Lesson Plan Title: ___Self Projections – High Technology Printmaking____________ Length:____6 hours_______________________

Note: Before you plan and write art experiences; pre-assess your students based on the proposed concepts, enduring understandings, and objectives of the unit/lesson(s). You may also gather this information from (previous) teachers, by reviewing already completed art work, consulting curriculum materials, etc., to get a better understanding of what content students already know and what they will need to know to be successful.

Pre-Assessment: This will need to be done prior to teaching your lesson. Outline the method you will use to determine the skill/knowledge level of your students based on the concepts/enduring understandings/objectives of the lesson. (Hint: turn these into questions.) Be specific in describing what you would recognize as proficient skill/knowledge.

1. Can student explain the purpose for ideation/brainstorming ideas to create art effectively?

2. Can students explain drypoint (engraving) printing using a press correctly?

3. Can students explain how to create a relief (woodcut) print correctly using photo shop and laser cutter.

4. Can students explain the art work of JR analyze their collaborate projects with regard to impact, intent, and inherent characteristics/expressive features of line, shape, repetition and color.

5. Can students explain the art work JR, iO Tillett, Ted Lawson, and Saba Chaudhry for its social impact on society?

Performance:What will students accomplish as a result of this lesson? This can be presented to students in the form of a story. In this narrative the students take on a role and create a learning product about a specific topic for a certain audience. (RAFT – Role / Audience / Format / Topic)

You are part of an artist collective; a group of artists working together towards shared aims. Your collective wants to bring communities of disparate people together to promote understanding. Your first leader was JR (https://www.youtube.com/watch?v=0PAy1zBtTbw); your first project was the Inside Out Project (https://www.youtube.com/watch?v=Gn2W3X_pGh4). Use this project as inspiration. To introduce yourselves to communities; create a group portrait—a collection of individual self-portraits. The one becomes the many. Play and practice using intaglio and relief printmaking processes and technology. Your “finished product” will be a group portrait and book.

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Concepts:List the big ideas students will be introduced to in the lesson. These ideas are universal, timeless and transferrable. Examples of concepts used in art might include: Composition, Patterns, Technique, Rhythm, Paradox, Influence, Style, Force, Culture, Space/Time/Energy, Line, Law/Rules, Value, Expressions, Emotions, Tradition, Symbol, Movement, Shape, Improvisation, and Observation Look for concepts in the standards, content specific curriculum, etc.

Line, Repetition, Color, Shape, Art and Social Activism, Representational, Abstract

Enduring Understanding (s):Enduring Understandings show a relationship between two or more concepts; connected with an active verb. The best enduring understandings not only link two or more concepts; but demonstrate why this relationship is important. Like concepts, they are timeless, transferrable and universal. Align Standards, Prepared Graduate Competencies (PGCs) and Grade Level Expectations (GLEs) to Enduring Understandings.

Visual arts are a means for expression and communication of ideas and perspectives.

Artists and designers analyze and articulate visual information to create meaning.

Standards: (All lessons should address all standards.)1. Observe and Learn to Comprehend2. Envision and Critique to Reflect3. Invent and Discover to Create4. Relate and Connect to Transfer

Objectives/Outcomes/Learning Targets:Objectives describe a learning experience with a condition → behavior (measurable) → criterion. Aligned to: Bloom’s – Standards – GLEs - Art learning and, when appropriate, Numeracy, Literacy and Technology. Should be written as: Objective. (Bloom’s: _____ - Standard: _____ - GLE: _____ -Art learning: _____ -Numeracy, Literacy, and/or Technology)

1. Given ideation handouts, SWBAT construct self-portraits using brainstorming ideas effectively. (Create, Create, GLE#3, Ideation)

2. Provided information, SWBAT create a drypoint (engraving) print correctly using a press. (Applying; Comprehend; GLE#3, Materials, Tools Techniques)

3. Provided information, SWBAT create a relief (woodcut) print correctly using photo shop and laser cutter. (Applying; Comprehend; GLE#3, Materials, Tools Techniques)

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4. Introduced to the art work JR, iO Tillett, Ted Lawson, and Saba Chaudhry, SWBAT analyze their collaborate projects with regard to impact, intent, and inherent characteristics/expressive features of line, shape, repetition and color. (Analyzing, Reflect, GLE#3, Reflection/Assessment)

5. Using printmaking processes and materials, SWBAT create representational print using line, shape, repetition and color to “describe themselves”. (Create, Create, GLE#1, Inherent characteristics and expressive features)

6. Using printmaking processes and materials, SWBAT create an abstract print using line, shape, repetition and color to “describe themselves”. (Create, Create, GLE#1, Inherent characteristics and expressive features)

7. Introduced to the art work JR, iO Tillett, Ted Lawson, and Saba Chaudhry, SWBAT discuss and analyze the art work of each for its social impact on society. (Analyzing, Transfer, GLE#2, Culture/Art History)

Differentiation: Explain specifically how you have addressed the needs of exceptional students at both end of the skill and cognitive scale. Describe the strategies you will use for students who are already proficient and need growth beyond what you have planned for the rest of the class, as well as modifications for students with physical and/or cognitive challenges. Students must still meet the objectives.

Differentiation:(Multiple means for students to access content and multiple modes for student to express understanding.)

Access (Resources and/or Process) Expression (Products and/or Performance)

Linoleum cuts - make contrast on computer and use a template for a lino-cut instead of the laser cutter OR draw directly on it

Styrofoam plates for background layout.

A complete lino cut using a template or by directly drawing on the linoleum

Create a successful Styrofoam plate print

Extensions for depth and complexity: Access (Resources and/or Process) Expression (Products and/or Performance)

Make an “Andy Warhol”-esque multi-windowed print

Create a straight/clean four-windowed work with different backgrounds of the self portrait

Literacy:List terms (vocabulary) specific to the topic that students will be introduced to in the lesson and describe how literacy is integrated into the lesson.

Perception, Intaglio, Relief, Drypoint, Representational, Abstract, Matrix, Linocuts, Contrast-Ideation worksheets - writing down ideas and possible plans for the finished product.

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-Viewing and discussing videos and websites - Seeing how other artists express their individual ideas and talking about what that means for us.                                                                             Talking about how we might do the same.  Reading about the artwork as well as reading into                                                                           symbols used in each work.

-Student Reflective Activity:Consider the art work in the “gallery”; you are a new docent that must engage visitors viewing the exhibit. Develop a series of statements and questions that will lead the viewer to consider and question 1) how the art work was created (describe drypoint and relief printing); 2) the conceptual framework (portraiture, representational, non-representational and abstract); and 3) what the art work means? (What did the artist intend? How did the artist come up with their ideas? Why is this art work important?)

Materials: Must be grade level appropriate. List everything you will need for this lesson, including art supplies and tools. (These are the materials students will use.) List all materials in a bulleted format.

Plexiglas, printing ink, paper, wood, press, laser cutter, brayers, newspaper, ideation worksheets, Scattergories die, sketchbooks, markers, pencils

Resources: List all visual aids and reference material (books, slides, posters, etc. Be specific; include title, artist, etc. Make reference to where the material can be found. (These are the resources used by the teacher to support/develop the lesson.) List all resources in a bulleted format.

Videos/Websites:JR: (https://www.youtube.com/watch?v=0PAy1zBtTbw)iO Tillett: http://www.upworthy.com/do-these-people-look-straight-the-photographer-who-is-snapping-lgbt-faces-across-america-7 Ted Lawson: http://www.theverge.com/2014/8/19/6044407/ted-lawson-blood-robot-portrait (WARNING)Saba Chaudhry: http://muslima.imow.org/content/noor

Engraving/Drypoint HandoutRelief/Woodcut Handout

Preparation: What do you need to prepare for this experience? List steps of preparation in a bulleted format.

Cut Plexiglas, complete lesson plan, cut paper, arrange supplies, contact visiting artist, cut wood

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Safety: Be specific about the safety procedures that need to be addressed with students. List all safety issue in a bulleted format.

-Hands must be clear of the press-Nothing may be placed on the press other than the print you are making-Stay away from the laser cutter when in use unless specified otherwise-Allow our laser printer technician to make the cuts - do not try to make your own cuts

Action to motivate/Inquiry Questions: Describe how you will begin the lesson to stimulate student’s interest. How will you pique their curiosity and make them interested and excited about the lesson? What inquiry questions will you pose? Be specific about what you will say and do to motivate students and get them thinking and ready to participate. Be aware of the varying range of learning styles/intelligences of your students. Some ideas might include: telling a story, posing a series of questions, role-playing, etc.

-Perception? What does that mean? Can you think of a time when you were misunderstood? You were perceived in a way that surprised you?

-Art can be used to tell the truth or to tell lies about who we are. Can you think of examples where this happens? (Advertising, television, movies, Cindy Sherman)

- How do you understand “perception” in the art work of JR, Tillett, Lawson and/or Chaudhry? What might it cause you to consider in creating your own art work?

-You are part of an artist collective; a group of artists working together towards shared aims. Your collective wants to bring communities of disparate people together to promote understanding. Your first leader was JR (https://www.youtube.com/watch?v=0PAy1zBtTbw); your first project was the Inside Out Project (https://www.youtube.com/watch?v=Gn2W3X_pGh4). Use this project as inspiration. To introduce yourselves to communities; create a group portrait—a collection of individual self-portraits. The one becomes the many. Play and practice using intaglio and relief printmaking processes and technology. Your “finished product” will be a group portrait and book.

-The “group” will be art majors.

-How do you want to introduce yourself?

Ideation/Inquiry: Ideation is the creative process of generating, developing, and communicating new ideas, where an idea is understood as a basic element of thought that can be visual, concrete or abstract. List and describe inquiry questions and processes you will engage students in to help them develop ideas and plans for their artwork.

1. Scatergory Ideation: Using the letter rolled, write a list of things and activities that you enjoy and starts with that letter.2. Quick Draw: Respond to prompts and then create a symbolic/abstract self-portrait.

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3. Snapshots: If you could fit your personality in one photo frame, what would you be doing? Who would you be doing it with? Where would you be?

Instruction: Give a detailed account (in bulleted form) of what you will teach. Be sure to include approximate time for each activity and instructional methodology: skills, lecture, inquiry, etc. Include motivation and ideation/inquiry where appropriate; including what student will understand as a result of the art experienceDay 1 Instruction - The teacher will... (Be specific about what concepts, information, understandings,

etc. will be taught.) Identify instructional methodology. KNOW (Content) and DO (Skill)

-Begin with “Character worksheet”.

-Perception? What does that mean? Can you think of a time when you were misunderstood? You were perceived in a way that surprised you?-Think of these questions as we watch/rewatch the iO Tillet video.

-Art can be used to tell the truth or to tell lies about who we are. Can you think of examples where this happens? (Advertising, television, movies, Cindy Sherman)

- How do you understand “perception” in the art work of JR, Tillett, Lawson and/or Chaudhry? What might it cause you to consider in creating your own art work?

-You are part of an artist collective; a group of artists working together towards shared aims. Your collective wants to bring communities of disparate people together to promote understanding. Your first leader was JR (https://www.youtube.com/watch?v=0PAy1zBtTbw); your first project was the Inside Out Project (https://www.youtube.com/watch?v=Gn2W3X_pGh4). Use this project as inspiration. To introduce yourselves to

Learning - Students will... i.e.: explore ideation by making connections,comparing, contrasting; synthesize possibilities for each painting technique; etc. (Be specific about what will be the intended result of the instruction as it relates to learning.) UNDERSTAND

-Generating or assessing solutions

-Thinking independently, making plausible inferences, predictions or interpretations

-Comparing analogous situations: transferring insights to new contexts

-Generating or assessing solutions

Time

5:00-5:15

5:15-5:45

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communities; create a group portrait—a collection of individual self-portraits. The one becomes the many. Play and practice using intaglio and relief printmaking processes and technology. Your “finished product” will be a group portrait and book.

-The “group” will be art majors.

-How do you want to introduce yourself?

-Review assessment rubric.

Introduce and lead students through ideation:-Scatergory Ideation: Using the letter rolled, write a list of things and activities that you enjoy and starts with that letter.-Quick Draw: Respond to prompts and then create a symbolic/abstract self-portrait.-Snapshots: If you could fit your personality in one photo frame, what would you be doing? Who would you be doing it with? Where would you be?

-Create a relief print using photoshop and relief printing.

- Take photo in PhotoBooth- Open picture from PhotoBooth in PhotoShop- Make photo in the dimensions of 6”x4”- Use brightness and contrast on photo-How to use brightness/contrast in photoshop (multiple ways):

1. Click the Brightness/Contrast icon in the Adjustments panel.2. Choose Layer > New Adjustment Layer > Brightness/Contrast. Click OK in the New Layer dialog box.3. Click “adjustments” at the top panel. Click “brightness/contrast”4. Save as a .jpg5. Upload each photo onto flash drive

- Get flash drive to Scott by 6:30

-Generating or assessing solutions

-Thinking independently, making plausible inferences, and comparing and contrasting ideas with actual practice

5:45-6:00

6:00-6:45

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- Laser printer demo

-Scatergory Ideation: Using the letter rolled, write a list of things and activities that you enjoy and starts with that letter.

-Drypoint Introduction (below)

-Create a relief print using photoshop and relief printing.

Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of a same piece, which is called a print. Each print produced is not considered a "copy" but rather is considered an "original". This is because typically each print varies to an extent due to variables intrinsic to the

printmaking process, and also because the imagery of a print is typically not simply a reproduction of another work but rather is often a unique image designed from the start to be expressed in a particular printmaking technique. A

print may be known as an impression. Printmaking (other than monotyping) is not chosen only for its ability to produce multiple impressions, but rather for the unique qualities that each of the printmaking processes lends itself to.

Prints are created by transferring ink from a matrix or through a prepared screen to a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates (Plexiglas) for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the

6:45-7:00

7:00-7:50

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screenprinting process

Engraving is the practice of incising a design onto a hard, usually flat surface, by cutting grooves into it. The result may be a decorated object in itself, as when, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper, zinc, or polymer plates (Plexiglas), for printing images on paper as prints or illustrations; these images are also called engravings.

Engraving was a historically important method of producing images on paper in artistic printmaking, in mapmaking, and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by various photographic processes in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques.

Simple engraving techniques can result in similar results. Engravings can also be created using a laser cutter. A Laser cutter is a machine that uses a laser to cut materials. There are three main configurations used with the laser printer; depending on your purpose and the results you want to achieve.

When configuring laser cutters, there are three different configurations to choose from: moving material, hybrid, and the flying optics system. The difference among these three configurations is in the way that the laser beam moves above the material that is being cut. One common similarity that all of them do share though is that they all

utilize the X and Y axis as the axis of motion, while the controller above is designated as the Z axis.

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Moving materials configuration is when the material that is to be cut is stationed below a cutter head. The biggest strength about this configuration is consistency. As the laser is uniformly and steadily held above, the material can be cut quite steadily. The downside of this is that the material that is being cut (the workpiece) needs space to move around to be cut.

Hybrid lasers work because of a cooperative work between the laser header above and the workpiece below. The table moves in one axis (often the X axis) while the cutter head moves in the opposite axis (usually the Y axis). This coalition allows a relatively good and stable constant beam delivery path length than other configurations like the flying optic configuration, while also having a simpler beam delivery system

The flying optic configuration has a moving cutter head with a stationary workpiece. This configuration usually does not require material clamping. As the moving mass is fairly consistent, the cuts are quite clean. Also, this configuration is by far the fastest among others, as its acceleration and peak velocities are superior compared to the moving materials and the hybrid systems. When changing the length of the beam from near field to the far field, techniques such as collimation, adaptive optics, or constant beam length axis is used.

Creating and printing an engraving:

1. Begin with a smooth, clean Plexiglas plate with beveled edges. Bevel the edges using a file. The design for your engraving can be drawn out on paper and placed under the plate, if necessary, to reference while you are engraving.

2. You can clamp the plate down to a table surface if you are having trouble controlling the plate as you engrave.

3. Each graver is different and has its own use. Engravers use a hardened steel tool called a burin, or graver, to cut the design to the surface,

-Generating or assessing solutions

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most traditionally a copper plate. For a low tech approach the burin can be a sharp instrument like a screw or nail and the plate can be Plexiglas. Slowly, and with pressure, draw (scribe) into the Plexiglas. For deeper cuts go back into the incised area several times. Hatching and crossing-hatching can be used to achieve changes in values.

4. Once the plate has been engraved, it is ready for printing. Ink the plate using a dabber, a small piece of mounting board, or a piece of scrim (wiping canvas) to move the ink back and forth over the plate. (You can also use a plastic card that has been broken in half)

The ink should cover the whole plate and must be thick enough to push into any deep marks and textures. It is important to get the ink down into the engraved areas.

Use a large piece of scrim to wipe the surface of any excess ink. Make sure you don't wipe so hard that you remove the ink from the lines or marks, but keep moving with a flat angle and wipe in circular or half-circular movements. The surface will slowly be cleared and the ink remains only in the lines and marks of the plate.

When you have wiped off all the excess ink and you can see the image clearly, use tissue paper to lightly polish the surface. Before the plate can be printed, the edges of the plate must be cleaned to avoid any dirty marks on the finished print.

5. Prepare your paper by soaking it in water for 1 – 2 minutes (depending on the quality of the paper).

6. Place your plate on a piece of newsprint that rests on the bed of the press. Carefully, place your paper on your plate. Using three blankets — a cushion, a pusher, and a catcher — equalize the pressure (to lessen the strain on the upper roller shafts of your press). The catcher blanket should

be placed directly on top of your damp printing paper, the cushion blanket on top of the catcher, and the pusher on the very top. Make sure you stagger

-Thinking independently, making plausible inferences, and comparing and contrasting ideas with actual practice

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your blankets. See:

http://www.bing.com/videos/search?q=how+to+print+an+etching+on+a+press&qpvt=how+to+print+an+etching+on+a+press&FORM=VDRE#view=detail&mid=FC0C9027118B6BD51185FC0C9027118B6BD51185

7. Slowly run the plate through the press. (Setting the press: Release the pressure on the rollers by loosening the hand screws. Roll the bed out to one side of the press as far as it will go. Place the blankets on the bed. Roll the bed back until the roller rests on both blankets. Tighten the pressure screws, using firm pressure. Fold a blotter (newsprint) in half and cut it down to a size somewhat larger than the plate which is to be printed. Place the folded blotter in the center of the bed. Place the uninked plate face up on the lower half of the blotter and cover it with the top half of the blotter. Cover the blotter with the blankets. Run through the press. Do not run the rollers off the edge of the blankets. Lift the blankets and examine the blotter. The top half will show an impression of the back of the plate, the intaglio. On the inside of the blotter there should be a clear impression of the face of the etching. If the pressure is too light or there is uneven pressure on either side it will be evident at once. If the pressure on one side is weak, the impression of the lines will be weak or will not register at all on that side. Good pressure adjustment will result in a full, clear impression on the blotter of all the work on the plate. Adjust the pressure as needed and repeat the test printing until the pressure is satisfactory. The press will then be set for printing. Once it is correctly adjusted it is advisable to leave the pressure setting alone. New adjustments for each plate are not necessary. Occasionally, however, an unusually thin etching plate will demand new adjustments.)

Day 2-Continue working.

-Student assessment activity.Consider the art work in the “gallery”; you are a new docent that must engage visitors viewing the exhibit. Develop a series of statements and questions that will lead the viewer to consider and question 1) how the art work was created (describe drypoint and relief printing); 2) the conceptual framework (portraiture,

-Generating or assessing solutions

-Thinking independently, making plausible inferences, and comparing and contrasting ideas with actual practice

5:00-7:20

7:20-7:50

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representational, non-representational and abstract); and 3) what the art work means? (What did the artist intend? How did the artist come up with their ideas? Why is this art work important?)

Day 3

Student reflective/inquiry activity: Sample questions and activities (i.e. games, gallery walk, artist statement, interview) intended to promote deeper thinking, reflection and refined understandings precisely related to the grade level expectations. How will students reflect on their learning? A participatory activity that includes students in finding meaning, inquiring about materials and techniques and reflecting about their experience as it relates to objectives, standards and grade level expectations of the lesson.)

Consider the art work in the “gallery”; you are a new docent that must engage visitors viewing the exhibit. Develop a series of statements and questions that will lead the viewer to consider and question 1) how the art work was created (describe drypoint and relief printing); 2) the conceptual framework (portraiture, representational, non-representational and abstract); and 3) what the art work means? (What did the artist intend? How did the artist come up with their ideas? Why is this art work important?)

Post-Assessment (teacher-centered/objectives as questions): Have students achieved the objectives and grade level expectations specified in your lesson plan?

Post-Assessment Instrument:How well have students achieved the objectives and grade level expectations specified in your lesson plan? Include your rubric, checklist, rating scale, etc.

1. Construct self-portraits using brainstorming ideas effectively.2. Create a drypoint (engraving) print correctly using a press.3. Create a relief (woodcut) print correctly using photo shop and laser cutter.4. Create representational and non-representational prints using line, shape, repetition and color to “describe themselves”.5. Explain how the work of JR, iO Tillett, Ted Lawson, and Saba Chaudhry impacted your understanding of “self” and may, or may not have, influenced your art work.

Self-Projections AssessmentCriteria Advanced Proficient Developing Basic1. Construct self-portraits using brainstorming ideas effectively.

Ideation is original and explores numerous possibilities; demonstrates strong effort.

Ideation is mostly original and explores several possibilities; demonstrates good effort.

Ideation is marginally original and explores few possibilities; demonstrates inconsistent effort.

Ideation is not original and explores one or two possibilities; demonstrates little effort.

2. Create a drypoint (engraving) print correctly using a press.

Drypoint is printed clearly; strong contrast and no bleeding; margins/edges are clean.

Drypoint is printed clearly; good contrast and no bleeding; margins/edges are mostly

Drypoint is somewhat blurry; fair contrast and some bleeding; margins/edges are not clean.

Drypoint is blurry; little contrast and extensive bleeding; margins/edges are not clean.

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clean.3. Create a relief (woodcut) print correctly using photo shop and laser cutter.

Woodcut is printed clearly; strong contrast (correct use of Photoshop); margins/edges are clean; background is original and relates to image.

Woodcut is printed clearly; good contrast (correct use of Photoshop); margins/edges are mostly clean; background is mostly original and relates to image.

Woodcut is somewhat blurry; fair contrast (correct use of Photoshop); margins/edges are not clean; background is somewhat original and loosely relates to image.

Woodcut is blurry; little contrast (correct use of Photoshop); margins/edges are not clean; background is not original and does not relate to image.

4. Create representational and non-representational prints using line, shape, repetition and color to “describe themselves”.

Prints clearly reflect artist’s intent; use of line, shape, repetition and color to “describe themselves” (or not) is original and identified by the viewer.

Prints reflect artist’s intent; use of line, shape, repetition and color to “describe themselves” (or not) is mostly original and identified by the viewer in many cases.

Prints somewhat reflect artist’s intent; use of line, shape, repetition and color to “describe themselves” (or not) is somewhat original and not easily identified by the viewer.

Prints do not reflect artist’s intent; use of line, shape, repetition and color to “describe themselves” (or not) not original and not easily identified by the viewer.

5. Explain how the work of JR, iO Tillett, Ted Lawson, and Saba Chaudhry impacted your understanding of “self” and may, or may not have, influenced your art work.

Clearly articulates an understanding of the artwork of JR, iO Tillett, Ted Lawson, and Saba Chaudhry; identifies connections to their art and the art of other artists.

Clearly articulates an understanding of the artwork of JR, iO Tillett, Ted Lawson, and Saba Chaudhry; identifies some connections to their art and the art of other artists.

Somewhat articulates an understanding of the artwork of JR, iO Tillett, Ted Lawson, and Saba Chaudhry; identifies few connections to their art and the art of other artists.

Does not articulate an understanding of the artwork of JR, iO Tillett, Ted Lawson, and Saba Chaudhry; identifies one connection to their art and the art of other artists.

Comments:

Self-Reflection:

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After the lesson is concluded write a brief reflection of what went well, what surprised you, and what you would do differently. Specifically address: (1) To what extent were lesson objectives achieved? (Utilize assessment data to justify your level of achievement.) (2) What changes, omissions, or additions to the lesson would you make if you were to teach again? (3)What do you envision for the next lesson? (Continued practice, reteach content, etc.)

Appendix: Include all handouts, prompts, written materials, rubrics, etc. that will be given to students.

8/9/15 Fahey

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