioning
LESSON - Student led recaps
- think-pair-share
- visual journal responses (I will check by walking around and discussing with students
about ideas)
ASSESSMENT AFTER THE Independent visual journal practice.
LESSON HONY inspo students share
Product created after next class will demonstrate use of symbols and understanding of narrative.
Teacher reflection in daily journal

Lesson Structure and Procedures
Starter (7-10 mins) 8:30-8:40 1a) Starter Prompt (ATB):
- Students are asked to sketch for five minutes in their visual journal from the theme word on
the board: memory (take roll)
o [starter prompt procedure is established at beginning of term, students have
prompt written on board and they know the expectation is to start on this
immediately as they sit down]
- 2 Minute mindfulness exercise: one minute listening to the sound of a chime. Students
bring their attention to the bell, and sit unmoving with eyes closed or not, listening only to
the bell for seven or so chimes. The class then takes a deep breath, exhales, and the
mindfulness minute is over. (this is a classroom procedure which was established at the
beginning of the semester, and developed over the course of several weeks.)
Launch (10 mins) 8:40-8:50 1b) Introduce HONY through two videos & PowerPoint
-Background Check: By raise of hands, who here follows HONY on Instagram or facebook, or has
heard of this project before?
https://youtu.be/SiadSaXcXks (Humans of NY Series: One Story at a Time) (1:20 mins)

https://www.youtube.com/watch?v=Bcm6kwWv09o (The Human Behind HONY) (~3 mins)
-Introduce 2-3 Powerful HONY Posts (use most relevant and recent)
- Classroom Discussion: HONY & Stories
Prompt Questions:
who can tell me why personal stories are important to someone?
How do stories inform artwork?
What do you remember about Narratives?(We introduced Narrative in art in last month’s
unit)
Do you think that stories in art are important to viewers? Why?
Transition to Next PowerPoint Slides
Powerpoint & Discussion (25 - Introduce Frida Kahlo, and her story through brief PowerPoint presentation. (10 mins)
mins) 8:50-9:15) - Showcase Frida’s symbolic Self Portraits.
- Practice: Looking & Analysis as whole group: [we have had many opportunities to look at
and talk about art throughout the semester. Students have established an understanding
about looking at art through a critical lens.]
o Ask students what is the mood or motif of the image? (clarify: who can tell me
what mood is? Who can tell me what motif is?)
o what components they are seeing that give evidence to this mood?
- Introduce Xana Abreu through PowerPoint. (3 mins)
- Practice: Looking & Analysis in think-Pair-Share:
o With an elbow partner, ask students to consider the symbols in one of Xana Abreu’s
portraits. Together, ask them to discuss with partners in two minutes. Each partner
has one minute (I will time.) Let them know they will share what their partner has
said at the end of two minutes with the class.
 What symbols do I see?
 What do I think of the person in the image, based on these symbolic clues.
o At the end of two minutes, call on a few various groups. Ask a member of that
group to share what their partner said.
- Discussion & Comprehension Check:
o How do these artists tell a story about the people in the image?
 Answers: symbols, background imagery
o Who can tell me what is different about the way they choose to share their stories?
o Do symbols have to be obvious to the viewer to tell a story? Is it effective if they
aren’t? (This is a high-level thinking question, designed to be open ended and has
Studio Time: (30 mins) 9:15-9:35
no right or wrong answer. We have talked about symbols when we discussed
narrative in the previous unit.)
- Transition to Studio Time (students have a long-established studio expectation routine.
They know how to work and when to work. I walk around during studio time and prompt
off-task behavior with questioning about projects, or generally checking in with students. I
also use this time to schedule one-on-one’s with students.
- Visual Journal Response: Full spread. (students have been working with visual journals all
year. They know the difference between a full spread, half spread, and a starter prompt.
They know what materials they are allowed to access for visual journal prompts.)
- Give Students Visual Journal Guidelines: Let them know they now have until 9:35 to work
on the spread.
- Your impressions of HONY or consider a story that has shaped you that isn’t visible to the
naked eye
o Expectations:
 Date the spread for final visual journal review (we do periodic reviews
through semester.)
 One FULL SPREAD: two pages, filled.
 At least TWO kind of media.
 One or both themes are present in the work.
3) Conclusion When there are five minutes left in class:

Introduce Homework:
- Find an object from childhood/present that has a story associated it not visible to the naked
eye and bring to class for session 2 drawings
- Find 2 HONY posts that inspire you, save them or email them to me.
- Check for understanding: ask a student to recap what the homework is, then ask another
student to recap what that student just said.
Strategies
- Visual and verbal content and instruction: I use a word document with the lesson plan completely laid out so as we move
through the lesson, students can see where we are in the lesson as well as questions, time limits, etc.
- Scaffolding from prior unit information
- Student verbal comprehension checks through repetition of instruction and discussion
- Guided discussion
- Time blocks
Learning Activities
- Mindfulness
- Group Discussion
- Looking & Analysis Group Discussion
- Think Pair Share Looking and Analysis
- Studio time visual journal response
Resources and Materials List
Presentation:
HONY Videos: https://youtu.be/SiadSaXcXks (Humans of NY Series: One Story at a Time); https://www.youtube.com/watch?
v=Bcm6kwWv09o (The Human Behind HONY)

2-3 HONY posts, recent and relevant
Frida Kahlo Works (3)
Xana Abreu Works (3)
Student Visual Journals

Music For Studio Time
Technology
Projector, music
Differentiation/Accommodations/Modifications/Increases in Rigor
DIFFERENTIATION/INTEGR - visual presentation, to provide visual elements and cues
ATION - direct instruction: explanation of vocabulary words, task expectations and instructions
- group questioning & discussion
- individual response time for review and assessment
- repetition of instructions and vocabulary, utilizing student repetition for comprehension
check
- written and spoken expectations
- think, pair, share groups
ACCOMMODATION/MODIFI - increased repetition of vocabulary and instruction for ELL
CATION - individualized support time from instructor for SPED and ELL during studio practice
- increased checks for group understanding and opportunity for questioning
- strategic think-pair-share groups for EL learners that give opportunity for translanguaging
INCREASES IN RIGOR -Guided questioning to ensure students are expanding comprehension of themes and critically
analyzing artwork and theme.
-early finishers will be given feedback on their visual journal spread and asked to reconsider the
spread. If they can’t/are sick of it, they are asked to re-examine another spread in their journal.
- students who don’t want to participate in visual journal extension will be given the option to
analyze more works from the two artists, and write down the symbols, mood, and their analysis of
the piece.
Classroom Management
- Schedule posted on board for students to see

- ongoing evaluation of student behavior: walking around room, engaging in conversation and tactical questioning
- timing tasks
- guided questioning for discussion
- repetition of instruction via student repetition
- re-establishing classroom expectations when necessary via questioning: “Jordan, how does what you just said not meet our
classroom expectations?”
- redirecting off-task behavior by assessing student challenge level and providing opportunity for rigor adjustment
Extensions
-early finishers will be given feedback on their visual journal spread and asked to reconsider the spread. If they can’t/are sick of it, they
are asked to re-examine another spread in their journal.
- students who don’t want to participate in visual journal extension will be given the option to analyze more works from the two artists,
and write down the symbols, mood, and their analysis of the piece.
Follow-Up Activity to the Lesson

- Find an object from childhood/present that has a story associated it not visible to the naked eye and bring to class for session 2
drawings
- Find 2 HONY posts that inspire them
- In next class, students will use object from home and create a modified contour drawing using symbols to tell a hidden story
Additional Information
This unit is presented toward the end of the school year as a comprehensive unit. Procedures, community guidelines, and drawing
experience have been established at this point. This is the first lesson in an 8-part unit.
Content: Modified Contour Drawing Practice Using Objects from Home Total Number of Students: ______ # of IEPs:
_____
State Standards L3.V.CR.2: Choose from a range of materials and methods of traditional and contemporary
L3.V.CR.6: Reflect on, re-engage in, revise, and refine works of art or design considering relevant
traditional and contemporary criteria, as well as personal artistic vision.

experiences
Skills Addressed in the Lesson - Single Line Contour drawing from observation
- Modification of contour drawing
- Application of symbols to create narrative
- Problem solving through a variety of technique and media to create new visual experience
and narrative within artwork
- Artistic analysis
- Interpretation of artwork based on contextual clues
Content Objectives Students will understand that:
- Modified contour drawings build upon traditional contour drawings by providing
abstracted or unobserved elements to an observed image, or altering the observed image
- Artists use contextual and historical experiences to generate narrative symbolism and
convey meaning in their artwork
- Artistic techniques can be combined and altered to create hidden, new, or various visual
experiences within artwork
Learning Outcomes - Students develop deeper appreciation for the human experience
- Students refine skills in contour drawing
- Students demonstrate and develop skills in modified contour drawing
- Students demonstrate skills in observational drawing
Language Objectives
Vocabulary: theme/motif, narrative, symbol, contour, modified contour
How do artists use symbols to inform narrative?

How do stories impact experiences of art?

ASSESSMENT BEFORE THE - Group discussion review of last class: Xana Abreu and Frida Kahlo. Students will share w/
LESSON group then classroom as a whole.
ASSESSMENT DURING THE - Student behavior during demo: engaged, thoughtful responses
LESSON - Student studio behavior: is off-task correlated with lack of understanding?
- Student product assessment: student’s are understanding concepts of modified contour
drawing and symbol use
ASSESSMENT AFTER THE - Homework (mini critique next time)
LESSON o Rubric on canvas
- Students are asked to sketch for five minutes in their visual journal from the prompt on the
board
Launch (5 mins) 8:40-8:45 1b) Students volunteer HONY inspo. Ask students to share one of the posts they found as their
homework. Share some if I received them over email. Ask students (volunteer) to read them aloud
to the classroom. (5 mins)
Group Discussions for Review - Group Discussion for Review:

(10 mins) 8:45-8:55 - In groups of four (table group), time students for five minutes to come up with answers to
the following prompts (also provided as a guide on the projector)
o What is unique about Xana Abreu’s portraits?

o What is one story Frida Kahlo portrayed in her artwork?
o What are two methods artists can use to create narrative in a work?
o Do symbols have to be literal in art?
- Call on one member of each group to share the group’s answer to ONE of the prompts.
Demo (10-15 mins) 8:55-9:10 - Ask students to recall what the guidelines are for single line contours that we learned
several months back (we have practiced this method multiple times throughout the year.)
o Guidelines: never pick up pen/pencil, never retrace steps, keep your eyes on the
object
- DEMO: Contour Drawing using object from own childhood. (briefly and quickly as
review. If students need extra support after this demo, I will work with those individuals in
a smaller group while independent learners move on.)
- DEMO: Modifying
o Tell students a brief story about the object I’ve drawn. Ask for three suggestions
that could symbolize the story from the class. Show how I could incorporate those
in: the background, the object, etc.
o Show student examples from previous classes (if available)
- Give Students Project Guidelines:
- Using object brought from home, create single line contour drawing based on observation.
Then modify it using symbols to tell a story associated with the drawing.
o Must be at least 8x10 inch drawing
o Must take up the entire space of the page
o Must be single line contour
o Must have at least three different symbols/modifications to explain the story
o pen, pencil, or marker. Modification can be with a different media, but I need to
know your plan first (come talk to me so I can get you materials).
** students who forget their object will be given the option to use one from our classroom
objects. However, they will be asked to write down a story in their visual journal about the
object before starting on the contour modification.**
- Due date: (beginning of next class)
- Check for understanding: Repeat back have one student explain the project guidelines,
have another student repeat what that student just said
- Transition to Studio Time (students have a long-established studio expectation routine.
They know how to work and when to work. I walk around during studio time and prompt
off-task behavior with questioning about projects, or generally checking in with students. I
also use this time to schedule one-on-one’s with students.
- I will also use this time to do a smaller scale demo for anyone needing additional support
with the single line contour.
3) Conclusion (10 mins) When there are 10 minutes left in class:

Introduce Homework:
- Take a selfie, email me to print before next class.
o Selfie guidelines: must be appropriate!
o Must be close up of your face, can be profile or frontal
o Well-lit
o No mirror selfies
o Give example and non example
- Check for understanding: ask a student to recap what the homework is, then ask another
student to recap what that student just said.
- Ask students to clean up their materials (students are well-versed in clean up procedure at
this time.)
- Remind them that the project is due next time, rubric on canvas, there is a mini critique at
start of class next time
Strategies
- Scaffolding from prior unit and lesson information
- Guided discussion
- Time blocks
Learning Activities
- Mindfulness
- Group Discussion for review
- Demo: single line contour and modified contour
- Studio time: modified contour drawing with narrative
the materials used to plan and deliver the lesson.
Pens, Markers, Pencils solid dark colors
Drawing paper: 8x10 or 11x14
Objects for contour drawings if students forgot theirs
Daily lesson plan word doc
Examples of student modified contours (if available)
Examples, non examples of selfie for hw
Technology
Projector, music
DIFFERENTIATION/INTEGR - visual presentation and demonstrations, to provide visual elements and cues
ATION - verbal supplementation during demo: explaining as I go
- direct instruction: explanation of vocabulary words, task expectations and instructions
check
- individual or small scale demo for extra support with contour drawing
INCREASES IN RIGOR - Guided questioning to ensure students are expanding comprehension of themes and critically
- individual or small-scale demo for extra support with contour drawing
- for advanced students: give them the option to utilize more materials (paint, collage, etc) to
inform their work
- early finishers will be asked to approach their object from a different viewpoint and/or to modify
it with less obvious/literal symbolism. Students will discuss with me personally about the story
behind the object and brainstorm with me.
- timing tasks
- guided demo, with verbal supplementation
Extensions
- for advanced students: give them the option to utilize more materials (paint, collage, etc) to inform their work
- early finishers will be asked to approach their object from a different viewpoint and/or to modify it with less obvious/literal symbolism.
Students will discuss with me personally about the story behind the object.
- next class will have a mini critique of finished modified contour objects with partner
- next class students will have an opportunity to utilize symbolism in a portrait
experience have been established at this point. This is the second lesson in an 8-part unit.
Content: Cubist Portraiture Total Number of Students: ______ # of IEPs: _____
State Standards L1.V.CR.2: Shape an artistic investigation of an aspect of present-day life using traditional or
contemporary practices of art or design.
L2.V.CR.3: Experiment, plan, and make multiple works of art and design that explore a personally
meaningful theme, idea, or concept.
L2.V.CO.1, Utilize inquiry methods of observation, research, and experimentation to explore
unfamiliar subjects through art-making.
L2.V.P.3: make, explain, justify connections between artists or artwork and social, cultural,
political history
L1:V.R.3: interpret artworks or collection supported by relevant and sufficient evidence found in
the work and various context
experiences
L3.V.R.3: analyze different interpretations of an artwork in order to select and defend plausible
critical analysis
Skills Addressed in the Lesson - Looking at artwork

- Altering the elements of art: line, shape, and color to portray specific themes or motif’s
- Analyzing interpretations of artwork and defending analysis
- Choosing from a range of practices and materials to create a work of art

- Working without a pre-conceived plan
Content Objectives Students will demonstrate their understanding that
- abstracted or unobserved representations change the mood and meaning of a portrait
- elements of art: line, shape, and color are used to alter, emphasize, and create narratives
within artwork
- Artists use personal and contextual evidence and experiences to generate narrative
symbolism and convey meaning in their artwork
- Students combine new understanding of traditional techniques to create aesthetically
interesting works of art
- Students integrate new understandings of cubism into personal works
- Students create a cubist inspired drawing based on new information about artists and
techniques
Language Objectives
Vocabulary: theme/motif, narrative, line, shape, color
How do artists use the elements of art to inform narrative?
How does personal experience impact experiences of art?

ASSESSMENT BEFORE THE - Starter prompt: equating emotion to a color, walk around and see student ideas
LESSON - Partner critique of modified contour drawings
ASSESSMENT DURING THE Guided questioning for comprehension check
LESSON Think pair share
Student products are meeting the guidelines (check by walking around the class, individual
conversation)
ASSESSMENT AFTER THE Student product

LESSON - rubric
board Prompt= the color of happiness
Critique (6 mins) 8:40-8:50 1b) Starter: mini critique of finished modified contour objects with elbow partner (6 mins) I will
time and give time markers for students to remain on task
- Guidelines are given verbally as well as posted on the board.
- Students have a well developed critique procedure through ample classroom practice
- Guidelines:
o Each partner takes 2 mins to answer:
 One thing they appreciate about their partners work
 What symbols they notice
 What they think the narrative is
o Each partner then takes 1 minute to explain the narrative in their own piece, and
what they’d do differently now having the interpretation from their partner to
convey the narrative
(15 mins) 8:50-9:05 - Introduce Pablo and Faith Ringgold cubism via PP presentation
- Classroom Discussion & Analysis as we move through the powerpoints I will call on
specific individuals to prompt questions as well as say “who can tell me” etc as we look at
each piece. Questions include:
o Are the shapes inorganic or organic? (review from first quarter elements of art)
o What does the shape do to the mood?

o What colors do you see?
o What if the color was x? what would that do to the mood?
Demo (10-15 mins) 8:55-9:10 o What do you notice about the lines? What if they were different?
- Comprehension Check: Think-pair-share: (time for 2 mins)
o Share with a partner: Why does color choice, line weight, and shape matter in a
portrait?
o Ask two or three students to share what their partner said.
Explain Guidelines of in-class-cubism practice: (also listed on the powerpoint as a rubric)
- Students choose a photo I have printed of Faith Ringgold’s or Picasso’s work.
(They choose whichever).
- Students will practice drawing upside down using the reference image to recreate a
portrait.
- Focus on line quality and shape forms, using a pen or dark marker.
- When finished with the line drawing, students will decide on a mood for their
image. They will experiment with colored pencils to demonstrate the mood they are
trying to convey.
- Portraits will be created on 8x10 papers, must take the whole image, and be
rendered well (we have 30 mins to work on this).
- Due: beginning of next class
Check for understanding: Who can tell me the project guidelines? Who can tell me what materials
we make the line drawing with? What do we do when our line drawing is done? When is this due?
Transition to Studio Time (students have a long-established studio expectation routine. They know
how to work and when to work. I walk around during studio time and prompt off-task behavior
with questioning about projects, or generally checking in with students. I also use this time to
schedule one-on-one’s with students.
3) Conclusion (10 mins) When there are 10 minutes left in class:

Introduce Homework: Verbally, also have it written on the board
- Homework:
Visual Journal: ½ spread (students have practiced full spread, half spreads, and starter
prompt procedures all year. They know the expectations of this)
Symbols, Lines, Colors, and shapes that represent my personal story.
Tell them that we will use this visual journal exercise to inform our selfie image next time,
so not to wait to do it.
Strategies
- Guided discussion
- Time blocks
Learning Activities
- Mindfulness
- Partner critique
- Classroom discussion and analysis of cubist artists
- Studio time: cubism portraiture practice
Colored pencil
8x10 drawing paper
Printed images of cubist artists
Daily word doc lesson plan with
Student visual journals
Technology
Projector, music
- think pair share activity

check
- individual or small-scale demo where needed for level 1 students
- individual or small-scale demos for students who need extra support with elements of art &
project
inform their work
- early finishers will be asked to either revisit the work adding more elements (we only have 30
mins of studio time… they should not be finished….) OR change the portrait and do the other
cubist portrait
- Visual and verbal instruction
- timing tasks
- strategic think pair share’s and critique groups that allow for translanguaging
Extensions
- Homework:
Visual Journal: ½ spread (students have practiced full spread, half spreads, and starter prompt procedures all year. They know
the expectations of this)
Symbols, Lines, Colors, and shapes that represent my personal story.
Tell them that we will use this visual journal exercise to inform our selfie image next time, so not to wait to do it.
** ALSO SEE RIGOR ABOVE**
- Students will create their selfie, drawn upside down using a cubist lens in the next class and informed by their visual journal
entry that was given as homework
experience have been established at this point. This is the third lesson in an 8 part unit.
Content: Cubist Selfie’s Total Number of Students: ______ # of IEPs: _____
State Standards L1.V.CR.2: Shape an artistic investigation of an aspect of present-day life using traditional or
contemporary practices of art or design.
L2.V.CR.3: Experiment, plan, and make multiple works of art and design that explore a personally
meaningful theme, idea, or concept.
L2.V.CO.1, Utilize inquiry methods of observation, research, and experimentation to explore
unfamiliar subjects through art-making.
experiences
Skills Addressed in the Lesson

- Altering the elements of art: line, shape, and color to portray specific themes or motif’s
- Choosing from a range of practices and materials to create a work of art
Content Objectives Students will demonstrate their understanding that
- abstracted or unobserved representations change the mood and meaning of a portrait
- elements of art: line, shape, and color are used to alter, emphasize, and create narratives
within artwork
- Artists use personal and contextual evidence and experiences to generate narrative
symbolism and convey meaning in their artwork
- Students combine new understanding of traditional techniques to create aesthetically
interesting works of art
- Students integrate new understandings of cubism and narrative into personal works
- Students create a cubist inspired drawing based on new information about artists and
techniques
Language Objectives
Vocabulary: theme/motif, narrative, line, shape, color
How do artists use the elements of art, specifically line, shape, and color to inform narrative?
How does personal experience impact experiences of art?

ASSESSMENT BEFORE THE - guided questioning for review of cubists.
LESSON
ASSESSMENT DURING THE - Comprehension Check: Think-pair-shar
LESSON - Student products are meeting the guidelines (check by walking around the class, individual
conversation)
- Assess where students are based on product quality. Ask classroom by raise of hand who
needs more time
ASSESSMENT AFTER THE Student product
LESSON - Rubric
- Reflection on process of self-portrait
Starter (7-10 mins) 8:30-8:40 1a) Starter Prompt (ATB): * take roll, pass out student selfie’s
board (I like to balance these between prompts that relate directly to the learning, and
random prompts. I think it is imperative students get to create just for “fun” as well as for
content connection.)
Review of Cubists (5 mins) 8:40- 1b) Review cubists works

8:45 - As a whole class, use guided questioning for review of cubists.
o Background question: who can tell me one of the names of the artists we talked
about last time? What about the other artist?
o What was similar about their work? What was different?
o What style do they paint in?
o Show examples of their works again from the presentation as students answer.
- What was one thing that was challenging re-creating the portraits last time?
- What elements did you focus on manipulating in the portraits last time? (line, shape, color)
Project Explanation: (5-7 mins) - Verbally introduce new project (Cubist Selfie’s), as well as have on the PP/daily word doc
(8:45-8:50) lesson plan. Show student examples if I have them. Show example of mine if I don’t.
o Guidelines: (I will pass out a rubric, printed on the back of each student’s selfie)
o using the selfie students emailed me (I gave them two class periods to get this to me
to give adequate time and reminders. I will ask them to take one and email now. If
they are not comfortable with this, I will give them the option to pick a celebrity
portrait instead and come up with a hidden narrative for the celebrity.)
o STEP ONE: on 11x14 paper, students re-create their selfie, upside down, drawing
inspiration from the cubists.
o Line and shape are the primary factors in their selfie. Not realism.
o STEP TWO: Students use the visual journal exercise to draw from. They will
modify portrait, as they did with their at-home object, to demonstrate a story about
themselves. They will exercise manipulation of shape, line, and color to emphasize
aspects of their portrait to inform the narrative.

o Due: next class. I will gauge if students need more time to work on the selfie’s
through assessment of product as well as asking the students verbally (this will
likely become a two-day studio practice.)
Idea Brainstorm and - Comprehension Check: Think-pair-share: (time for 4 mins, 2 mins each partner) I will use
Comprehension Check. Material this time to pass out 11x14 drawing paper.
Handout. (6 mins) (8:50-8:56) o Tell your partner the new project guidelines. (they are still listed on the board)
Share your visual journal brainstorm (they don’t have to share the spread, just tell their
partner 1) type of line, 1 Color, and 1 shape that represents their personal story.
o Ask two or three students to share what their partner said.
Studio Time (8:56-9:32) Transition to Studio Time (students have a long-established studio expectation routine. They know
how to work and when to work. I walk around during studio time and prompt off-task behavior
with questioning about projects, or generally checking in with students. I also use this time to
schedule one-on-one’s with students.
3) Conclusion (10 mins) When there are 10 minutes left in class: Assess where students are based on product quality.
Ask classroom by raise of hand who needs more time ( I AM POSITIVE THEY WILL ALL
NEED MORE TIME)
Introduce Homework: Verbally, also have it written on the board

- Homework: (if they don’t need more time…..)
Visual Journal: ½ spread (students have practiced full spread, half spreads, and starter
prompt procedures all year. They know the expectations of this)
Reflection on process of self-portrait
Find one recent HONY post (even if they need more time on project I want them to find
and save another HONY post to keep it on their mind)
Strategies
- Guided think-pair-share discussion

- Guided whole class review discussion
- Time blocks
Learning Activities
- Mindfulness
- Classroom discussion review
- Think-pair-share
- Studio time: cubist selfie’s
Colored pencils
11x14 drawing paper
Student printed selfie’s with rubric on back
Daily word doc lesson plan with
Student visual journals
Technology
Projector, music
- think pair share activity
check
- individual or small-scale demo where needed for level 1 students
- students who don’t have a selfie sent to me:
I will ask them to take one and email now. If they are not comfortable with this, I will give
them the option to pick a celebrity portrait instead and come up with a hidden narrative for
the celebrity.)
- individual or small-scale demos for students who need extra support with elements of art &
project
inform their work
- early finishers will be asked to revisit their selfie. There is no way they should be finished. We
will have a discussion about their narrative, plan, etc so that they can re-visit it
- Visual and verbal instruction
- timing tasks
- questions for think pair share posted in daily word doc/pp
- strategic think pair share’s and critique groups that allow for translanguaging
Extensions
- Homework:
Visual Journal: ½ spread (students have practiced full spread, half spreads, and starter prompt procedures all year. They know
the expectations of this)
Reflection on process of self-portrait
- Find one recent HONY post (even if they need more time on project I want them to find and save another HONY post to keep it
on their mind)
- Students will
1) Do a small group critique with their selfie

2) Reflect on the process the cubist exercise through a visual journal prompt (I will give students the option to do a written, based
on four or five reflection questions.
experience have been established at this point. This is the third lesson in an 8 part unit.
Sample End of Unit Student Reflection Questionnaire:
1. One moment that has made me proud of my work in this class in the past month?
2. What has been my greatest challenge or hardest moment during this class this month?
3. What is one thing that inspired me in this class this month?
4. I feel like my best self when I __________:
5. My real superpower is: (Think… your kindness? Your empathy? Your humor?)
6. One thing Miss Meghan could have done to help me achieve my goals this month as an artist?

Humans of Art Unit Plan 2020

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Humans of Art: 2020 Version

Drawing 3-4 Grade Level: 9-12

Theme and General Description:

How does art communicate?

Goals & Outcomes:

- Students investigate alternative mediums to render imagery

Scope and Sequence of Lessons:

Session One: Introduction to HONY

- Small group critique’s of Self-Portrait

Content: _________________________________________________Total Number of Students: ______ # of IEPs:

Skills Addressed in the Lesson - Looking at artwork

- Choose from a range of practices and materials to create a work of art

Assessment (the type[s] of assessment used throughout the lesson)

Teacher reflection in daily journal

https://youtu.be/SiadSaXcXks (Humans of NY Series: One Story at a Time) (1:20 mins)

3) Conclusion When there are five minutes left in class:

v=Bcm6kwWv09o (The Human Behind HONY)

Student Visual Journals

- Schedule posted on board for students to see

Follow-Up Activity to the Lesson

traditional and contemporary criteria, as well as personal artistic vision.

How do artists use symbols to inform narrative?

Assessment (the type[s] of assessment used throughout the lesson)

Group Discussions for Review - Group Discussion for Review:

o What is unique about Xana Abreu’s portraits?

3) Conclusion (10 mins) When there are 10 minutes left in class:

Content: Cubist Portraiture Total Number of Students: ______ # of IEPs: _____

Skills Addressed in the Lesson - Looking at artwork

- Choosing from a range of practices and materials to create a work of art

Assessment (the type[s] of assessment used throughout the lesson)

ASSESSMENT AFTER THE Student product

o What does the shape do to the mood?

3) Conclusion (10 mins) When there are 10 minutes left in class:

- individual response time for review and assessment

Content: Cubist Selfie’s Total Number of Students: ______ # of IEPs: _____

Skills Addressed in the Lesson

Assessment (the type[s] of assessment used throughout the lesson)

Review of Cubists (5 mins) 8:40- 1b) Review cubists works

aspects of their portrait to inform the narrative.

Introduce Homework: Verbally, also have it written on the board

- Guided think-pair-share discussion

1) Do a small group critique with their selfie

Sample End of Unit Student Reflection Questionnaire:

3. What is one thing that inspired me in this class this month?

4. I feel like my best self when I __________:

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Content: ___________________________________________Total Number of Students: # of IEPs:

Content: Cubist Portraiture Total Number of Students: __ # of IEPs: _

Content: Cubist Selfie’s Total Number of Students: __ # of IEPs: _