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O E T R Y

A N M A L S

H A B I A T S

ALBRECHT DURER, THE RHINOCEROUS, 1515

An Integrated Understanding by Design Unit

Mary Beth Allen, Pat Pinciotti, Pam Kramer,

Linda Rogers, Diane Cavanagh, Gina Scala

East Stroudsburg University

The Rhinocerous The rhino is a homely beast, For human eyes he’s not a feast. Farewell, farewell, you old rhinocerous, I’ll stare at something less prepoceros.

OGDEN NASH

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UNIT OVERVIEW Summary of Integrated Unit This unit examines animals and their habitats and explores various structures to gather, organize and communicate realistic and imaginative information in both painted and poetic forms. Subject Areas and Topics Reading/Writing: Research, Descriptive language, and Poetry Art: Painting techniques found in five different cultures Science: Research, Animal characteristics and Habitats Key Vocabulary Aesthetics, Acrostic, Diamante, Cinquan, Haiku, Papunya, Indonesia, Specific Animal vocabulary Standards Met in this Unit Pennsylvania Academic Standards for Science & Technology 3.3 Biological Sciences 3.3.4 A Know the similarities and differences of living things 3.3.4 B Know that living things are made up of parts that have specific functions 3.3.4 C Know that characteristics are inherited and thus offspring closely resemble their parents Pennsylvania Academic Standards for Environment and Ecology 4.6 Ecosystems and Interactions 4.6.4 A Understand that living things are dependent on nonliving things in the environment for survival 4.7 Threatened, Endangered and Extinct Species 4.7.4 A Identify differences in living things 4.7.4 B Know that adaptations are important for survival Pennsylvania Academic Standards for Reading, Writing, Speaking, and Listening 1.1 Learning to Read Independently 1.1.3.A Identify the purposes and types of texts before reading 1.1.3.E Acquire a reading vocabulary by identifying and correctly using words 1.1.3.F Understand the meaning of and use correctly new vocabulary learned in various subject areas 1.1.3.G Demonstrate after reading understanding and interpretation of both fiction and nonfiction text 1.2 Reading Critically in All Content Areas 1.2.3.A Read and understand essential content of informational texts and documents in all academic areas 1.3 Reading, Analyzing, and Interpreting Literature 1.3.3.F Read and respond to nonfiction and fiction including poetry and drama 1.4 Types of Writing 1.3.4.B Write informational pieces using illustrations when relevant 1.5 Quality of Writing 1.3.5.D Write with an awareness of the stylistic aspects of composition 1.3.5.F Edit writing using the conventions of language

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National Standards for the Visual Arts 1 Understanding and applying media, techniques, and processes 1.3 Students use different media, techniques, and processes to communicate ideas, experiences, and stories. 1.4 Students use art materials and tools in a safe and responsible manner. 2 Using knowledge of structures and functions 2.1 Students know the differences among visual characteristics and purposes of

art in order to convey ideas. 2.2 Students describe how different expressive features and organizational principles cause different responses. 3 Choosing and evaluating a range of subject matter, symbols, and ideas 3.2 Students select and use subject matter, symbols, and ideas to communicate meaning. 4 Understanding the visual arts in relation to history and cultures 4.1 Students know that the visual arts have both a history and specific relationships to various

cultures. 5 Reflecting upon and assessing the characteristics and merits of their work and the work of others 5.2 Students describe how people's experiences influence the development of specific artworks. 6 Making connections between visual arts and other disciplines 6.2 Students identify connections between the visual arts and other disciplines in the curriculum. Description of Learners This unit is designed for third graders as they explore animals and their habitats. This is the first time they will use specific research strategies. They have however written poems and painted both with the art teacher and in class. The students are a creative group with many visual, kinesthetic learners. Three students have IEP’s, two that require modifications to the research strategies to facilitate gathering information and writing the poetry. One student will need simplified outlines for their chosen animal and larger tools for painting. The librarian, media specialists, and art teacher will participate in this unit with the classroom teacher. Research will be done in the library, in the classroom and on line. Some of the paintings will be done in art class with the art teacher; others will be set up at a painting center. Students will help each other as they bind their final poetry/painting stick book. A trip to the local zoo is planned as part of this unit of work and an evening parent event All about Animals will occur as a culminating experience.

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AN EYE ON ANIMALS STAGE 1 IDENTIFY DESIRED RESULTS

WHAT IS WORTHY OF UNDERSTANDING? Enduring Understanding

Scientists, Artists and Poets use a structure to gather, organize and communicate factual information about animals and their habitats. Essential Questions Where do scientists, artists and poets get information and ideas for their work? What are ways to organize and share important information about animals and their environment? How does rich, visual language paint a picture of animals and their habitats? What resources can be used to gather information about animals and their habitats? What poetic forms and painting techniques can be used to interpret and communicate factual data? Big Idea – Structures Learning Goals – What I want the students to know and be able to do

Science Students will: • Gather information about external animal characteristics (size, color,

markings, and movement) • Identify essential aspects of environment including weather, vegetation,

habitat and food source • Compare and contrast differences in animals and their respective

habitats • Explain how animals resemble their parent and live in groups • Describe the basic needs and life processes of different animals including life cycle,

family group and survival • Explain why animals are different colors, shapes and sizes and how these differences

relate to their survival • Explain how specific adaptations can help a living organism to survive • Generate in-depth information about an animal and its environment

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Reading, Writing, Speaking and Listening Learning Goals Students will: • Select appropriate resources to investigate a topic • Use a variety of strategies, including morphemic analysis, context clues, and

references, to identify and understand new vocabulary • Identify and use new vocabulary specific to their research topic and writing genre • Explain information gathered from research about animals – life cycle, physical

characteristics, habitats, and other pertinent facts – using a variety of poetry forms • Read a minimum of 2 resources, take notes identifying essential content, and use a

system (graphic organizer, web, outline) to organize information related to the animal they have chosen to research

• Demonstrate their knowledge of the life cycle, habitat, physical traits, and other pertinent information about an animal using a minimum of 4 structured poems

• Write a minimum of 4 poems that describe key characteristics about their topic of research. Each poem will follow the structure defined by the form and will include specific information gathered from research.

• Choose and use pertinent vocabulary and phrasing to explain specific information related to their topic.

• Use the elements of the poetry form and information gathered from research to make choices about vocabulary and phrasing to best describe the life cycle, habitat, physical characteristics, and other pertinent information about their topic.

• Self-edit and peer edit their poems, using a predetermined rubric Visual Arts Learning Goal Students will: • Discuss the similarities and differences between different types of verbal

and visual information. • Discover four different painting techniques to communicate information, ideas and

feelings about animals and their habitats. • Demonstrate safe and appropriate use of art materials and the ability to care for painting

tools. • Select specific art elements and principles that can be used in their paintings to

demonstrate what they know about their animal and its habitat. • Use various painting techniques to highlight animal characteristics and habitats by

combining and rearranging elements of texture, shape, color and line. • Generate four animal paintings incorporating scientific information, poetry and indigenous

painting techniques as inspiration. • Identify and explain various painting techniques from Australia, Indonesia, East Asia, and

Western Africa. • Reflect upon and share their process of gathering information and their feelings about

ways artists communicate ideas and feelings using different painting techniques.

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STAGE 2 DETERMINE ACCEPTABLE EVIDENCE

WHAT DOES UNDERSTANDING LOOK LIKE? Summative Assessment (after learning) Integrated Performance Task or Project (Method) Animal Research, Poetry and Paintings bound into a Book

Role: Author and Illustrator of Animal Book Audience: Elementary Students interested in Animals

Key Criteria for Assessment (Create the Tool) Rubric with the following criteria: Form:

• Follows suggested structure for poems • Evidence of good writing and no mechanical errors • Uses painting structures from different cultures to depict different aspects of one animal

Scientific Content: • Includes accurate information from research in poems and paintings • Expressive depiction of animal characteristics and multiple aspects of the

natural environment Artistic representations:

• Uses vivid, descriptive, beautiful language • Aesthetically pleasing presentation of poems, paintings in a book form

Other Evidence: Diagnostic Assessment (prior to learning) KWL Chart Quick Writes Formative Assessment (during learning) Method & Tool

Data Discs – Answer Key Concept Squares – Answer Key Aesthetic Words – Answer Key Poetry Drafts – Structure Check Compare and Contrast (animals, habitats, and paintings by different artists) –

Observation during discussion listening for elements and principles of art, animal structures and physical details of animals and habitats

Animal Sketches – Bodies, Surface patterns, Movement, Environment – Observation of basic animal shapes, details and texture patterns

Painting Practice – Observation of painting structures and use of tools Sharing book, paintings and poetry – Student Feedback Sheet

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Scoring Rubric for “Eye on Animals” Project

Scientists,  Artists  and  Poets  use  structures  to  gather,  organize  and  communicate  ideas  about  animals  and  their  habitats.  

 

Components   Advanced  9-­‐10  

Proficient  6-­‐8  

Basic  4-­‐5  

Incomplete  0-­‐3  

VisualizationVisualization    

Aesthetics               Painting    Structures    

     

 Creative,  cohesive  design  that  enhances  and  strongly  supports  rich  visual  imagery      Painting  structures  fully  explored  and  integrated  to  communicate  specific  ideas  about  animals  and  their  habitats.    

 Good  overall  design  that  adds  to  and  supports  appropriate  visual  imagery          Painting  structures  explored  and  integrated  in  an  appropriate  manner  to  communicate    ideas  

 Some  aspects  of  design  considered  and  minimally  supports  visual  imagery        Painting  structures  are  inconsistent  or  communicate      similar  ideas  about  animals  and  their  habitat    

 Visual  design  is  static  or  not  considered;  does  not  enhance  visual  imagery      Painting  structures  are  incomplete  or  communicate  minimal  information  about  animals  and  their  habitats  

VerbalizationVerbalization    

Research               Brainstorming           Rough  Drafts              through    

Final  Copy      

 Excellent  use  of  appropriate,  

interesting,  and  valuable  researched  

information.    

Thorough  evidence  of  categorizing  and  synthesizing  information  

 Extensive  revision  including  unique  word  choice;  perfect  mechanics  

 Good  use  of  appropriate,  

interesting,  and  valuable  researched  

information.    

 Good  evidence  of  categorizing  and  synthesis  of  information  

   

Revisions  show  modified  word  choice;  minimal  mechanical  errors  

 Minimal  use  of  appropriate,  

interesting,  and  valuable  researched  

information.    

 Some  evidence  of  categorizing  and  limited  synthesizing  of  information  

 Little  evidence  of  revisions,  multiple  mechanical  errors  

 Research  is  not  

evident            

Incomplete      

     No  evidence  of  revisions,  mechanical  errors  hinder  under-­‐standing  of  text    

Publish      

Includes  at  least  four  original  

poetry/paintings  to  be  shared  in  the  

field  

Includes  at  least  four  different  

poetry/painting  to  be  shared  in  the  field  

Includes  less  than  four  different  

poetry/painting  to  be  shared  in  the  field  

Poetry  and  paintings  are  incomplete  

and/or  not  shared  in  the  field  

Visualization ____ Verbalization ______ Publish ________ Total ____

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STAGE 3 PLAN EXPERIENCES AND INSTRUCTION HOW IS INSTRUCTION EFFECTIVELY ORGANIZED?

AWARENESS Listen and read poetry about animals Look at paintings of animals by different artists/cultures – Identify animal and habitat

Quick sketch drawings of animals Demonstrate and explain note taking EXPLORATION Concept Squares – guided practice Read for Aesthetic Words – fill out chart Find examples of aesthetic words in animal paintings Create group poems using different poetry forms Compare and Contrast different paintings of animals – discuss similarities and differences in style, technique, perspective, feeling Begin practicing painting using different tools – sumi brush, dot painting, etc. Trip to local zoo to sketch animals in action and record visual/verbal information ELABORATION Work on independent animal research – using research structures Conference with teacher demonstrating work on concept squares, data disc, aesthetic words Work on animal paintings and discuss making effective artistic choices Revise and manipulate word choices in crafting poems UTILIZATION Organize work (paintings, poetry, research) into a bound book Share book and poems with larger audience – Parent Evening, other classes Demonstrate ability to use structures for research, poetry and painting in other disciplines, projects or centers

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Stage 3 Instruction: ANIMAL RESEARCH AND WRITING

Science Research Strategies/Structures Note Taking

Data Discs Concept Squares Aesthetic Words Poetry Structures “Poetry is a way of expressing deep thoughts or strong personal feelings using rich and beautiful language. Poetry looks, sounds, and feels different from other kinds of writing. It has special appeal to your heart as well as to your mind. It often makes a complicated idea clear and concise. It is pleasant to hear as well as to say.” (J. N. Hulme, & D. W. Gutherie, How to write, recite and delight in all kinds of poetry, p.9) Poetry Packet - Dr. Mary Beth Allen

Acrostic Poetry Cinquain Diamante Haiku Definition Poems I like…Because poems Patterned Poetry

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Stage 3 Instruction: Painting Explorations Painting Structures Artistic Techniques

Papunya dot Painting INDONESIAN RESIST PAINTING EAST ASIAN BRUSH PAINTING AFRICAN BLEACH PAINTING French Painted Paper Collage

• Imagine your animal from above (aerial perspective) and sketch a focal point on your page. Draw lines that encircle or radiate from your animal creating an overall line design. • Use a limited palette (no more than five colors) and paint in the large areas/spaces of the design. • Use a dowel, branch, or flat pencil eraser to apply small amounts of paint as dots throughout the painting to embellish the design. Continue to build contrast and variety while repeating dots over the entire page. • Use crayons to draw your animal on white paper. Use light color or metallic

crayons for contrast and variety in your work. • Add lines and patterned rubbings to enhance the animal & habitat. • Consider the background habitat adding accent lines or foliage. • After drawing, brush watercolors over the crayons design to create the an overall effect to the habitat and background. • Consider time of day to create interest. You may even wet your paper first before laying down your watercolors, try using sponges or texturing tools to create a more blended or textured effect. • Use black ink on white paper. Try grinding your own on an ink stone. • Practice various brushstrokes using the correct hand position. With practice you will find the rhythm of the hand, heart and mind. • Look carefully, at the animal, breaking apart the shapes or observe the light and darks found in their markings. • Sit up straight, and breathe deeply a few times before beginning. Keep your wrist stiff, but let their arm move easily across the paper. The hand and forearm should not touch the paper as in Western drawing. • Work with simple lines and shapes. Use the white of the paper to suggest sky, snow, or distance. • Layer the shapes and varying amounts of black and gray to create depth. The work should suggest the animal and its habitat, but avoid putting in every detail or overworking the painting. Simplicity is essential. • This simple painting technique replicates a mud cloth technique. Cover your

work surface with layers of newspaper for protection. • Select a dark piece of construction paper. Carefully draw the contour of your animal with Q-tips or sticks, dipped in bleach. SAFETY! • Add lines and patterns to enhance the details of your animal. • Consider the background habitat as well. • Once you have bleached the drawing into the paper, use oil pastels to add the “mud” layer to your drawing, working in and around the bleached design to enhance your painting. • Use rich, dark colors to emphasize the contrast between the bleached areas and the “mud” areas of color. • Create a set of textured papers that emphasize the texture and color of

the animal and its habitat. • Collage the animal and the environment by overlapping and layering a

composition. This is good for the cover page – Add a title.

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PAINTING ANIMALS

Animals are probably the oldest images painted by the human hand. They represent power, the hunt, fear, and survival. There are many ways to paint animals. Children generally use one of four approaches when painting animals with a brush. Each of these approaches requires a knowledge and analysis of a specific animal for children to portray it on a two-dimensional surface. With observation and technical practice, children may become quite sophisticated and expressive in rendering animals with in their art. Shape Approach A “Shape” approach is most common when children do not have a specific animal or animal reference to study carefully. The child relies mostly on memory to break down the animal into shapes and then adds lines and patterns to imply texture and markings. Feel the shape of your animal with your eyes closed. Begin with an oval for the body. Add the head, neck, legs, tail, ear. Horns, whiskers, etc. Gesture Approach A “Gestural” approach uses movement to signify the size and posture of an animal. These freely formed animals usually begin as a blob and are pushed out and nudged into an animal form. They are expressive and often show movement. Hold the animal up to the light and look at its silhouette or overall shape. Begin with a blob and work the brush out to create a solid animal silhouette. Try to capture the position or movement of the animal. Contour-Outline Approach Children choose a contour approach when they are observing an animal or have a strong personal knowledge of an animal. As they paint the outline of the animal they tend to be more sensitive to subtle features and details. This lends itself to more accurate renderings of the animal. Begin at the top of the animal’s head. Look closely at the animal in from of you. Let your brush record each detail as it moves around the outline of the animals body. Texture Approach Often the skin, hair or markings of an animal are the most salient feature. It may be what in fact captures the child’s imagination and therefore they visually attend to this aspect carefully. The animals “texture” or pattern is painted to represent this compelling feature and an outline may or may not be added to enclose the texture. Begin with the animal’s features: eyes, nose, mouth and ears. Then try to convey the texture of the animal by repeating the line and shape markings you see.

SHAPE GESTURE CONTOUR TEXTURE Topal, C. W. (1992). CHILDREN AND PAINTING. Worcester, MA: Davis Publications, Inc. pp. 89-91

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AUSTRALIAN DREAMINGS

••••••••••••••••••••••• Australia is a land of many shapes and colors. Jutting rocks contrast with flat desert and dry vegetation. Tropical flowers, plants, and freshwater lakes are found in northern Australia. Green harbors separate the blue coastal waters from the warm browns and Snake Dreaming – Contemporary Aboriginal Painting golds of the desert. The colors and forms of the Australian landscape are a central source of inspiration to Aboriginal artists. Papunya dot Painting The Papunya people, the Aboriginal group who are nestled at the base of the Macdonnell ranges in Australia’s Western Desert, paint intricate dot paintings using a limited palette reflecting the colors of the desert: red ochre, yellow ochre, browns, black and white. The shapes in their paintings are icons for people objects, animals, landmarks, and events in the world around them. Papunya artists paint to help maintain their ever-important connection with the Dreaming stories. Their dot paintings are painted with an aerial perspective, as if looking down over the landscape from above. They are like maps of the country, showing the places where Ancestral Beings are believed to have traveled during the Dreaming. The dot painting style is also used for decorating functional items, including boomerangs, digging sticks, coolamons, and Didgeridoos.

Wildlife The native animal life includes hundreds of species of birds and reptiles. With foreboding crocodiles, flightless emu birds, and tree-dwelling koalas, Australia is a wildlife delight. Animals are important to the Aboriginal people; their forms appear throughout traditional Aboriginal artworks. Aboriginal Dreamings Dreaming is the philosophy that is central to the culture of the Aboriginal people of Australia. It helps them TURTLE DREAMING – Contemporary Aboriginal Painting

answer universal questions about creation, existence, and the meaning of life. Dreamings are mythical stories that are used by the Aboriginal people for their rituals and art.

“Australian Dreamings” - 1996 BY CRIZMAC ART & CULTURAL EDUCATION MATERIALS

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INDONESIAN RESIST PAINTING

No one knows exactly when or where the first batiks were made, but they have been a part of the traditional textile arts of Indonesia for centuries. Batik is derived form the word “titik”, meaning drop. A 7 ft. length of fabric for an especially fine sarong could take up to six months to create by hand. The Batik Process The basic technique involves dropping or applying wax designs onto fabric which in turn resist the fabric dyes. This creates a high contrast design. The artist uses one of two methods to apply the wax. He may use a printing block or tjap which is carved out of wood or ribbons of copper folded into an intricate design and then dipped in melted wax and pressed onto cotton fabric. This creates a seamless repeated pattern. For a more free flowing and elaborate design a tool called a tjanting is used to apply the wax. A tjanting has small copper bowl with a fine spout and a bamboo handle. The bowl is filled with wax and flows out the spout so the artist may draw the design. The tjanting can create very fine, complex designs. Making batiks by hand with a tjanting is a meticulous, creative process. The waxed fabrics are then dipped in fabric dyes so that the unwaxed areas become saturated with color. The traditional color is indigo which is rich deep blue. The fabric is then washed to remove the wax and the design shows white against the indigo color. More contemporary batiks incorporate multiple waxing and dying steps starting from the lightest colors first to the final dark color. After each dyed area is dry another layer of wax is applied and then the fabric is dipped in another color dye. Whatever is waxed resists the dye of the new color. This allows the artist to build their painting in reverse adding more design and deeper colors each time. Batik Designs Batik designs consist of both geometric shapes and shapes inspired by nature, such as birds, animals, flowers, leaves, butterflies, and fish. The garuda, a mythical bird that carried the god Vishnu, is a common motif, and so are the phoenix and Nagu, the dragon. The Muslim religion in some Indonesian cultures have forbade the representation of natural forms in their art, so the batik designs have become highly stylized to mask their natural form. Many designs reflect images of the past or they may be created especially for particular families or special occasions. Schuman, J. M. (1981). ART FROM MANY HANDS. Worcester, MA: Davis Publications, Inc.

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EAST ASIAN BRUSH PAINTING Brush ink painting is an ancient and highly respected tradition that began in China as early as the fourth century BC and later spread to Japan and Korea. This major form of painting in East Asia encompasses basically two major styles although there are many diverse styles of brush painting. In one style, the artist takes care to show each tiny detail, while the second tradition is more expressionistic in which the artist expresses the essence of an idea. Less is more in these paintings! ������������������

In East Asian brush painting, the painter is encouraged to visualize each stroke and make those strokes in a deliberate, thoughtful, reflective manner. The stroke is made of shades of gray and individual shapes are emphasized. The white space of the paper is as important as the brush strokes that give the painting form. The images continue off the page giving a sense of continuous space and limitless ideas. Painting then becomes a spiritual experience where the painter’s records his inner life experience. “Those who are skilled in painting will live long because life created through the sweep of the brush can strengthen life itself. “ (Topal, p. 120) East Asian Brush Technique The materials used in Asian Brush Painting are different than western paintings. Sumi-e ink is made by rubbing an ink stick with water on a hard grinding stone. A small amount of water is placed in the “sea” and the ink stick is moistened and ground against the “land” to make a dark ink. The darkest ink is taken from the land and lighter shades are lifted from the sea. India ink can also be used as well. Shades of gray are made by adding varying amounts of water. Newsprint or some type of absorbent paper is fine for practicing brush painting.

The special bamboo brush is held between the thumb and the fingertips in a vertical position. Brush strokes are made by moving the entire arm and applying varying amounts of pressure for fine and thick lines. Let children practice making brush strokes before beginning.

Play a soft music to set the tone for contemplation. A centering activity may begin the painting. Each brush-stroke flows from the painter’s spirit – from that which is in the painter’s heart – leaving a record of its movement on paper. Brush painting is about flow and graceful deliberate movements of the painter’s whole arm, her whole self. The placement, darkness or lightness and character of each brushstroke defines the white space of the paper. Schuman, J. M. (1981). ART FROM MANY HANDS. Worcester, MA: Davis Publications, Inc. Topal, C. W. (1992). CHILDREN AND PAINTING. Worcester, MA: Davis Publications, Inc.

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AFRICAN BLEACH PAINTING

Mud cloth originated from the women of Mali’s Bamana culture centuries ago. This

rich, graphic cloth is a multi-step process that requires a thinking backwards technique to create the rich positive/negative bogolanfini designs. The designs are embedded with the symbols of their African heritage and culture. Today, clothing designers apply bogolanfini techniques in their contemporary works.

Mud Cloth Technique A real mud cloth or Bogolanfini takes two to three weeks to make. The multi-layered process requires the artist to think backwards about their design. Cotton is grown locally and woven by men into long strips called finimugu, which are sold in large rolls at the market. These narrow strips are sewn together to make a cloth. The artist soaks the cloth in water infused with cengura tree leaves, which enables the fabric to absorb the mud dye that will be applied later. In the process the mixture also turns the cloth yellow. The cloth is then laid out to dry. Mud cloth designs may have cultural meaning with symbols from ancient times. The overall aesthetics of the work is important as well. In the mud cloth, it is the dark areas around the symbols that are painted with mud. The artist begins by painting the borders and works her way inward. Iron-rich muds are used to paint the designs on the cloth. With wooden sticks or iron tools, the artist paints only the negative spaces. Letting the main image stand out in white. As the mud dries, the cloth absorbs its color. When the cloth is totally dry, the excess mud is washed out. The final step is to apply a caustic soda, sodani, to the yellow areas where the mud was not applied. The soda bleaches these areas white so that the designs stand out boldy from the dark mud-dyed background. A final washing completes the bogolanfini. Artistic Problem: This simple painting technique uses some of the mud cloth techniques. Begin with a dark piece of construction paper. Carefully draw with Q-tips or sticks, dipped in bleach, to draw your animal. Make sure your area is covered with layers of newspaper for protection. Add lines and patterns to enhance the details of your animal. Consider the background habitat as well. Once you have bleached the drawing into the paper use oil pastels to add the “mud” layer to your work working around the bleached design. Use rich, dark colors to emphasize the contrast between the bleached areas and the colored areas.

http://www.mnh.si.edu/africanvoices/mudclath/html/index_text.html

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STAGE 4 SET THE STAGE FOR LEARNING

How will the learning environment support, stimulate, and validate student learning?

CLASSROOM ENVIRONMENT Setting up a special place for children to paint, research, write and share their work is very important for student success. The “place” can take a variety of forms – a mat or rug on the floor, a low table, group of desks or a center table. Parts of this unit can even be done in various rooms, like the library, media center or art room. The space should contain materials of good quality, organized for easy access and enough space for the children to move around without spills. Your organization will contribute to their success. Animal Research Center

A Research Center should include a sequence of activities that will help the students explore the content area. Include experiences in:

o Identifying Topic and Selecting Resources, o Reading to Gather and Organize Information, o Writing to Describe or Explain Findings, and o Publishing and Sharing Information.

Design (draw) a center that will allow the students to proceed through the sequence independently. Keep in mind the grade level and the students’ abilities to read and write independently. Think of ways to differentiate so that all students in the class can participate successfully. Plan your design by organizing all stages in a container that will be easily accessible to all students (no three fold boards). Feel free to include the directions or any graphic organizers. Make sure directions are clear and all students can participate, regardless of reading or writing level.

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Painting Places An art center can become an integral part of your daily work in the classroom if organized for success. Rules and a demonstration how to use the center are critical. Add other elements, materials, tools or experiences as the work evolves. Table Painting Setup: The following equipment should be provided for each child at the painting center: • Space for paints – 1 cookie pan or tray with lips on all sides to serve as the painting tray or

small tray or plastic placemat (helps keep materials in one place and is less messy) • Materials on the tray:

o Tempera - plastic furniture casters (2” diameter) to hold paint or small clear containers (lids of baby food jars – same size) It is wise to have extra sets for paint so dirty ones can be soaked.

o 1 cellulose sponge about 5 x 3 to dab the paint brush on to remove excess water o 1 flat bristle brush 3/4” in. wide o 1 flat bristle brush 1/4” in. wide

• Other painting tools may be substituted if a different technique is being used, e.g. sumi brush, Q-tips, sticks, etc.

• Water container for cleaning brushes – do not leave brushes in the water – lay them flat on tray • Paper – good grade drawing/painting paper

For other Painting Places and Art Center ideas see: Pinciotti, P., et. al (2001) ART AS A WAY OF LEARNING. Bethlehem, PA: NHCC. Smith, N. ART AND EXPERIENCE: Teaching Children to Paint. NY: Teachers College Press. Topal, C. W. (1992). CHILDREN AND PAINTING. Worcester, MA: Davis Publications, Inc.

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MATERIALS NEEDED (list of all materials needed) Painting materials: A complete list (suggested resources) Children’s Books for Science, Poetry and Art Teachers Resource Books Artifacts of Animals (pictures, 3-d figures, real animals) and Art pictures Writing/Tech materials: List all supplies needed Bookmaking materials: List all supplies needed CHILDREN’S BOOKS Animal Books Sea Turtles Davies, N. (2001). One tiny turtle. Cambridge, MA: Candlewick Press. Guiberson, B. ( ). Into the sea. Gibbons, G. (). Sea turtles. Lasky, K. (2001). Interrupted journey: Saving endangered sea turtles. Cambridge, MA: Candlewick Press. Monarch Butterflies Himmelman, J. (1999). A monarch butterfly’s life. New York: Scholastic. Pringle, L. (1997). An extraordinary life: The story of a monarch butterfly. NewYork: Scholastic. Gibbons, G. ( ). Monarch butterfly. Singer, M. (2001). A pair of wings. NY: Scholastic.

Snakes Andrews, J. (1990). Poisonous creatures. NY: Parachute Press. Simon, S. (1992). Snakes. NY: Scholastic. Patent, D. (2000). Slinky, scaly, slithery snakes. NY: Scholastic. Butterflies Neye, E. (2000). Butterflies. NY: Penguin Putnam. Berger, M. & Berger, G. (2002). Where did the butterfly get its name?: Questions and answers about butterflies and moths. NY: Scholastic. Hyde, G.E. (2000). Spotter’s guide to butterflies. NY: Scholastic.

Penguins Zoehfeld, K. (2002). Penguins. NY: Scholastic. Scholastic. (2001). Face-to-face: Penguins. NY: Scholastic. Guiberson, B. (2001). The emperor lays an egg. NY: Scholastic.

Frogs Gibbons, G. (1993). Frogs. NY: Scholastic. Berger, M. & Berger, G. (2002). How do frogs swallow with their eyes?: Questions and answers about amphibians. NY: Scholastic. Pallotta, J. (1990). The frog alphabet book. Watertown, MA: Charlesbridge Publishing. Crocodiles and Alligators Berger, M. & Berger, G. (2001). Snap!: A book about alligators and crocodiles. NY: Scholastic. Simon, S. (1999). Crocodiles and alligators. NY: Scholastic.

PDS-ELED 2003

Wolves Seymon, S. ( ). Wolves. Andrews, J. (1991). Wolves. NY: Parachute Press. Berger, M. & Berger, G. (2002). Howl: A book about wolves. NY: Scholastic. Gibbons, G. (1994). Wolves. NY: Holiday House. Markle, S. (2001). Growing up wild wolves. NY: Scholastic. Dolphins Berger, M. & Berger, G. (2001). Is a dolphin a fish?: Questions and answers about dolphins. NY: Scholastic. Rowland, D. (1991). Whales and dolphins. NY: Parachute Press.

Whales Simon, S. (1989). Whales. NY: Harper-Trophy. Spinelli, E. (1991). Whales. Lincolnwood, IL: Publications International, Ltd. Gibbons, G. (1991). Whales. NY: Holiday House. Berger, M. & Berger, G. (1999) Do whales have belly buttons? Questions and answers about whales and dolphins. NY: Scholastic. Sharks Simon, S. (1995). Sharks. NY: Scholastic. Rowland, D. (1990). Sharks. NY: Parachute Press. Honeybees Gibbons, G. (1997). The honey makers. NY: HarperTrophy. Milton, J. (2003). Honeybees. NY: Grosset & Dunlap. Lizards Facklam, M. (2003). Lizards weird and wonderful. NY: Little, Brown and Company. Nicholas, C. (2001). Lizards (Know it alls). Cleveland, OH: Learning Horizons.

Bats Pringle, L. (2000). Bats! Strange and wonderful. Honesdale, PA: Boyds Mills Press. Markle, S. (1997). Outside and inside bats. NY: Scholastic.

Bears Stine, M. (1993). Bears. NY: Parachute Press. Gibbons, G. (2001). Polar bears. NY: Scholastic. Puffins McMillan, B. (1995). Nights of the pufflings. Boston, Houghton Mifflin. Gibbons, G. (1991). The puffins are back! NY: HarperCollins Publishers. Taylor, K. (1999). Puffins. Stillwater, MN: Voyageur Press.

Manatees Jenkins, P.B. (1997). A safe home for manatees. NY: Scholastic. Feeney, K. (2001). Our wild world: Manatees. Minnetonka, MN: North Word Press. Poetry Books Florian, D. (2000). Mammalabilia. NY: Harcourt. Florian, D. (2001). Lizards, frogs, and polliwogs. NY: Harcourt. Florian, D. (1998). Insectlopedia. NY: Scholastic. Florian, D. (1997). In the swim. NY: Harcourt. Florian, D. (1994). Beast feast. NY: Harcourt. Foster, J. (2001). My first oxford book of animal poems. NY: Oxford Press. Sidman, J. (2000). Just us two: poems about animal dads. Brookfield, CT: Millbrook Press.

PDS-ELED 2003

Prelutsky, J. (2002). Scranimals. NY: HarperCollins Publishers. Books about Painting, Artists, Collage, and History of Painting Baker, J. (1987). Where the forest meets the sea. New York: Greenwillow. Blizzard, G.S. (1996). Come look with me: Animals in art. USA: Lickle Publishing. Chapman, L. H. 1985. Discover Art, (grades 1-6). Worcester, MA: Davis Publications, Inc. Carle, E. (1989). Animals, Animals. New York: Scholastic. Carle, E. (1990). The very quiet cricket. New York: Philomel. Carle, E. (1993). The very lonely firefly. New York: Philomel. Carroll, C. 1996. How Artists see the elements. NY: Abbeville Publishing Group. Collins, P. L. (1992). I am an artist. Millbrook Press. Cummings, R. 1979. Just Look…A book about paintings. UK: Cameron & Tayleur (Books) Ltd. Day, N.R. (1995). The Lion’s whiskers. An Ethiopian folk tale. Scholastic Delafosse, C. and Jeunesse Gallimard. (1993). Painting. UK: Moonlight Publishing Ltd. Demi, T. (1980). Liang and the magic paintbrush. Henry Holt. de Paola, T. (1988). The legend of the Indian paintbrush. G.P.Putnam’s. Dunrea, O. (1995). The painter who loved chickens. Farrar, Straus & Giroux. Evans, J. 1987. Chinese Brush Painting. New York: Watson-Guptill Publications.’ Lessac, F. (1989). Caribbean alphabet. Tambourine Books. Lewis, R. (1989). In a spring garden. New York: Dial. MacDonald, S. (1997). Peck, slither and Slide. New York: Scholastic, Inc. MacDonald. S. (1994). Sea Shapes. San Diego: Voyager Books. Mayes. S. 1996. Starting Painting: Usborne First Skills. UK: Usborne Publishing Ltd. Roalf, P. Looking at Paintings. (Series includes: Families, dancers, children, cats, seascapes, circus, self-portraits, horses, landscapes, flowers). New York: Hyperion Books for Children. Scholastic, 1993. Paint and Painting: Voyages of Discovery series. NY: Scholastic. Weeks. S. and Ehlert, L (ill.) (1994) Crocodile Smile. A Laura Geringer Book. Wisnewski, D (1992). Sundiata, Lion king of Mali. NY: Houghton Mifflin Co. TEACHING REFERENCES Art Institute of Chicago. (1997). Telling images: Stories in Art. Chicago: Art Institute of Chicago. Barker, P. C. (1987).Short lessons in Art history. Portland, MA: J. Weston Walch, Publisher. Brommer, G. F. (1978). The art of collage. Worcester, MA: Davis Publications. Engelke, L.S.(1995). Bottle Caps to Brushes: Art activities for Kids. National Museum of American Art, Smithsonian Dowswell, P. (1999). The Usborne first encyclopedia of animals. NY: Scholastic. Hulme, J.N. & D. W. Gutherie, How to write, recite and delight in all kinds of poetry. Hutton, H. (1968). The technique of collage. NY: Watson-Guptill Publications. Issett, R. (1998). Color on paper and fabric. Madison, WI: Hand Books Press McKechnie, C. (1998). Paper Collage: Painted paper pictures. UK: Search Press.

Pringle, L. (2001). Scholastic encyclopedia of animals. NY: Scholastic. Smith, N. R. 1983. Experience and Art, Teaching children to paint. NY: Teachers College Press. Topal, C. W. 1992. Children and Painting. Worcester, MA: Davis Publications, Inc.