Unit Topic & Length

Unit Topic & Length

HIGH SCHOOL LEVEL – STUDIO ART
MARKS MATTER

Sketchbooks and portfolios should play a key role in all high school studio work and be integrated into classroom
instruction.

In this unit, Marks Matter, as in the subsequent units, the maintenance of sketchbooks and portfolios is
encouraged as each relates to student process and creativity, and reflects upon the instruction students
receive.

Sketchbooks may include, but are not limited to, preliminary drawings for final artwork, reflections, self-
assessment, notes taken in class, articles and photos that students find inspirational, and sketches done in
museums and art galleries.

Portfolios can be physical or digital or a combination of both. Along with final works of art, portfolios may include
sketches related to finished work, photographs of three-dimensional artwork, and reflections associated with
artwork. When students submit portfolios for college admission and competitions, sketchbooks should be
included as well.

MARKS MATTER
Marks Matter is the first unit of a curriculum map that is created to span two semesters. The entire map
comprises three units rich in the exploration of a variety of media. It reflects a comprehensive introductory
curriculum that will serve the student who is taking a studio art course in order to meet the State
requirements, and the student who is beginning a sequence in the visual arts and planning to pursue a more
comprehensive study in visual arts. The three units incorporate history, text resources, and a variety of art
techniques and materials. Adjustments may be made based upon assessment of pre-requisite skills, using the
medium performance indicators for Grade 8, and instruction should be directed toward the performance
indicators for Grade 12. For teachers of studio art courses of one semester in length, lessons can be adapted
depending upon the length of class time, frequency of class sessions, and duration of course.

The Sequence of Teaching and Learning Experiences in Marks Matter contains a fully developed lesson
entitled An Introduction to the Artist Sketchbook.

A NOTE ABOUT ASSESSMENTS

The assessments offered in this unit refer to many of the components noted in the Sequence of Teaching and
Learning Experiences. Teachers may select those they feel are appropriate. In addition, other methods are
noted in the attachment Examples of Assessment in Visual Arts (see Resources).

A NOTE ABOUT THE FIVE STRANDS

The chief focus of the curriculum maps is on Strand 1: Art Making. Teachers should integrate Strands 2 through
5 into their maps and units. Every individual lesson may incorporate from one to three strands.
Strand 1: Art Making
This unit contains detailed performance indicators for the art media specific to it. As this map involves mixed
media, they are: Painting, Drawing, and 2D/Graphic Design. The performance indicators listed are those found
in the Blueprint for Teaching and Learning in Visual Arts under each specific medium.

Strand 2: Developing Art Literacy

Suggestions are offered on how to integrate the strand into classroom instruction within these categories:
 Looking At and Discussing Art
 Developing Visual Arts Vocabulary
 Reading and Writing About Art
 Problem Solving: Interpreting and Analyzing Art

Strand 3: Making Connections Through Visual Arts

Suggestions are offered on how to integrate the strand into classroom instruction within these categories:
 Recognizing the Societal, Cultural, and Historical Significance of Art: Connecting Art to Other
Disciplines
 Observing and Interpreting the World

Strand 4: Community and Cultural Resources

Predicated on the fact that New York City museums already serve as a resource for teachers, suggestions are
offered on how to integrate the strand into classroom instruction within these categories:
 Public Art and Design
 Online Resources and Libraries
 Community-Based Organizations (CBOs), Local Artists, and Studios

Strand 5: Exploring Careers and Lifelong Learning

Suggestions are offered on how to integrate the strand into classroom instruction within these categories:
 Awareness of Careers in Visual Arts
 Setting Goals and Developing Career Plans
 Art for Enjoyment and Lifelong Learning

Big Ideas / Enduring Understandings

Sketchbooks allow artists to explore materials and techniques, reflect on process, and record observations and
information.
Artists use a variety of techniques and media to visually interpret their experiences.
An understanding of the Elements of Art and Principles of Design is essential to the creative process.

Essential Questions
How does my sketchbook help me in my artistic process?
How am I using different techniques and media to communicate my message?
How has self-reflection helped me to improve and grow artistically?
 Common Core & NYC Arts Blueprints Standards
NYS: CCLS: English Language Arts 6-12
NYS: Grades 11-12
Capacities of the Literate Individual
Students Who are College and Career Ready in Reading, Writing, Speaking, Listening, & Language
They demonstrate independence.
Show details
They build strong content knowledge.
Show details
They respond to the varying demands of audience, task, purpose, and discipline.
Show details
They comprehend as well as critique.
Show details
They value evidence.
Show details
They come to understand other perspectives and cultures.
Show details
NYC: Arts Blueprints: Visual Arts (2015)
NYC: Grade 12
Art Making
Painting
Create a series of works that demonstrates:
Show details
proficiency in mixing a complete painting palette
ability to control light, value, intensity, and contrast
mastery of paint media such as gouache, watercolor, oil, or acrylic
an ability to handle a variety of brushes, and a palette knife as a painting tool
Drawing
Create a collection of drawings that demonstrates:
Show details
synthesis of observation, imagination, and social commentary
the use of the figure or a non-figurative subject to represent an idea, concept, or a personal view
comprehensive use of pencils, charcoal, pastels, and conté crayons
a variety of techniques and genres
creative use of Elements of Art and Principles of Design to organize the picture plane
2D/Graphic Design
Create a design that demonstrates:
Show details
selective use of the Elements of Art and Principles of Design
a synthesis of shape, pattern, rhythm, and movement into a unified work
Developing Art Literacy
Looking at and Discussing Art
Students review their portfolios for works they believe demonstrate the power of art to challenge and provoke
the viewer; present to classmates and invite opinions.
NYC: Arts Blueprints: Visual Arts
NYC: Grade 12
Art Making
Art Making Summary Benchmark
In a three-year major art sequence, students master various materials and techniques to develop a portfolio
that reflects a personal style and the awareness of the power of art to illuminate, inform, and influence opinion.
Literacy in the Visual Arts
Developing Visual Arts Vocabulary
Use visual arts vocabulary to write wall text, labels, catalogues, and promotional materials for a student-
curated exhibition.
Reading and Writing About Art
Write a review of a gallery or museum exhibition.
Compare the review with a magazine or newspaper review.
Problem Solving; Interpreting and Analyzing Art
Write a reflection about the work compiled in a portfolio and explain:
• the process of creating the portfolio
• materials
• influences
• unifying theme
• problems solved/insights gained.
Developing Art Literacy Summary Benchmark
Students hone observation skills and discuss works of art;
develop visual arts vocabulary to describe art making, the tools and techniques used to produce art, and the
elements and principles of design;
read and write about art to reinforce literacy skills;
interpret artwork by providing evidence to support assertions;
reflect on the process of making art.
Making Connections
Recognizing the Societal, Cultural, and Historical Significance of Art; Connecting Art to Other
Disciplines
Recognize the value of art as an historical document.
Making Connections Through Visual Arts Summary Benchmark
Students recognize the societal, cultural, and historical significance of art;
connect the visual arts to other disciplines;
apply the skills and knowledge learned in visual arts to interpreting the world.
Community and Cultural Resources
Cultural Institutions
Research several galleries and museums; create an annotated list of exhibitions that would appeal to middle
and high school students.
Community and Cultural Resources Summary Benchmark
By working with a variety of school staff, students access primary resources in the community, the borough,
and the city to extend their learning beyond the classroom.
Careers and Lifelong Learning
Art for Enjoyment and Lifelong Learning
Attend lectures and special events at museums to further explore an area of interest.
Exploring Careers and Lifelong Learning Summary Benchmark
Students gain an awareness of careers in visual arts;
recognize personal, social and professional goals;
learn to work independently and in teams;
gain an appreciation of art as a source of enjoyment and lifelong learning.
New York State P-12 Learning Standards (New York State Education Department, used with permission)

Content Skills / Strategies

A) Master use of various materials and techniques.
B) Develop a sketchbook/portfolio that reflects a
personal style.
C) Awareness of the power of art to illuminate, inform,
and influence opinion
NOTE: Because this unit gives teachers a wide
selection of media choices, these skills and strategies
are a compilation of the performance indicators
across the art media in Strand 1.
A1) Students show mastery of two or more media.
A2) Students use two or more techniques selectively
in a unified composition.
A3) Students demonstrate creative use of
compositional elements.
B1) Through sketchbooks, students begin to collect
ideas, reflect on their work, and develop a personal
style.
C1) Students demonstrate the ability to manipulate art
materials and techniques to communicate an idea.

Assessments
Depth of Knowledge (DOK) Levels
Prior knowledge & skills
Formative: DOK 1 Recall: Performance: Skill Demonstration
Teacher assesses skills and knowledge of students as per the 8th grade benchmark as well as the specific
indicators for the medium in which the students are working.

Formative Strategies may include, but are not limited to:

 checklists
 quizzes
 class discussions and conversations
 student conferences
 skill demonstration by student

A2/A3/C1: Exploration of mark-making

Formative: DOK 2 Basic Application: Performance: Creative Process
Teacher observation and discussion with individual students. The use of checklists and co-created rubrics to
determine student progress in:
 a variety of techniques and genres
 comprehensive use of pencils, charcoal, pastels and or conté crayons
 synthesis of shape, pattern, rhythm, and movement
 ability to handle a variety of brushes and palette knife as a painting tool
B1. Begin to develop sketchbook/portfolio
Formative: DOK 3 Strategic Thinking: Other: Student Portfolio
Sketchbooks are used to record observations and information using both images and writing. Students may
select images from their sketchbooks for further study through:
 teacher observation and discussion based on their sketchbook entries
 student self-assessment of sketchbook entries using checklists and co-created rubrics of their work
over time
 student reflection on the relationship between sketchbooks and completed works of art.
Students can begin to think about developing a portfolio of work. A portfolio is a collection of preliminary
sketches (both in sketchbooks and as individual pieces), final artwork and reflections chosen by the student to
represent process and best work.The portfolio is ongoing.

A2 Checklist:Students use of a variety of techniques

Summative: DOK 3 Strategic Thinking: Other: Gallery Walks
During the culminating gallery walk, students discuss their use of techniques to create unified
compositions.Gallery walk is done in small and large groups.
The techniques discussed should relate to the indicators for the specific medium used.
Students can use checklists and/or co-created rubrics to guide the discussions.
A/B/C: Checklist:Drawing Techniques
Formative: DOK 2 Basic Application: Other: Teacher Observation
Note: Formative assessment is ongoing assessment. The following skills should be assessed throughout the
unit and independent of each other. Using a checklist, teacher observes student progress in:
 use of gesture and proportion to create dynamic figures
 use of the figure or a non-figurative subject to represent an idea, concept, or personal view
 a variety of techniques and genres
 creative use of Elements of Art and Principles of Design to organize the picture plane
 a personal style
Teacher walks around the room and observes students working, and discusses with them their strategies and
design choices.
A/B/C: Checklist: Painting Techniques
Formative: DOK 3 Strategic Thinking: Other: Teacher Observation
Note: formative assessment is ongoing assessment. The following skills should be assessed throughout the
unit and independent of each other. Using a checklist, teacher observes student progress in:
 personal style, vision, social commentary
 ability to control light, value, intensity and contrast
 glazing/layering techniques
 creative use of the Elements of Art and Principles of Design to organize the picture plane
Teacher walks around the room and observes students working, and discusses with them their strategies and
design choices.
B1 Reflection: sketchbook/portfolio
Formative: DOK 4 Extended Thinking: Written: Reflective Writing
The process of reflection can be oral or written. Based on self assessment and or responses from peers,
students go back into their sketchbooks to plan a revised composition, and or to gather ideas and images for a
final work of art.
Part of reflection includes students using art specific vocabulary to articulate their ideas about the art making
process and their artwork.
Art Making Portfolio
Formative and Summative DOK 4: Other: Student Portfolio
A portfolio is a collection of preliminary sketches (both in sketchbooks and as individual pieces), final artwork,
and reflections chosen by the student to represent process and best work. Selection of work for the portfolio is
ongoing. The portfolio may be developed with input from the teacher and peers. Rubrics may be used in the
portfolio selection process. The portfolio can be physical, digital, or a combination. It can include artwork,
photos, videos, data, grades, graphic organizers, student writings and or notes collected during art class.

Sequence of Teaching & Learning

Academic/Content
Experiences
Vocabular
Marks Matter  abstract
This unit sequence comprises nine lessons (10 if  art criticism
students begin the unit by creating their own  body of work
sketchbooks). This unit is chiefly devoted to drawing.  calligraphic
However, the final lessons encourage students to  composition
explore mixed-media. (Drawing will be revisited in the  figurative
next unit.) The unit ends in a gallery walk. This
 gallery walk
sequence of learning experiences should be planned
 gesture
according to the number of times and amount of time
 graffiti
the art teacher sees the class and students’ abilities.
Lessons may be compressed or extended accordingly.  mark-making
Before beginning a unit on any medium, students should  medium
be assessed using the medium performance indicators  mixed-media
for Grade 8. Instruction should be directed toward the  objective/non-objective
performance indicators for Grade 12  perspective
NOTE: Materials for this unit can include, but are not  personal style
limited to, black and white charcoal (compressed, stick,  picture plane
vine), graded drawing pencils, conté crayon, pastel, pen  point of view
& ink, marker, tortillon, and eraser. Also consider a  thumbnail sketches
variety of papers in colors and textures (charcoal,  unity
pastel, cardboard, flat and corrugated, parchment,  visual literacy
newspaper/newsprint), and fluid media, such as paint.
As stated in the introduction to this unit, students should
maintain portfolios that include final works, loose
preliminary sketches, photos, reflections, rubrics used in
the creation of artwork, and notes taken during art class.
The sketchbook should be considered as
a key component of all student portfolios.
Pre-Unit of Study Lesson: Creating Your Own
Sketchbook
Required for this unit of study, Marks Matter, is either a
commercially made or student-made sketchbook. It is
needed throughout this unit and subsequent units, and
for any at-home assignments. In cases where the
school cannot supply sketchbooks, the unit should begin
with this lesson, devoted to students making their own
sketchbooks. The sketchbook (or visual journal) should
be used to record observations and information using
both images and writing.
An Introduction to the Artist Sketchbook
Students are introduced to the concept of artists
keeping sketchbooks to record observations and
information, using both visual and written notation.
Students look at various examples of artists’ sketches
and sketchbooks. (Along with suggestions within the
detailed lesson, more recommendations may be found
in the Resources section below.) (See detailed lesson at
the end of this section.)
Conversations About Art
In small or larger groups, students look at and discuss
masterworks that exemplify effective application of a
variety of art materials to create expressive marks and
effects. Masterworks should be those of artists whose
sketchbooks are used in the attached lesson, An
Introduction to the Artist Sketchbook, such as Georges
Seurat. Students brainstorm and chart the best qualities
of these works and apply these characteristics to
develop a rubric of what constitutes expressive marks in
various art media. See Talking About Art with Students in
Resources.
Exploration of Materials: Mark Making Investigation
Using a variety of selected media, students use
sketchbooks to explore and express a variety of marks
on an assortment of surface materials. (See suggested
drawing tools in “NOTE” above.)
Sketchbooks and Observational Drawing
Revisit artists’ sketchbooks used in attached lesson, An
Introduction to the Artist Sketchbook, and explain the term
“thumbnail sketches.” Students work from a still life set-
up, or exterior and interior views. They use graded
drawing pencils to create thumbnail drawings in their
sketchbooks of their observations.
Sketchbooks and Imaginative Imagery
Students use their observational drawings from the
previous lesson as a basis for more imaginative
drawings. Students should create this imaginative
drawing on a separate piece of paper so they may
easily navigate between sketchbook image and the new
artwork. This should serve as an example of how artists
often mine their sketchbooks for creative ideas. New
work should be added to students’ sketchbooks.
Organizing a Picture: Working from
Observation/Imagination
Students create compositions using a selection of art
materials, a range of marks, and a variety of
approaches to design. Themes may be determined by
the teacher, or students can once again look to their
sketchbooks for inspiration. Visual information may take
the form of extended observational drawing for realistic
accuracy, abstraction, non-objective formal composition,
imaginative imagery, or all of the above at teacher's
discretion.
Exploration and Development of Techniques: Mixed-
Media Investigation
Students explore two or more media to combine
techniques and create new ways of working with the
materials. Interaction of wet/dry, graphic/fluid media are
explored. Students are encouraged to document their
experimentation and its outcomes in their sketchbooks
for future reference. They create a rubric or checklist to
be used for formative assessment as they work toward
their final project.
Combining Media and Techniques into Final Project
Students review prior exploratory works and their
sketchbook notes from the beginning of the unit.
Students select two or more explorations to be
combined into one cohesive work of art or a series,
expressing a personal style. Number of finished art
pieces is at teacher's discretion.
Gallery Walk: Shared Practices
Students discuss the importance of peer review for
feedback as well as for getting creative ideas from their
classmates. They discuss the quote by contemporary
artist Kerry James Marshall, “Artists make art because
other artists make work that inspires them.” The quote is
from a New York Times March 2016 article entitled A
Look at the Breuer Before the Doors Open. See Resources
for link to article. Student completed artwork is displayed
alongside sketchbooks. There is an informal review to
observe and discuss artwork and share techniques and
knowledge gained. In small groups, then in the larger
group, students discuss the role sketchbooks played in
their artistic process. After having these discussions,
students write reflections in their sketchbooks.

ADAPTATIONS AND SCAFFOLDING FOR

STUDENTS WITH DISABILITIES
Use stencils and tracing, adapted grip crayons, large
pencils with grips, and iPad drawing programs.
Break lessons and assessments into multiple steps to
support retention and build skills. Students should be
assessed at each step, and lessons may need to be
repeated to ensure students are understanding and
developing skills. For example, blind contour can be
taught in three steps: drawing different kind of lines,
drawing with different mark-making tools, and drawing
without looking at your picture.
Model dialogues before asking students to speak or
present. Encourage students to use visuals and/or
technology while presenting. Provide students with
opportunities to answer and ask questions using
communication adaptations, as appropriate.
When discussing a masterwork in a group setting, begin
by providing students with scripts of sample
conversations they may have as they view a work of art,
with the goal of their achieving greater independence as
the semester progresses.
Before students discuss their own artwork and the work
of their peers, have them discuss the artwork of other
artists. As an example, students would first discuss a
still life by Giorgio Morandi (See Resources for link)
before talking about their own still lifes.
NOTE: See Resources for links to additional information
related to students with disabilities.

ACCOMMODATIONS FOR ENGLISH LANGUAGE

LEARNERS
Effective instruction for ELLs has the same components
found in all optimum learning environments, including
rigor, clearly stated objectives, scaffolded learning,
differentiated strategies, and opportunities for critical
thinking and meaningful communication.
Provide students with opportunities to learn and review
art vocabulary by frequently checking for understanding.
Scaffold learning art vocabulary by having students first
discuss the artwork of artists. Model using the
vocabulary, supported with visual examples, throughout
the unit.
NOTE: See Resources for links to additional information
related to English language learners.
Note on Assessment
Although many standards are addressed in this unit,
each one does not need to be formally assessed. See
Resources for Examples of Assessment in Visual Arts.
HS Studio Art An Introduction to the Artist's
Sketchbook.pdf
 Resources
Suggested Artists
Banksy
Jean-Michel Basquiat
Willem de Kooning
Albrecht Dürer
Keith Haring
Paul Klee
Franz Kline
Julie Mehretu
Jackson Pollock
Cy Twombly
Vincent van Gogh
Martin Wilner

NOTE: Also see attachments Webography and Webography of Strand 1 Artists

Museum Sites
NOTE: See Blueprint for Teaching and Learning in Visual Arts, page 72, for complete list of New York City
museums and websites.

Websites for Artists Sketchbooks

Keith Haring
http://www.haring.com/!/archives/sketchbooks
Edward Hopper
http://www2.tate.org.uk/edwardhopper/
Georges Seurat
http://www.moma.org/interactives/exhibitions/2007/seurat/seurat.html
Smithsonian Archives of American Art: index of artists' sketchbooks
http://www.aaa.si.edu/search?q=artist+sketchbooks
Curators' Choice
http://www.aaa.si.edu/exhibitions/visual-thinking-sketchbooks#8
College of Engineering, University of Utah: various artists
http://www.eng.utah.edu/~cs6710/Sketchbooks/artists.html
Index of various artists
http://pantherpro-webdesign.com/homepage/sketchbook/links2.html#H
http://www.huffingtonpost.com/hannah-lamarque/how-do-we-write-when-we-w_b_7467076.html
http://www.21stcenturyschools.com/Literacies/Visual_Literacy.htm
http://www.edutopia.org/literacy-integrating-arts-core-curriculum
http://whitney.org/Education/ForTeachers/TeachingTips
http://www.tate.org.uk/art/artists/paul-klee-1417http://www.google.com/search?http://www.theartstory.org/
artist-pollock-jackson.htm
http://www.rauschenbergfoundation.org/
http://www.theartstory.org/artist-pollock-jackson.htm
http://www.theartstory.org/artist-cy-twombly.htm
http://82nd-and-fifth.metmuseum.org/
http://www.artlex.com
http://www.art21.org

Apps
Interaction of Color by Josef Albers
82nd & Fifth

Books
2015 edition of the Blueprint for Teaching and Learning in Visual Arts
Drawing With Children, Mona Brooks (Putnam, 1986)
Drawing for Older Children and Teens, Mona Brooks (Perigee, 1991)
Keys to Drawing, Bert Dodson (North Light Books, 1990)
The New Drawing on the Right Side of the Brain, Betty Edwards (HarperColllins, 2009)
The Natural Way to Draw, Kimon Nicolaides (Mariner Books, 1990)
Special Artist's Handbook, Susan Rodriguez (Dale Seymour Publications, 1997)
Discovering Drawing, Ted Rose (Davis, 1995)
The Undressed Art: Why We Draw, Peter Steinhart (Vintage, 2005)

Article
New York Times article: A Look at the Breuer Before the Doors Open

Blueprint for Teaching and Learning in Visual Arts

http://schools.nyc.gov/offices/teachlearn/arts/blueprints/visual-arts-blueprint.html

lesson plan.JPG
HS Studio Art An Introduction to the Artist's Sketchbook.pdf
attachments.JPG
Development_of_Listening_and_Speaking.pdf
D and Q in the Art Class-Questioning and Depth of Knowledge -DOK.pdf
Webography.pdf
Webography_of_Strand_1_Artists.pdf
Examples_of_Assessment_in_the_Visual_Arts.pdf
Teacher_Formative_Assessment_-_A_Checklist.pdf
Visual Arts and Students with Disabilities.pdf
Visual Arts and the English Language Learner.pdf
Disciplinary Literacy for ELLs.pdf
Marks Matter Part 1.docx
HS Studio Art An Introduction to the Artist's Sketchbook.pdf
Mixed Media:
Unit I and Unit
II
All

Unit Topic & Length

HIGH SCHOOL LEVEL – STUDIO ART
MIXED MEDIA I: THE FIGURE AS A VEHICLE FOR PERSONAL HISTORY AND
SOCIAL ACTIVISM
MIXED MEDIA II: MIXED MEDIA DESIGN

Sketchbooks and portfolios should play a key role in all high school studio work and be integrated
into classroom instruction.

In this unit, as in the previous and subsequent units, the maintenance of sketchbooks and portfolios is
encouraged as each relates to student process and creativity, and reflects upon the instruction
students receive.

Sketchbooks may include, but are not limited to, preliminary drawings for final artwork, reflections,
self-assessment, notes taken in class, articles and photos that students find inspirational, and sketches
done in museums and art galleries.

Portfolios can be physical or digital or a combination of both. Along with final works of art,
portfolios may include sketches related to finished work, photographs of three-dimensional artwork,
and reflections associated with artwork. When students submit portfolios for college admission and
competitions, sketchbooks should be included as well.

NOTE: Teachers are offered two units from which to choose. Each unit involves students working
with a variety of media. Mixed Media I deals primarily with collage, and includes an extension into
other media.