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Visual Arts Units For All Levels

Visual Arts Units for All Levels

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86 views

Visual Arts Units For All Levels

Visual Arts Units for All Levels

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vojislavilic

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Excerpted from

National Educational Technology Standards for Students Curriculum Series

Visual Arts Units for All Levels

by Mark Gura

A well-chosen image has always been an important tool for instruction. While
rooted in the most basic and ancient of human needs and behaviors, art is as
relevant today in the information age as it was in the print and pre-print eras,
perhaps even more so. NETS•S Curriculum Series: Visual Arts Units collects 20
classroom projects that use technology in support of visual art in the curriculum.
Some of the skills covered in these units are working with graphics files (such as
selecting, saving as, converting, importing), creating slide shows, hyper linking
multimedia, digital animation, and virtual reality, among others. The projects
described in this book are designed to be flexible, and can be modified to fit a wide
variety of grade levels and individual classroom needs.

These structured activities involve classic visual arts concerns and content, and
each project points to one or more important facets of digital technology use. The
projects cover a full gamut of art-making approaches including: drawing, painting,
design, drafting, and printmaking, as well as sculpture and three dimensional
design, and are contextualized in general and art-specific historical and cultural
studies. Most involve ancillary reading, learning, and research. NETS•S Curriculum
Series: Visual Arts Units is more than just a compilation of art projects—these
projects will engage and challenge your students through reflection, analysis, and
criticism.

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Section 1
Incorporating Technology
in the Visual Arts Classroom

• Chapter 1 Using this Book

• Chapter 2 Technology and School Art Programs

• Chapter 3 Visual Art Projects

and Project-Based Learning

• Chapter 4 Getting Tooled Up

• Chapter 5 Working with Graphics Files

• Chapter 6 Sharing Student Art Work

• Chapter 7 Assessing Digital Art Projects

• Chapter 8 Copyright and Intellectual

Property Rights

Using This Book

This book is for all members of learning communities who

want greater insight into the potential that visual art holds as
a vital dimension of 21st-century learning. While rooted in
the most basic and ancient of human needs and behaviors,
art is as relevant today in the Information Age as it was in
the print and pre-print eras, perhaps even more so.

Many members of school communities will have their

intellectual lives enriched by the materials and ideas in this
book. Art and technology teachers may instinctively understand that
integrating both art and technology into classroom activities will enrich
them greatly, but all teachers will find value in this integration. This book
provides the approaches and projects that will enable them to do what
may have previously seemed beyond their reach.

Likewise, art teachers who are interested in bringing technology into a

teaching practice that is centered on traditional approaches and materials
will find here what they need to bring their classroom fully into the
digital age.

Technology teachers interested in grounding their classroom activities in

highly motivating and relevant subject-based curriculum will find new
sets of practices here as well—ones that reinforce and extend their current
curriculum.

Technology staff developers, coaches, and specialists will find the connec-
tions needed to support the teachers they work with. The approaches and
activities here will help them better integrate technology into classrooms
through the implementation and creation of technology-supported art
activities that are tied to general curriculum in a great many ways.

Visual Arts Units for All Levels 3

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Above all, educational generalists of every stripe will find many interesting paths to travel as
they weave their current courses of study into rich, multi-textured tapestries following two
dynamic threads of human thought: creativity and communication.

As will quickly become apparent, the activities in this book are not aimed simply at enriching
traditional teaching and learning but have the potential to impact whole student communi-
ties profoundly. By tapping the power of technology and art, student exhibits, performances,
and publications are made not just doable but, after a simple learning curve, easy and natural
to implement. Such activities, performances, and products are the glue that can hold together
a community of learners and focus and fuel it to go further and faster in its explorations.

Getting Started
As will be seen throughout this book, basic school technology items are all that’s required:
relatively up-to-date computers, a few printers, inexpensive digital cameras, LCD projectors,
scanners, Internet access, and some common software. Most schools have much of this on
hand already, and doing the activities in this book need not require much investment of
scarce funds. A great effort has been made in presenting the projects to show how low- or
no-cost Web-based resources can be used. Many of the logistics of actual classroom imple-
mentation are open ended and left up to the teacher, ensuring that no specific ratio of devices
is necessitated. Devices may be shared according to specific classroom conditions.

Teachers who work on visual art projects with their students understand that sharing mate-
rials (paints, crayons, scissors, glue, etc.) among students, as well as grouping students for the
sharing of resources and responsibilities, comes with the territory. But this doesn’t represent a
significant consideration in making activities work. In fact, in view of our new understanding
about the social, collaborative, and interpersonal skills that make up an important segment of
21st-century learning, this added dimension can be a great plus.

Outcomes
By participating in the projects included in this book, students will benefit from and satisfy
national, state, and local standards established for both visual art and technology.

4 NETS •S Curriculum Series

Learning About Technology

The table below describes how the National Educational Technology Standards for Students
(NETS•S) are connected to the instructional units and how technology impacts how we
think, learn, and communicate.

Table 1. How the NETS•S connect to the units

NETS•S Connections to the units

1. Creativity and Innovation Using computers and other digital devices, software, and online resources,
students acquire and analyze information and graphic materials to solve
Students demonstrate creative thinking, construct problems and satisfy design requirements involved in making original works of
knowledge, and develop innovative products and art. Students:
processes using technology. Students:
a. research and interpret findings, framing their own works of art (products)
a. apply existing knowledge to generate new ideas, within the context of the history of art, using this knowledge as a point of
products, or processes departure for their own ideas and approaches
b. create original works as a means of personal or b. employ digital tools and resources to create original art individually and/or
group expression collaboratively
c. use models and simulations to explore complex c. make use of the unique ways that technology aids the artist in visualizing,
systems and issues processing, and presenting works of art
d. identify trends and forecast possibilities d. understand the underlying purpose and logic of works of art, extrapolating
beyond art they’ve studied directly, creating original approaches and works
of their own

2. Communication and Collaboration Using a variety of digital graphic processing and authoring tools, students
create works to communicate ideas, feelings, and sensibilities as well as employ
Students use digital media and environments to a variety of traditional and interactive Web resources to facilitate their sharing.
communicate and work collaboratively, including Students:
at a distance, to support individual learning and
contribute to the learning of others. Students: a. collaborate with peers and others in the creation and “publishing” of their
work by a variety of means: digitally assisted traditional “hard copy,” portable
a. interact, collaborate, and publish with peers, digital media, and Web-based format
experts, or others employing a variety of media
and formats b. share works of art in progress and related information concerning their
creation with collaborating peers and mentors; share completed works with
b. communicate information and ideas effectively to a variety of audiences, as well as information documenting their evolution,
multiple audiences using a variety of media and evaluation, and criticism
formats
c. research art works addressing global cultural themes and present them
c. develop cultural understanding and global via interactive Web resources, inviting and responding to feedback from
awareness by engaging with learners of other worldwide audiences
cultures
d. produce works of art collaboratively, employing digital resources as well
d. contribute to project teams to produce original as sharing materials, tools, resources, and ideas and expertise in their
works or solve problems production

(Continued)

Visual Arts Units for All Levels 5

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Table 1. (Continued)

NETS•S Connections to the units

3. Research and Information Fluency Students use digital tools to research targeted art movements, genres, and
the work of significant artists. They research background information for the
Students apply digital tools to gather, evaluate, and creation of graphic components and whole works of art. Students:
use information. Students:
a. identify the knowledge and resources needed to satisfy design problems
a. plan strategies to guide inquiry and strategize methods to employ technology to acquire the knowledge or
b. locate, organize, analyze, evaluate, synthesize, and resources
ethically use information from a variety of sources b. understand and respect intellectual property rights as they research and
and media produce original works within the context of the rich body of work produced
c. evaluate and select information sources and digital by others (currently and historically)
tools based on the appropriateness to specific c. use technology wisely and appropriately to acquire graphic material and
tasks information to support them in the creation and exhibition of original works
d. process data and report results of art; understand how such materials are used best by artists and inform
their efforts with these needs
d. produce art works that may serve as evidence of learning a variety of content
and skills

4. Critical Thinking, Problem Solving, and Students use technology to help plan works of art and ways to share them;
Decision Making researching approaches, requirements, and preceding examples. They evolve
works through a series of developmental stages and analyze progress; choosing
Students use critical thinking skills to plan and tools, approaches, and processes best suited for each stage. Students analyze
conduct research, manage projects, solve problems, planned works for constituent components, subordinate skills, and phases of
and make informed decisions using appropriate completion. Students:
digital tools and resources. Students:
a. identify needed skills and resources to acquire and learn
a. identify and define authentic problems and
significant questions for investigation b. guide the work through sequential processes, monitoring, adjusting, and
retargeting as they work toward a finish
b. plan and manage activities to develop a solution
or complete a project c–d. use technology to generate multiple possible solutions, working toward
possible finished states, ultimately committing to and completing the most
c. collect and analyze data to identify solutions effective and satisfactory works of art
and/or make informed decisions
d. use multiple processes and diverse perspectives to
explore alternative solutions

5. Digital Citizenship Students learn humanity’s relationship to art, its meaning in a variety of
contexts, and how technology facilitates and impacts these. Students:
Students understand human, cultural, and societal
issues related to technology and practice legal and a. understand the appropriateness of images acquired, generated, and
ethical behavior. Students: disseminated through technology, making art accordingly
a. advocate and practice safe, legal, and responsible b. take advantage of opportunities to collaborate and take feedback using
use of information and technology technology
b. exhibit a positive attitude toward using techno- c. exhibit a willingness to apply the learning of visual art content and skills and
logy that supports collaboration, learning, and related technology to personal interests and intellectual needs as lifelong
productivity learners
c. demonstrate personal responsibility for lifelong d. are sufficiently articulate in the content and language of the study of visual
learning art and the technology that supports it in order to effectively guide, collabo-
rate with, and contribute to peers and others
d. exhibit leadership for digital citizenship

(Continued)

6 NETS •S Curriculum Series

Table 1. (Continued)

NETS•S Connections to the units

6. Technology Operations and Concepts Students demonstrate an understanding of the underlying workings of
computers, peripheral devices, software, and online resources. Students:
Students demonstrate a sound understanding of
technology concepts, systems, and operations. a. demonstrate the capacity to analyze art-making challenges
Students:
b. devise and select approaches in the use of digital resources to solve these
a. understand and use technology systems challenges
b. select and use applications effectively and c. analyze tools and employ resources; using them properly and keeping them
productively functional
c. troubleshoot systems and applications d. observe and extrapolate from direct experience with digital tools and
resources, approaches to using, maximizing effectiveness, and applying
d. transfer current knowledge to learning of inferred generalizations to new technologies to support the study and
new technologies making of visual art

Visual Arts Units for All Levels 7

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Learning About Art

The table below describes how the National Standards for Arts Education (NSAE; Visual
Arts) are expressed in the context of instructional units that highlight the application of
technology to the study, creation, and sharing of art. For the sake of clarity and simplicity,
only the Content Standard portion of the NSAE is shown. See appendix B for the full version
of the standards, which includes the Achievement Standard portion as well.

Table 2. How the National Standards for Arts Education (Visual Arts) connect to the units

NSAE (Visual Arts) Connections to the units

Content Standard 1 Students use digital graphics and authoring tools in a variety of ways to create
original works of art and methods to share them, as well as extend the use of tradi-
Understanding and applying media, techniques, tional art materials, techniques, and processes.
and processes
Students demonstrate the above by analyzing art-making challenges and selecting
effective approaches, methods, tools, and resources (digital and traditional) with
which to address them. This use reflects authentic understanding of how personal
ideas and experiences can be expressed with the use of technology tools and
resources.

Content Standard 2 Students demonstrate an understanding of how effective images and three-
dimensional works express underlying organizational principles. Graphics and
Using knowledge of structures and functions communication technologies are among the approaches and resources used to
accomplish this. Furthermore, students are familiar with and sufficiently competent
to employ these principles in the creation of their own works of art, using technology
and traditional tools and resources to produce effective works based on them.
These principles include items such as proportion, line quality and variety, contrast of
value (lightness and darkness), and the relationships of color combinations. Students
create art works that address these specifically, selecting digital tools designed to aid
in working with them.
Students use digital tools to manipulate structures and functions in organizing visual
statements (e.g., drawing figures by ordering and joining basic shapes)—effectively
arranging constituent elements of a whole work by adjusting and balancing the size
and placement of shapes in proportion to one another; calculating the temporal
design aspects of sculpture in the round; and utilizing the affective triggers produced
by color combinations. Furthermore, students take advantage of technology’s ability
to easily produce multiple versions by creating alternative and contrasting versions
of art works.

Content Standard 3 Students use communications, search, and other technology functions to research
and select a variety of images (realistic and nonobjective), including abstract shapes
Choosing and evaluating a range of subject and symbols, as well as conceptual contexts in which to place and employ them in
matter, symbols, and ideas making works of art.
These are presented to viewers in real-world two-dimensional/pictorial, three-
dimensional/sculptural, and virtual environments using traditional approaches to
establishing space, as well as new digital approaches and combinations of the two.
These include the use of technology to create linear presentations (e.g., animation)
and nontemporal presentations (e.g., through hyperlinked media authoring tools).

(Continued)

8 NETS •S Curriculum Series

Table 2. (Continued)

NSAE (Visual Arts) Connections to the units

Content Standard 4 Students approach art-making challenges within the context of the history of making
art, as well as in relation to the societies and cultures that developed and practice
Understanding the visual arts in relation to them.
history and cultures
Students use technology tools and resources to research and understand the history
of art and its many developments, genres, movements, and artist exponents.
Similarly, they understand the culture and society that developed specific art types,
techniques, and approaches. This understanding extends to the physical, political,
economic, and other factors that establish the background against which art may be
fully understood as a human endeavor. Students extrapolate from such research and
activities, developing a vocabulary of skills and understanding on which they may
draw from when making original works using technology-based and traditional tools
and resources.

Content Standard 5 Students understand how to analyze art works for intention and purpose, connection
to context, and for success in implementation. They use communications and other
Reflecting upon and assessing the character- technologies to locate appropriate source material, explanations, and commentary,
istics and merits of their work and the work of and to communicate their own reflections on art movements and works.
others
Students are effective at describing and analyzing art works and articulating their
assessment and suggestions orally, graphically, and in writing, and they select the
most effective and appropriate tools (including digital) in order to do so.
In demonstrating competencies in analysis of art, students include historical and
cultural references, as well as insights into methodologies and techniques used in
their creation. They adapt art-making tools and approaches to use in illustrating and
explaining their reflections and assessments, and they employ appropriate digital
tools to communicate and to give and receive feedback.

Content Standard 6 Students use digital communications resources to facilitate their research and
analysis of art works for underlying themes and to enable them to make clear
Making connections between visual arts and connections to works done in other art forms such as literature, dance, drama,
other disciplines and music.
Students use their skills in other disciplines and technology use related to them to
extend the scope and value of their visual art works.

Visual Arts Units for All Levels 9

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Connecting the NETS•S to the NSAE (Visual Arts)

The NETS•S and the National Standards for Arts Education (NSAE) are organized
around differing formats; consequently, they do not align easily, as each has its own set of
overarching goals and concerns, and these are expressed from different perspectives. Still, a
side-by-side comparison is useful for the readers of this book and all those who would wisely
use technology to support teaching and learning involving visual art. The table below is orga-
nized with the NETS•S as the initial focus to which the NSAE are applied. In some of the
items below an NSAE standard may be directly related to more than one NETS•S standard;
therefore the lettered performance indicators of some NETS•S are re-ordered to better align
visually with the corresponding NSAE items.

Table 3. How the NETS•S and NSAE (Visual Arts) relate in the units

How the NETS•S and NSAE

NETS•S (Technology) NSAE (Visual Arts) relate in the units

1. Creativity and Innovation CS-1 Understanding and applying media, Visual art is inherently involved with creation
techniques, and processes of works of art (products) and innovation
Students demonstrate creative in the use and adaptation of processes to
thinking, construct knowledge, a. Students select media, techniques, and support it. An essential component of art
and develop innovative products processes; analyze what makes them instruction involves learning the means of
and processes using technology. effective or not effective in communicating making images: media, techniques, and
Students: ideas; and reflect upon the effectiveness of processes.
their choices
a. apply existing knowledge to In creating these and in organizing them into
generate new ideas, products, or CS-2 Using knowledge of structures and finished, expressive, original works, students
processes functions learn about and employ visual structures and
b. create original works as a means a. Students generalize about the effects of functions.
of personal or group expression visual structures and functions and reflect Technology can make handling these
upon these effects in their own work challenging activities something all students
c. use models and simulations to
explore complex systems and b. Students employ organizational structures and teachers can achieve. By producing art
issues and analyze what makes them effective or works in multiple versions and providing ways
not effective in the communication of ideas to pre-visualize their further development,
d. identify trends and forecast experimentation is encouraged and
possibilities supported.

(Continued)

10 NETS •S Curriculum Series

Table 3. (Continued)

How the NETS•S and NSAE

NETS•S (Technology) NSAE (Visual Arts) relate in the units

2. Communication and CS-1 Understanding and applying media, Making art is an activity directed at
Collaboration techniques, and processes communication. As digital works can be
saved and shared via portable media and the
Students use digital media and b. Students intentionally take advantage Internet, technology facilitates collaboration
environments to communicate and of the qualities and characteristics of in this process, while eliminating the limits of
work collaboratively, including at art media, techniques, and processes to location and distance.
a distance, to support individual enhance communication of their expe-
learning and contribute to the riences and ideas By applying technology-based graphic media
learning of others. Students: and the techniques by which they are used,
CS-4 Understanding the visual arts in student communication is made easier and
b. communicate information and relation to history and cultures more effective, with far greater opportunities
ideas effectively to multiple to share, exhibit, publish, and reach authentic
audiences using a variety of media a. Students know and compare the charac-
teristics of artworks in various eras and audiences.
and formats
cultures Audiences, in turn, are empowered to interact
c. develop cultural understan- with student artists, give feedback, and share
ding and global awareness by b. Students describe and place a variety of art
objects in historical and cultural contexts their own artistic efforts. Art represents
engaging with learners of other both a common platform for the content
cultures CS-5 Reflecting upon and assessing the of exchanges, and a universal language to
a. interact, collaborate, and publish characteristics and merits of their work and express it.
with peers, experts or others, the work of others
A major component of art as a content area
employing a variety of media and a. Students compare multiple purposes for is its appreciation, critical analysis, and
formats creating works of art written and oral description to support these.
d. contribute to project teams to This dimension represents a rich body of
b. Students analyze contemporary and
produce original works or solve opportunities to facilitate communication
historic meanings in specific artworks
problems between students.
through cultural and aesthetic inquiry
c. Students describe and compare a variety of
individual responses to their own artworks
and to artworks from various eras and
cultures

3. Research and Information CS-3 Choosing and evaluating a range of For much art making, artists must collect raw
Fluency subject matter, symbols, and ideas visual material that they will approximate,
refine, adapt, and organize as they work
Students apply digital tools to a. Students integrate visual, spatial, and toward a finished piece. Technology-based
gather, evaluate, and use informa- temporal concepts with content to commu- resources such as Internet-based collec-
tion. Students: nicate intended meaning in their artworks tions of images and search engines, greatly
a. plan strategies to guide inquiry b. Students use subjects, themes, and facilitate finding “source” material and
symbols that demonstrate knowledge simultaneously support the observation
c. evaluate and select information of contexts, values, and aesthetics that of intellectual property rights rules. Such
sources and digital tools based on communicate intended meaning in resources furthermore support student efforts
the appropriateness to specific artworks to investigate how artists have traditionally
tasks handled design challenges similar to the ones
CS-6 Making connections between visual they are themselves addressing.
b. locate, organize, analyze, evaluate, arts and other disciplines
synthesize, and ethically use infor- Investigating common threads in works,
mation from a variety of sources a. Students compare the characteristics of genres, and movements is a highly valuable
and media works in two or more art forms that share dimension of studying art that informs and
similar subject matter, historical periods, or enriches the production of original work.
d. process data and report results cultural context Using technology-based resources facilitates
this immensely.

(Continued)

Visual Arts Units for All Levels 11

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Table 3. (Continued)

How the NETS•S and NSAE

NETS•S (Technology) NSAE (Visual Arts) relate in the units

4. Critical Thinking, Problem CS-1 Understanding and applying media, Conceiving and executing art projects
Solving, and Decision Making techniques, and processes embodies all the planning, researching, and
critical analysis of stages of progress that
Students use critical thinking skills to a. Students select media, techniques, and other types of projects do. Through the use
plan and conduct research, manage processes; analyze what makes them of technology functions (such as file-version
projects, solve problems, and make effective or not effective in communicating management), pre-visualization applications
informed decisions using appropriate ideas; and reflect upon the effectiveness of (such as storyboards and graphic organizers),
digital tools and resources. Students: their choices and e-publishing template menus, students
a. identify and define authentic b. Students intentionally take advantage are supported in making informed and
problems and significant of the qualities and characteristics of effective decisions in creating works of art.
questions for investigation art media, techniques, and processes to Progress analysis involves reflection on
enhance communication of their expe- aspects of success and failure, identifying
b. plan and manage activities to riences and ideas
develop a solution or complete a problems in implementation and pursuing
project CS-3 Choosing and evaluating a range of solutions and selecting appropriate options as
subject matter, symbols, and ideas they emerge.
c. collect and analyze data to
identify solutions and/or make b. Students use subjects, themes, and This involves investigating and evaluating
informed decisions symbols that demonstrate knowledge media and tools and the practices by which
of contexts, values, and aesthetics that they are best employed.
d. use multiple processes and communicate intended meaning in
diverse perspectives to explore While professional artists have traditionally
artworks provided themselves with an expanded body
alternative solutions
CS-4 Understanding the visual arts in of process on which to draw by using explor-
relation to history and cultures atory devices (such as preliminary sketches,
color studies, and thumbnail compositions),
c. Students analyze, describe, and demons- as well as tools (such as the camera obscura,
trate how factors of time and place (such as pantograph, and light box); the cost, time, and
climate, resources, ideas, and technology) space investment, as well as requisite skills
influence visual characteristics that give needed for these resources have precluded
meaning and value to a work of art students’ use. Technology now puts a wide
range of similar resources within the grasp of
the average student.

(Continued)

12 NETS •S Curriculum Series

Table 3. (Continued)

How the NETS•S and NSAE

NETS•S (Technology) NSAE (Visual Arts) relate in the units

5. Digital Citizenship CS-1 Understanding and applying media, Art is a particularly rich body of content
techniques, and processes through which cultures, societies, and their
Students understand human, values and issues may be studied. Technology
cultural, and societal issues related a. Students select media, techniques, and facilitates and enriches studying, under-
to technology and practice legal and processes; analyze what makes them standing, and reports on what’s learned.
ethical behavior. Students: effective or not effective in communicating Art is also a perfect lens through which intel-
ideas; and reflect upon the effectiveness of lectual property and copyright issues may be
a. advocate and practice safe, legal, their choices
and responsible use of informa- understood, especially so in view of the ways
tion and technology b. Students intentionally take advantage that digital technologies have profoundly
of the qualities and characteristics of impacted this area.
b. exhibit a positive attitude toward art media, techniques, and processes to
using technology that supports The capacity to create effective art works and
enhance communication of their expe- share them globally is greatly enhanced and
collaboration, learning, and riences and ideas
productivity extended through technology: art provides
CS-5 Reflecting upon and assessing the the structure and rationale for content and
c. demonstrate personal responsibi- characteristics and merits of their work and technology, the tools with which to produce it
lity for lifelong learning the work of others as well as the media by which it may be mass
exhibited and published.
d. exhibit leadership for digital a. Students compare multiple purposes for
citizenship creating works of art Making art is a means of understanding one’s
world and expressing reflections, feelings, and
b. Students analyze contemporary and opinions about it, and provides a purpose for
historic meanings in specific artworks and means by which individuals may embrace
through cultural and aesthetic inquiry lifelong learning. Furthermore, positively and
respectfully reviewing the work of others,
c. Students describe and compare a variety of
as well as giving and accepting feedback are
individual responses to their own artworks
indispensable facets of study in this area.
and to artworks from various eras and
cultures

(Continued)

Visual Arts Units for All Levels 13

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Table 3. (Continued)

How the NETS•S and NSAE

NETS•S (Technology) NSAE (Visual Arts) relate in the units

6. Technology Operations and CS-1 Understanding and applying media, Digital tools and resources employed in the
Concepts techniques, and processes study, creation, and sharing of works of art are
applications that fully embrace and express
Students demonstrate a sound a. Students select media, techniques, and the underlying principles, systems, and opera-
understanding of technology processes; analyze what makes them tions of important technologies.
concepts, systems, and operations. effective or not effective in communicating
Students: ideas; and reflect upon the effectiveness of Using these applications to support art activi-
their choices ties provides a highly meaningful and focused
a. understand and use technology opportunity for students to understand tech-
systems b. Students intentionally take advantage nology systems and to explore and discover
of the qualities and characteristics of their potential as productivity tools. Artists
b. select and use applications art media, techniques, and processes to
effectively and productively universally analyze their tools—exploring,
enhance communication of their expe- probing, and pushing their capabilities and
c. troubleshoot systems and riences and ideas limits, as well as modifying and repairing
applications CS-2 Using knowledge of structures and them when necessary.
d. transfer current knowledge to functions In analyzing art challenges through their
learning of new technologies a. Students generalize about the effects of structures, functions, and organizational
visual structures and functions and reflect principles, students are afforded a vocabulary
upon these effects in their own work through which they may understand the
potential and workings of technology tools
b. Students employ organizational structures that are designed specifically for or adapted to
and analyze what makes them effective or the needs of art.
not effective in the communication of ideas
Technology-based research resources facili-
c. Students select and use the qualities of tate the study of connections found within art
structures and functions of art to improve genres and movements, art-making cultures
communication of their ideas and societies, and functions and products of
art and other disciplines.
CS-6 Making connections between visual
arts and other disciplines
a. Students compare the characteristics of
works in two or more art forms that share
similar subject matter, historical periods, or
cultural context
b. Students describe ways in which the princi-
ples and subject matter of other disciplines
taught in the school are interrelated with
the visual arts

14 NETS •S Curriculum Series

About the Model Established

This book, and the projects it presents, is intended as a model for the use of school techno-
logy to enable the inclusion of visual art in the curriculum. It also provides a model for rich,
subject-driven, and appropriate technology integration across the curriculum.

The projects are intended as real and important curriculum for a broad spectrum of students.
However, it is not expected that they will be implemented exactly as presented. A visual art
project is a unit of study that is flexible and can be modified and tailored in many ways to
fit grade and learning level, to meet the specific needs of a class, and to take advantage of
available resources. In truth, a visual art project is best implemented when a teacher embraces
it and adds a degree of her own (and her students’) personality, background, interests, and
creativity; making it something that is truly their own.

Prerequisite Skill Set

To participate in these projects it would be useful for teachers and students to know some
basic technology skills such as using an operating system; Web navigation and searching; file
management; and the operations and functions of word processing—save, save as, cut, copy,
paste, insert, import, adjust size or color, style, and print. Knowledge of the basics of periph-
eral devices such as LCD projectors, digital cameras, and scanners will be helpful, too.

What You Will Learn or Need to Learn

Through involvement with this book and its projects, a variety of highly useful technology
skills will be addressed. The projects may be seen as an opportunity to learn (or better learn)
these skills and to do so in the ideal context of the skills being embedded in the work. Skills
are learned or reinforced in a “just-in-time” manner to just the right depth of understanding.

Some of the skills covered will be: working with graphics files (selecting, saving as,
converting, importing, etc.), creating slide shows, hyperlinking multimedia, digital anima-
tion, virtual reality, and others.

How You Can Acquire the Skills You Need

A good number of the skills mentioned above would not be ordinarily acquired unless one
were involved in the type of project covered in these pages. Generally, they are not difficult to
learn. The context in which they are used offers learners insights that help in their learning,
as well.

Furthermore, the information that accompanies these resources, as well as the information
provided by their “help” functions, along with an extensive body of tutorials and resources
found on the Web, make learning these skills relatively easy.

Visual Arts Units for All Levels 15

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Today’s learners are active learners who have come to understand that getting the information
they need no longer exclusively involves being told or shown person-to-person. Technology
items (the type of nonspecialist, consumer-oriented items referenced in this book) are manu-
factured with ease of use in mind and with self-directed learning information on demand, as
well. Experimentation, trial and error, and self-directed research for the information (when
it is wanted) are all dimensions of the new understanding about learning that will make
acquiring the technology skills needed here relatively easy.

Also, simply asking knowledgeable peers and colleagues, directly and informally, is a simple
but highly useful approach toward learning, as is making comparisons and connections to
previously learned software and technology skills and knowledge. In a sense, it’s perfect—
the projects here serve as models for informal learning of the skills needed to do them; a very
21st-century educational reality. By embracing this and including it in the class discussions
around these projects, we can enrich them and make them even more relevant.

Models for Collaboration

The projects here serve as foci for collaborations that might not often take place in schools
otherwise. Some questions may arise: Will the school’s current technology resources suffice
for a selected project? If acquiring new resources is being considered to do these projects,
are they the best ones for the job? How does one operate the hardware, software, or other
resources needed? Are the files, software, and devices compatible? These questions might
represent difficult obstacles for teachers working in isolation. However, working on these
projects is the perfect rationale for quick or extended collaborative work between profes-
sionals—subject area teachers and technology teachers or specialists—as well as between
school-based specialists and district-level technology coordinators, and so forth. Parents and
community-based organizations also may be approached for an assist with the enrichment of
the school’s network and relationships in general.

About the Projects

The projects are structured activities that involve classic visual arts content and concerns.
Each of them involves one or more important facets of digital technology use. The projects
cover the gamut of art-making approaches, including drawing, painting, design, drafting,
and printmaking, as well as sculpture and three-dimensional design. Similarly, as has always
been the case in well-constructed art activities implemented by traditional means, these
projects are contextualized within general and art-specific historical and cultural studies,
and they involve ancillary research. Furthermore, the projects call for reflection, analysis and
criticism, and the language and communicative means to accomplish these endeavors.

There are several important differences, however, about how these technology-supported
projects unfold as students work on them. In many cases, the difficulties of hand-eye
coordination and facility with fine motor skills involved in the art and craft of drawing and
painting are skirted. Those students who have a natural bent for them will not be discour-
aged or forced to abandon these interests. However, the extreme impediments these requisite

16 NETS •S Curriculum Series

skills and abilities often present to student artists will likely rarely make their presence known
in these projects. This issue models developments in the real world, too. The computer’s
ability to “make easy” the drawing of straight lines, compound curves, and other difficult-
to-accomplish chores has freed the average person (and now the average student) to explore
his or her taste, sensibilities, and creativity. It is important for students to know this and to
experience this liberation, as technology now empowers them to be artists in whatever way
most successfully makes student art projects valuable to them.

Similarly, printmaking, publishing of art-laden books, and the creation of slide shows, anima-
tions, fine art photographs, and virtual reality pieces (which until recently were the province
of a few with access to limitless funds, resources, and highly skilled technicians) are now
possible for all through the presence of digital technology.

Additionally, research, an essential element in many dimensions of studying and making art,
was once an undertaking that involved the expenditure of great amounts of time, specialized
skills, and access to a well-provisioned library; however, good research is now within the
grasp of all who have access to the Web.

Above all, what has been avoided in this book is the glorification of superficial visual effects
and the unsophisticated favoring of these effects over time-proven aesthetic values. This
work does not promote the taking of shortcuts that would effectively bypass the interwoven
disciplines that make up the field of visual art and threaten to render its study meaningless.
In short, these projects preserve what is good in classic visual art activites. They will also
expand and enrich the opportunities available to the average student.

These projects are presented as a spectrum that may be done in its entirety or sampled by
implementing just one or two. They do not necessarily build on one another to create a
sequential course of study. Rather, taken as a whole, they give a view of the many varieties
of approach to making art that may be valuably undertaken by students while presenting a
broad spectrum of technology skills. Furthermore, they illustrate how the two are inextri-
cably intertwined and related. Above all, they show an approach that teachers can profitably
replicate or tailor in order to produce similar projects on their own.

Each project illustrates and models how an important background context for its imple-
mentation can be established through independent (or group) student research and/or
focused classroom discussion. And, of course, each project offers an activity directed toward
the production of original work by the students, which thereby embeds and demonstrates
specific, standards-aligned learning.

All of the projects culminate with a sharing activity, whether it be an exhibit, publication of
the work, or some combination of the two. Interdisciplinary connections are embedded in or
suggested for a great many of the projects presented.

Also, an approach to assessing student products and performance is included in the book, as
well as notes and tools that address specific facets or dimensions of the assessment.

Visual Arts Units for All Levels 17

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Finally, numerous Web resources are suggested for each project, which will give teachers
and students a starting point in finding important background material, as well as links to
resources and how-to explanations that are sure to impact the implementation of each project.

18 NETS •S Curriculum Series

Technology and
School Art Programs

Although not often spoken of formally, technology-using

teachers have long understood the natural and powerful
connection between visual art projects and technology use
in the classroom. There are important reasons why this is
so and understanding them will make the implementation
of art projects and technology practices easier and more
effective.

Technology Can Transform Art

Technology can impact just about every facet of making and under-
standing art. It can provide artists with a rich source of reference material.
It allows them access to a virtual canvas where they can both recreate old
techniques and discover new artistic possibilities. Once the art is created,
technology makes it much easier to use, share, and store the artwork and
its related materials.

Visual Reference Materials for Artists

Artists have always drawn from observation, either from real-life models
or from graphic representations used as reference. Before mass produced
images were available, obtaining reference information involved making
drawings or prints of models in generic poses or doing studies of the
works of famous artists of previous eras.

When photography was developed, artists naturally took advantage of

this quick way of capturing valuable visual reference material. Early
photography, however, was an art in its own right, with a difficult skill set
to learn. Artists increasingly took advantage of it as it became easier, less
expensive, and more portable.

Visual Arts Units for All Levels 19

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

With the development of commercial printing, mass-produced images were used by artists for
reference information and inspiration. For example, the impressionists were highly influenced
by inexpensive reproductions of Japanese wood block prints and post-impressionists such
as Gauguin were known to save photos clipped from magazines from which subjects and
graphic ideas were borrowed.

As the era of commercial illustration came into its own, it became common practice for
professional illustrators to maintain vast personal libraries of “scrap”: commercially produced
and mass-distributed images from which poses, faces, gestures, and other essential informa-
tion could be retrieved quickly and reliably.

Nowadays, the Web and various browsers have made this aspect of art easier than ever before.
Search engines can ferret out much of what is needed by artists quickly and efficiently.
Furthermore, once mined, these images can be processed digitally in a wide variety of
ways that can actually begin the process of making original art directly from the reference
materials.

Making Images
Through a variety of digital technology applications, a great many of the classic image-
making techniques that artists have employed through history can now be done virtually,
including: drawing, painting, drafting, and photography. Some of these effects are startling.
Some drawing and painting tablets, for instance, can produce subtle effects, such as wet into
wet watercolor, that are hard to distinguish from traditional versions.

Furthermore, as well as replicating traditional methods, technology has introduced new

dimensions to art making. Image processing is a good example. With this widely used
technique, images already created, whether by digital photography (generated through a paint
program) or simply via scanned files of traditionally produced images, can be manipulated
and transformed to bring out unseen or un-thought-of qualities and possibilities.

The ability of technology to copy at will allows endless experimentation on images, while the
original is preserved and available to be reverted back to, if and when that option makes most
sense to the artist. This has particular meaning for students and their teachers.

Storing and Archiving Images

Artists tend to accumulate finished works, studies, and reference material. Keeping all of
this data safe and organized so that it can be located when needed can be a daunting task.
Student artists have special needs in this regard, as well.

Professionals have come to accept digital copies of their original works done in traditional
materials as their final copy. For schools this approach holds particular promise. Limited
physical space is available to schools to store student art work for long periods of time. By
creating digital versions, hard copy originals can be sent home after a designated time. The
digitals can then serve as a record of the work completed for purposes of grading or portfolio
development and as a reference for future work. Additionally, digital video, animation, and
virtual reality make new types of sharing and archiving of work possible.

20 NETS •S Curriculum Series

Applying Images
Technology has evolved into a series of methods and processes by which imagery can be
inserted into a variety of important communication items such as books and printed material,
Web sites, digital videos, and PowerPoint slide presentations. Also, through the use of digital
transfer media, imagery can now be applied to a greater variety of physical objects than previ-
ously possible. As a result, new art forms, particularly three-dimensional ones, are possible.

Sharing Art Work

Ultimately, artists want their work to be seen. Although much of it is personal and is
produced in order to satisfy personal needs, the process of presenting one’s work to an
audience lends a purpose and focus to every aspect of its production that cannot be achieved
though other means. Technology can facilitate this important dimension and lend important
new approaches and capabilities to it.

Technology Helps Extend What Art Programs Can Do

A visual arts program is something that schools nearly always would like to offer as part of
their overall instructional program. The reality, however, is that it is often a difficult goal
to achieve. In addition to providing space, time, and materials, finding a qualified visual
arts instructor can be difficult, too. Furthermore, a visual arts curriculum that is relevant,
compelling, and aligns well to the rest of the school’s instructional offerings is often either
hard to find or unavailable altogether.

Many schools that do have art programs would like to find ways to freshen them up, make
them more relevant, or reinvent them wholesale in order to bring this part of the curriculum,
one that really ought to bring sparkle and distinction to a school, in line with other aspects of
21st-century education.

On both scores, this book offers many insights and approaches to make these goals achiev-
able. Technology has changed almost all of the work of the intellect in our world and its
potential to impact the visual arts equally so. In fact, in many ways beyond the world of
school, the arts have been vastly transformed by the emergence and application of digital
technologies. And although these changes may not have found their way into our schools yet,
the sooner we make this happen, the sooner our young people will benefit. They are growing
increasingly impatient with the pre-technology era form of education offered them currently,
visual arts included.

Bring Visual Art Instructional Programs

into the Digital Age
As discussed previously, many new possibilities in visual art have been brought into being
by the emergence and application of technology. It is to the credit of artists and art profes-

Visual Arts Units for All Levels 21

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

sionals that while new tools are embraced wholeheartedly, core values of craft, technique, and
message continue to be adhered to in this age of digital technologies.

It is important to bear in mind, as technology-supported visual arts programs are conceived

for schools, that technology should be approached as an enabler—something that can
make what’s been done successfully over the years better, more effective, and more relevant.
Technology should not be used to supplant the best of what’s been achieved in visual arts
education but to enhance it and make it more accessible. Above all, it is not a way to make
instant art or to do instant visual art projects that require little of students. It is not a vehicle
to involve students in superficial, effects-oriented activities that do not provide challenge,
opportunity for reflection, and discipline. Making visual art is a serious undertaking that
involves insight and discipline and the enhancements of technology should not make this any
less so.

Teach Students about Technology

as They Learn Art and Other Content Impacted by Art
The lessons and activities in this book will offer schools wonderful advantages in preparing
students to become global citizens of the 21st-century. Not only will they get a fine
grounding in the conceptual basis of art and the techniques through which it is created, but
they will be given a unique window through which they can perceive the workings of digital
technologies, their applications, and how they affect human creativity and communication.

Visual art projects establish a context in which students learn about art. With the addition
of technology, they learn about vital new tools and resources that are now used ubiquitously
in the world beyond school. Furthermore, the study of art involves the study of a great
many things across the various disciplines that comprise human knowledge. Art is vital to
publishing and literature, and there are many opportunities through visual art projects,
particularly technology-supported ones, to learn and apply literacy skills. The same is true in
the areas of the various hard and soft sciences.

Technology Makes Art Projects

More Accessible and Practical
Through the use of technology, art can become part of the general instructional program
without the difficulties of acquiring the resources required by traditional studio art courses.
Computer-based art can be created without the dedication of additional space, without
mess, and in many cases without the acquisition of expensive materials. Furthermore, it can
be applied in ways that unify the school community by breathing life and inspiration into
school-wide projects.

22 NETS •S Curriculum Series

Technology Can Help All Teachers Use Art to Teach

Most important of all, the techniques and approaches shared in this book will make it far
easier for all educators to make visual art an integral part of the learning experience across
the curriculum. These activities make use of technology in a way that eliminates the need for
talent in any aspect of the creation of art. The focus is on understanding, the exercise of taste
and creativity, and reflective and analytical thought processes.

Furthermore, the activities are conceived to provide not only great insight into the meaning
and function of art in society and human life but to dovetail with the study of language and
humanities and their roles in the various disciplines across the curriculum.

Well, What About Talent?

All art students and teachers face the issue of talent at some point. It is interesting to note that
many individuals identified as talented artists themselves often express doubt that talent truly
exists or that it can be defined in any meaningful way. This book has been written from the
position that talent is not a necessary element of learning and understanding art or even of
making wonderful art. Consequently the activities presented here do not require any previous
training or special ability, particularly in the area of technique.

Rather, the explorations outlined involve the making of informed decisions, the exercise of
taste and sensibility, and the joys of focused invention. Design standards, parameters, and
guidelines are emphasized so that meaning is maintained. The amount of “anything goes”
rope afforded student artists is kept to a meaningful limit so that the aspect of “too much”
that often comes with enthusiastic but inexperienced students’ art making will not be enough
to hang themselves with.

Technology is so powerful and so capable of creating startling visual effects on its own
that the unguided can easily be dazzled by the light emanating from the monitor without
wondering “why”? In the face of all the bells and whistles, and tricks that computers can
make images sit up and do, this book steers a course deep beneath the surface, presenting
classic issues, concerns, and themes in the production of visual art. The effects presented are
clearly tied to exploring the crux of making art better and enhancing the expression of time-
less themes that do well from their new technology.

Covered techniques include drawing, painting, sculpture, and three-dimensional art, as

well as art that has stemmed from the emergence of new media such as digital video, digital
animation, and hyperlinked multimedia. Presented are not only the “how to’s” but also the
“what to’s” and “why to’s.” Classic themes such as landscape, portrait, still life, and figure
study are presented. Established methods and approaches like collage, multiples, and works
in series are relied upon to provide structure to a field of study so vast that loosing one’s way
can almost be expected save for the presence of well-drawn maps. The projects are rooted in
the history of art, as well as in the surveying of and reflecting on the art produced by many
differing cultures at particular time periods.

Visual Arts Units for All Levels 23

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Ubiquity
This book is directed primarily at the use of common, ubiquitous office-type technology;
a resource set of technologies that are relatively easy to learn and use. Furthermore, what’s
useful to teachers is technology applications that are affordable and within reach of school
budgets, and these are the highlighted resources in this text.

Technology is the ultimate enabler. It has democratized the media, enabling photographers,
videographers, print and online publishers, recording artists, and anyone who wishes to
assume these roles to provide media inexpensively and at will. Technology can make accom-
plished visual artists of all students and teachers, as well. This book is directed to making
that happen in a meaningful way.

24 NETS •S Curriculum Series

Visual Art Projects and

Project-Based Learning

The teaching of visual art and the inclusion of visual

art in the teaching of core subjects are areas in which the
implementation of project-based learning is a comfortable
and easy match.

Making art and doing projects go hand-in-hand, or

perhaps they are really two sides of the same coin. The
making of any work of art is a project and conforms to the
classic format of having a preparation phase; a beginning,
middle, and conclusion; and then a continuing series of reflection
and sharing activities. This process, and its work and learning flow, are
at the very essence of projects. And of course, a product is created, too,
another defining aspect of learning projects and one that students relate
to in particular.

Unlike visual art, however, other subject areas often are difficult contexts
in which to integrate traditional curriculum and project-based learning.
Importantly, more than just content, visual art represents an instructional
medium by which this integration can be accomplished. In the study
of language arts, science, mathematics, social studies, and other areas,
approaching learning and teaching by completing a visual art project is a
way to introduce valuable content as a learning project.

Although project-based learning may seem like a new approach to

teachers of core subjects, this is not the case for art teachers or teachers
who incorporate art as part of their curricular repertoire. Often, though,
they understand it by virtue of instinct and self-directed exploration.
They may not be aware that what they’ve been doing has a conceptual
name and conforms to a philosophical goal of pedagogy.

Visual Arts Units for All Levels 25

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Conversely, teachers who have yet to make project-based learning part of the instructional
program and who may be struggling with the challenge of conceiving how to bring it into
their classrooms, will find that including art projects is a perfect way to do so. Art projects
serve as a convenient model for those attempting to understand or visualize how projects can
drive and structure learning experiences. A visit to the Web sites of many professional organi-
zations associated with teaching various subject disciplines will reveal an acknowledgement of
the value of integrating art into teaching, along with suggested links and entry points. Visual
art projects can make the implementation of these ideas practical and effective.

In a sense, the projects of great artists include more than just their works and masterpieces.
The development of their styles and techniques can also be seen as projects. Furthermore,
projects easily and effectively form a context by which other aspects of the discipline of art
(i.e., art history, design theory, appreciation, criticism, and connoisseurship) combine to make
a meaningful whole.

The logical “ends” of art projects are products. Whether these are traditional products, such
as drawings and paintings, or nontraditional products, such as Web pages, the point of an art
project is the creation of an end product. Consequently, the integration of art into traditional,
non-art-involved student products, like reports, can add numerous, wonderful dimensions to
such standard classroom fare.

Recognizing the production of student art products as project-based learning, however, offers
much more than simply ascribing a pedagogical concept to activities that have long been
undervalued in the hierarchy of education values. Visual art projects involve many dimen-
sions of learning and can involve students doing independent research, engaging in focused
group discussions, explaining their thinking through accountable talk, comparing and
contrasting great ideas seen in the masterworks of important historical figures, and more.

Many dimensions of project-based learning across the curriculum are facilitated through the
implementation of visual art projects and may include the following:
• Addressing multiple intelligences and differentiated learning styles
• Providing opportunities for students to apply basic skills and background
knowledge they’ve learned in a variety of subject areas
• Providing extended learning experiences
• Effectively engaging and motivating students, particularly at-risk or
hard to reach students
• Providing opportunities for collaborative learning
• Moving instruction from teacher-centered to student-centered
• Fostering higher-order thinking skills and problem-solving skills
• Incorporating interdisciplinary learning
• Providing learning experiences that are authentic, relevant, and connected to
real-world activities that take place outside the classroom

26 NETS •S Curriculum Series

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Chapter 3 • Visual Art Projec ts and Projec t-Based Learning

• Fostering meaningful mentor–mentee relationships between students and teachers

• Providing a context in which teachers collaborate and engage in peer planning and
coaching
• Providing a meaningful context for product (portfolio) and performance assessment

Most important, today’s digital technologies can make all aspects of visual art projects more
accessible and doable. Teachers and students who would be challenged to make project-based
learning part of the learning experience through traditional means will find great support
through the focused use of technology.

Visual Arts Units for All Levels 27

Getting Tooled Up

What will you need to complete the projects listed in

this book?

Computers and Connections

At the most basic level, the class will need some computers
in order to implement these units. For the most part, any
functioning, more or less latter-day computer will enable much
of what’s described here. Although obviously advantageous, a one-to-one
student to computer ratio is not a necessity. Much of what’s suggested can
be accomplished with a dozen or so computers for a class, or a three- or
four-to-one ratio of students to computers.

An Internet connection will make for a much richer experience. School

computer labs, often with carrel-like work areas that offer little table
space and an isolating experience for students, are less than ideal for
visual art projects, which require more of a classroom-like setting. If this
traditional lab setting is all that’s available in a school, a good compro-
mise would be to teach the class partially in a traditional classroom with
desks that can be grouped for collaborative projects and plenty of room to
lay out materials and works in progress (as well as to store work), and part
of the time in the lab for the intensive computer-using portions of the
units. If laptops are used, much of this problem can be avoided. However,
a word of advice—unlike the manipulation of information tools, it is
difficult to manipulate image-making software with the trackball or
membrane mouse substitute built into laptops. At a nominal cost, a class
set of mice can be added, making the laptop a far more effective tool set.

Visual Arts Units for All Levels 29

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Peripherals
In addition to computers, the following peripheral devices will greatly extend the capability of
the art program.

Mouse for laptops. Using a mouse is recommended because of the difficulty in manipulating
image-making software with the trackball or membrane mouse substitute built in to laptops.

LCD Projector. An important aspect of art projects involves whole group discussions in which
images and other resources are shared. An LCD projector is an invaluable teaching tool in
sharing images, videos, animations, and Web sites among an entire class. An interactive white
board can make the projector even more functional.

Digital Camera (and Digital Video Camera). Beyond the simple photographing of student art
work for archiving purposes, a digital camera is essential for creating visual reference material
and for generating the images necessary for virtual reality and animation projects.

Flatbed Scanner. Transforming images created in traditional materials into digital files is an
essential capability for manipulating images digitally and archiving projects and importing
them into presentation applications.

Drawing Tablet and Stylus. Drawing can be a highly challenging skill set, even when done with
the most sensitive of materials. A mouse can be clunky and difficult to maneuver and control
for drawing. The stylus gives much better sensitivity and control while the drawing tablet
interface can provide a startling spectrum of effects.

Consumables
The following items are as critical as computers and peripheral devices.

Portable Storage. These are perfect for storing, back-up, and quick and easy transferring of
student work from one computer to another. Floppies, flash drives, CDs, and DVDs are
indispensable. They can also be viewed as a publishing medium with which student work can
be duplicated and distributed.

Paper. Although all printers use paper, the quality and weight of the paper is rarely consid-
ered. Beyond the standard 20 lb. white paper, the teacher who wishes to effectively guide
student artists through projects that involve hard copy printing should understand that the
type of paper used will impact a project and often greatly enhance the final results obtained.
A paper’s finish will greatly influence the appearance of the ink or toner. Reflective, polished,
matte, textured, and toned papers should be considered for many of the projects. Heavy
stock, too, can add a great deal to a product. Check the printer’s specs to see the types of
papers that the manufacture recommends using.

Ink and Toner. In addition to giving vibrant and accurate colors and rich blacks, toners and
inks have other properties that must be considered. Of particular interest is water fastness
and the way the ink will mix with traditional art materials in projects that call for such
mixed media.

30 NETS •S Curriculum Series

Transfer Media. Some projects call for special transfer media. One common type is heat
transfer paper, often used to produce T-shirts. This is a simple material to use. An image is
printed in the usual way but onto a special paper. When subjected to the heat of a handheld
iron, the printed design is transferred to a cloth that it has been placed against it. A similar
material, although not requiring heat, can produce decals that can be applied to almost any
surface. Art supply stores, craft stores, hobby shops, and the Internet are good sources for
information about and purchases of these materials.

Software
Rather than present a vast list of specific software, it is far more practical to describe these
applications in terms of their functions. Although the number of different titles is extensive
and growing all the time, the types or categories of software make up a much smaller group.
Needless to say, there is an overlap—some applications may be hybrids of two or more types.
By understanding what various programs accomplish and the approaches they take to do so,
student and teacher artists develop an instinctual, as well as a reflective, understanding of
how to make happen the visual effects they need for their work. With a little experience it
becomes clear that there are often several ways to accomplish a given task or effect, and this
understanding is helpful in determining the most practical and effective path to take.

Here is a partial list of software functions commonly used in making technology-supported

visual art projects:
• Draw (line, auto shapes, erase, etc.)
• Paint (brush, air brush, fill, etc.)
• Adjust highlights, shadows, contrast, etc.
• Cut
• Paste
• Copy
• Crop
• Grab
• Save and Save as
• Move/Nudge
• Adjust size
• Insert/Import image

Some of these are functions that are also used in software not directly associated with making
art. And, of course, much of the software used isn’t really specifically created as an art
material at all, but rather is appropriated for that use. Programs such as Microsoft Word and
PowerPoint are useful for art projects, as are graphically oriented Web authoring pieces such
as Dreamweaver or WebBlender. In fact, many types of software offer potentially important
applications for visual art.

Visual Arts Units for All Levels 31

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Table 4. Software types and titles used in the projects and samples

Project Software or other Technology Application Use

Unit 1 Drawing (in Word) Draw with AutoShapes

Still life
Picasa Photo Sharing Web Gallery

Unit 2 Drawing (in Word) Draw with Line and AutoShapes functions
Geometric abstraction

Unit 3 Picasa photo-editing software Increase contrast and eliminate gray tones
Ukiyo-e
Painting software Strengthen black outline and erase middle tones
Paste images into the picture

Unit 4 Drawing software Draw basic images

Holiday surprise calendar
Scanner Scan drawing completed with conventional
materials

Web/Multimedia authoring tool Create links between the various screens

developed for the project

Unit 5 Photo-editing software Crop, make sepia, and add special effects to
Time warp photos digital photos

Painting software Add faux aging details to photos

Unit 6 Image processing software Increase contrast

“Devolving” drawings—
animal series Painting software Transform photo to contour drawing

Drawing software with AutoShapes function Assign and cover with a basic shape each
(Word) structural component of the figure
Transform the drawing to an abstract design
Combine all separate images into a single
combined work

Unit 7 Photo-editing software Crop and adjust contrast of raw images

Surrealist collage
Painting software Alter images, eliminate portions, add details,
strengthen lines, paste processed images into
final piece, etc.

Unit 8 Drawing software with AutoShapes function Fill a line grid with shapes and colors/tones
Hard-edge design (Word)

Unit 9 Drawing (or other drawing enabled) software Draft a precise floor plan drawing
Enviroscapes (drafting) with AutoShapes and Line drawing functions
(PowerPoint)

Thumbnail Gallery software (JAlbum) Present all works in coordinated fashion for
sharing

(Continued)

32 NETS •S Curriculum Series

Table 4. (Continued)

Project Software or other Technology Application Use

Unit 10 Photo-editing software Crop, adjust contrast, etc. of reference images

Box sculpture
Word processing (or other) software that Print out multiple copies in varied sizes
facilitates the easy insertion and adjustment for
size of images

Digital video-editing software Create a “video” file composed of numerous still

digital photos taken of the sculpture

YouTube (or other) online video sharing resource Share work

Unit 11 Drawing software with AutoShapes capability Plot a large oval to mark the size and shape of a
Mask making (Word) human face

Photo-editing software “Process” a variety of found graphics for

inclusion as design elements in the project

Word processing software Adjust size and print multiple hard copies of
images

Scanner Digitize hard copy work

Painting software “Finish” various aspects of the final image

Unit 12 Photo-editing software Crop, adjust contrast, etc.

Origami
Painting software Eliminate unwanted material, isolate image to
remain

Word processing software with drawing Adjust size and orientation of images, copy and
functions (Word) paste in quantity to create pattern

Digital photos and PDF files Create e-Book to share work

Unit 13 Photo-editing software Crop, isolate segments of reference graphics,

Graphic mobiles adjust contrast, and apply effects

Word processing software with drawing Use AutoShapes to create a linear frame for the
functions (Word) images, adjust size, and print multiple copies of
images

GIF Animator software Create a shareable 2-D “showcase” piece to

announce and share 3-D work

Unit 14 Photo-editing processing software Adjust contrast of raw graphics

Cutout sculptures
Painting software Transform photographic material to contour
drawing

Word processing software Adjust size and print out graphics

Virtual reality software Archive and share finished work

Unit 15 Drawing software with AutoShapes and Line Draw basic graphics
Stained glass sculpture tool functions (Word)

Word processing (or other) application that Adjust size of graphics and produce multiple
facilitates easy insertion of images and adjust- copies
ment of their size, copy and paste, etc.

(Continued)

Visual Arts Units for All Levels 33

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Table 4. (Continued)

Project Software or other Technology Application Use

Unit 16 Painting software Draw series of images

Digital zoetrope
Presentation software (PowerPoint) Create series of slides from images then present
and share them

Unit 17 Digital Photography Capture various stages of clay model as separate

Clay animation 2-D images

Animation software “Frames” Present images rapidly in sequence to create

the illusion of animated movement

Unit 19 Scanner Digitize hard copy art

Digital storybook
Painting software Sharpen lines in scanned drawings

Word processing function Create frame in which to place drawing and

generate text for captions

Presentation software (PowerPoint) Create a digital image with embedded

hyperlinks

Unit 20 Digital photography Create basic images that capture various views
Virtual sculpture of the 3-D work in 2-D

Simply VR Incorporate separate photos into a cohesive

virtual reality piece

Photo-editing/Image Processing Software

The Web abounds with free or low-cost, downloadable photo-editing software. A simple Web
search will turn up many possibilities. Popular online photo sharing resources such as Picasa,
Flickr, and Kodak Easy Share Gallery permit photo editing online, as well as storing and
sharing of edited photos.

Picasa offers both online editing and software that can be downloaded to a computer, where
it can be used independently. Consequently, it is a useful resource—one that was used to
produce numerous samples given in this book. It is a handy item to reach for when a quick
but effective “crop” of an image needs to be performed. Other software titles of note are
GIMP (free) and Pixel. Both are offered in compatible Windows and MAC versions as well
as for other operating systems. Although these software titles were developed for use by the
multitude of amateur photographers out there, they permit the artist to import any image
saved in a standard digital file format. Once imported it can be adjusted or transformed with
a broad set of effects and functions.

Adobe’s Photoshop Elements is available at a moderate price (or for a free 30-day trial
download). It is commonly provided with school computers. Elements has typical photo-
editing functions, however, it is more robust while remaining highly accessible for students. It
also offers many features that go beyond the basic free photo-editing tools, including anima-
tion and flipbooks, slide shows that allow for the inclusion of sound, a GIF animator, and
advanced organizing and sorting. It is a worthwhile next-level-up application.

34 NETS •S Curriculum Series

Drawing/Painting
What’s the difference between painting and drawing applications? For the sake of this book,
I feel this issue should be understood in the same sense that one would wonder about the
difference between drawing and painting as art-making techniques. Drawing is essentially
associated with line, or by extension, shapes that are defined by line. Painting is associated
with shapes defined as masses, and with fields of color or tone. Still, there are numerous areas
of overlap where a definitive judgment about whether a work of art is a drawing or a painting
isn’t always clear. Van Gogh is known as a painter, yet his technique can often be seen as
drawing with paint. Similarly, Seurat, also known as a painter, did many of his famous prepa-
ratory drawings by using charcoal to cover his paper with masses—in other words, drawings
without lines. Or are they really paintings created with a drawing material?

In order to free readers to concentrate on making art, I’ve avoided burdening them with any
more technical details than are absolutely necessary. However, in an effort to offer a complete
understanding, from the technical standpoint, painting programs are often considered those
that create bitmap images, also known as raster graphics, which are composed of little bits
of tone. Drawing programs are those that produce vector graphics, or pictures created by
plotting continuous lines. However, to confuse matters, it is not uncommon for graphics
programs to have a foot in both worlds.

On a more practical level for school-based artists, forgetting about the technical designation
of a program is liberating. I recommend concentrating on the feature sets, the art effects that
can be rendered with the program. Common drawing functions used are lines, shapes, and
borders. Common painting functions are brushes (airbrush or spray), and graduated tones.
Still, it is common for a program labeled as either type to have both sets of functions, which
is why I lump them together.

A great many drawing tasks can easily be accomplished in WordPerfect, Microsoft Word,
and PowerPoint (which offers word processing as part of its function set) programs. Word is
of particular value, not only because it is provided with so many school computers but also
because it offers so many drawing functions. Many of these functions, however, are not well
known or easy to locate the first time the program is used. A good many free tutorials on the
Web list the various drawing functions of Word, where to find them, and how to use them
(see particularly Florida Gulf Coast University www.fgcu.edu/support/office2000/word/
graphics.html). A young artist could produce an impressive body of work using nothing but
Word. It is a gem of a program for artists and well worth the effort to explore.

Presentation/Slide Show Software

Most school computers come with either PowerPoint or Keynote (Macintosh). However those
who find themselves without a slide show application can choose from many low-cost vari-
eties on the Web. Many of these programs offer a free trial period of 30 to 60 days. Digital
Photo Slide Show 2003.1, which can be downloaded from the CNET Download site at
www.download.com/3000-2193-10062346.html, is one worthwhile example.

Visual Arts Units for All Levels 35

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Animation
Although PowerPoint and other presentation software can be adapted for the purpose of
student animation, FRAMES (Tech4Learning) is a low-cost software made specifically
for this purpose. A 30-day free trial is available on the Web (registration required). Other
downloadable options (free or low-cost) are listed on About.com at http://animation.about.
com/od/referencematerials/a/freesoftware.htm.

GIF Animators
These programs are widely available on the Web at very modest prices, and a few free
versions can be found, as well. However, many of the programs for sale also offer a free trial
period—enough access to complete a project or two, and definitely helpful in experimenting
with and deciding whether this type of software is a resource you want to use on a regular
basis. A worthwhile example is called Easy GIF Animator.

Thumbnail Gallery
There are many galleries available through quick downloads, many of which are free, offer
free trial versions, or are low-cost shareware. A particularly easy-to-use and functional
example is JAlbum (http://jalbum.net), which is free and available for Windows, Mac, and
other platforms.

Web/Multimedia Authoring Tool (WebBlender)

Beyond static drawn and painted images, artists now make pieces that incorporate sound,
video, a variety of animation types, and hyperlinks to other content or to specified foci for
the viewers attention within a piece off art. Some software can be adapted for this purpose;
PowerPoint, in fact, can do all of the above, and Word can do some of it. However, there
are wonderful, fun to use, kid-friendly programs available that aren’t prohibitively costly. A
highly worthwhile one is WebBlender.

Virtual Reality Software

Specialized software is available to “stitch together” digital still photos to create a virtual
reality piece of either the “spin” variety or the panorama variety. A low-cost title called
Simply VR is available, which is quite easy to use and gives professional results.

Screen Capture Pieces

A useful technique is to capture a piece of artwork exactly as it is displayed on the computer’s
monitor. Macintosh computers come with this feature built in, while in Windows the
procedure is to use the “Print Screen” key and then “paste” the capture into Paint, where it
can be saved and manipulated. Beyond these basics, a great many low-cost items available on
the Web offer many more features and options. One good choice is SnagIt.

36 NETS •S Curriculum Series

Mixing Software Types

As a little experience is gained in drawing and painting, becoming comfortable with begin-
ning a piece in one type of software, importing it into another, and then perhaps finishing it
in a third (or back in the first one) will pay terrific dividends. Many of the samples shown in
this book were completed by an artist working in and toggling back and forth between Word,
Paint (or another painting program), Picasa (or another photo-editing/image processing
program), and a scanner. Of course some projects involve other software types listed in this
unit, as well. The wonderful thing about this approach is that what develops is not a memo-
rized list of what can or should be done with any given software program but rather a set of
instincts about which software can be used to accomplish a project.

For Windows users, a good place to begin is with Paint, which is included as an accessory
with the Windows operating system. However, experimentation with a variety of simple
programs is a prescription for insight-fueled success. Simply trying and playing with a variety
of software is a good way to learn.

Two free downloadable drawing/paining software titles available for all common operating
systems (Windows, MAC, and others) are Tux and ArtRage. Tux is intended for early-
through upper-elementary levels. Its attractive, easy-to-use interface allows students to
perform a great many art tasks. ArtRage is a more sophisticated, highly functional program
that accomplishes fine art-making operations.

Online Digital Resources

Online digital resources are particularly useful for sharing art work.

Blogging Resources
Remarkably easy to set up and use, blogs are a highly useful instructional resource with
applications across the curriculum. For art projects, they provide a vital way to share links to
online work as well as student writing about art projects, which makes them the key to many
curricular connections between art and other subject areas.

Because some educators may have security concerns with any online resource, I recommend
they consult their school or district’s Internet Appropriate Usage Policy before undertaking
a project with a Web presence. Most policies simply clarify the set of issues that comes with
Web use, rather than prohibiting it. In general, though, I recommend registering with a large
company that exerts control over the use of its resource, or one that is closely associated with
the needs of teachers. A great many teachers use blogs without experiencing any problems. A
few blog resources used by teachers include:

• Blogger: www.blogger.com
• WordPress: http://wordpress.com
• TeachAde: www.teachade.com

Visual Arts Units for All Levels 37

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Online Photo Sharing

Picasa, Flickr, Kodak Easy Share Gallery, Photobucket, and many others offer an easy and
elegant way to upload digital photos of student art, as well as any images of student art that
have been saved in standard graphics file formats, to a customized virtual gallery. Not only
are these a wonderful way to store and display student art, but simply e-mailing or otherwise
distributing the link to the appropriate page makes sharing the work easy and effective.

Online Video Sharing

Similar to the photo-sharing sites, free, easy-to-use online sharing resources for digital videos
are abundant. A few often used by educators are:
• AOL Video: http://video.aol.com
• Ourmedia: http://ourmedia.org
• YouTube: www.youtube.com
• TeacherTube: www.teachertube.com

Search Engines
Because much of making art with technology involves using the Web to perform the tradi-
tional function of finding reference images, search engines that were created for research are
essential. Google Images is a good standby to turn to. Others that ferret out images well are
Live Search and Picsearch.

Software Friends
Here are a few titles that will prove exceptionally useful, easy to use, practical, and cost
effective: Word, PowerPoint, Paint, Picasa, Simply VR, ImageBlender, WebBlender, and
Photoshop Elements

Tech to Go
There is an abundance of free or low-cost resources available that can be used by teachers in
engaging students in worthwhile art activities. This book attempts to provide activities that
reflect an understanding that tooling up to do technology-supported art need not require
much expenditure, providing of course that the teacher is willing to do some research,
inquiry, and preparatory experimentation. Whenever possible, relatively ubiquitous software
(e.g., Word, PowerPoint, and Paint) are used as examples in order to demonstrate that projects
can be completed without the acquisition of an entirely new set of resources. In New York
City, the annual Tech to Go conference features such resources and many thousands of
teachers have become adept technology users and integrators by following this approach.

However, it will become clear that the Tech to Go resources all represent a perfect place from
which to begin, and once teachers and students are familiar with making art with technology,
their instincts will eventually lead them to the desire for more sophisticated and specialized
resources.

38 NETS •S Curriculum Series

Other Useful Resources

Below is a list of items that bear investigation for anyone interested in beginning or deep-
ening an involvement with teaching art through the use of technology.

Software Tutorials
Although formal professional development is made available from time to time, much can be
learned from basic online tutorials. Bear in mind that the instructional integration aspect of
using the software has largely already been covered in this book. So what’s left to master is
the technical side of the software. But fear not—the vast majority of the programs covered in
this book are by nature simple to use. Essentially, using them involves reading directions and
a little experimentation. The online tutorials will shed a great deal of light.

General Tutorial Sources

About.com: http://about.com
ExpertVillage: www.expertvillage.com

Specific Tutorials
Graphics (Florida Gulf Coast University):
www.fgcu.edu/support/office2000/word/graphics.html
Improving Your Digital Pictures with Picasa:
http://www.informit.com/articles/article.aspx?p=418012

Of Particular Value
ArtsEdge (Kennedy Center/Marco Polo): http://artsedge.kennedy-center.org
Art Education Associations (Princeton Online):
www.princetonol.com/groups/iad/aeai/aeai.html
Incredible @rt Department: www.princetonol.com/groups/iad/
Internet School Library Media Center: http://falcon.jmu.edu/~ramseyil/arteducation.htm
Electronic Media and Online Arts Resource Center: www.cedarnet.org/emig/nj.html
Federal Resources for Educational Excellence:
http://wdcrobcolp01.ed.gov/CFAPPS/FREE/displaysubject.cfm?sid=1&subid=22
ArtsEdge Standards: http://artsedge.kennedy-center.org/teach/standards.cfm
Kathy Schrock’s Guide for Educators:
http://school.discovery.com/schrockguide/arts/artarch.html
National Art Education Association: www.naea-reston.org

Visual Arts Units for All Levels 39

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Free Software Downloads

Free Downloads Center: www.freedownloadscenter.com/Search/drawing_W1.html
Tux Paint (free download drawing program): www.newbreedsoftware.com/tuxpaint/
All Graphic Design (many free trials of graphic software):
www.allgraphicdesign.com/imagedrawing.html
Freebyte’s Guide to Free Graphics Software: www.freebyte.com/graphicprograms/

Online Art Museum Directories

Index of Art Museums Worldwide:
www.zdom.com/art/kaloustguedel/worldartmuseums.htm
Mother of all Art and Art History Links Page—Museums (site sponsored by the School of
Art & Design at the University of Michigan)
www.art-design.umich.edu/mother/museums.html
Museum Network: www.museumnetwork.com
Virtual Library museums pages: http://icom.museum/vlmp/

Public Domain Image Collections and Resource Sites

Eduscapes—Teacher Tap: http://eduscapes.com/tap/topic98.htm
Princeton Online Incredible @rt Department:
www.princetonol.com/groups/iad/links/clip art.html
Springfield Township High School Virtual Library:
http://mciunix.mciu.k12.pa.us/~spjvWeb/cfimages.html
U.S. Fish and Wildlife Service Digital Library System: http://images.fws.gov
Wikipedia—Public domain image resources:
http://en.wikipedia.org/wiki/Public_domain_image_resources

General Art Tutorials

• Art Kids Rule: http://accessarts.org/ArtKids/Tutorials/Drawing/
• Knowledge Hound: www.knowledgehound.com/topics/art.htm
• TutorialMan: www.tutorialman.com/digital_art/page1/

40 NETS •S Curriculum Series

Working with
Graphics Files

A good deal of the use of technology to support learning

in the area of visual art involves saving and using graphics
as digital files. Creating original images in drawing and
painting programs, scanning images, taking digital
photos, making use of images found on the Web, and
other techniques that are part and parcel of the process of
making technology-supported art all involve saving work in
one file format or another. These files may be imported into
an application and resaved in the same format (or in a different
one altogether), in order to further the work and to accommodate
the requirements of presenting, publishing, or disseminating it.

To produce technology-supported student art projects it will be necessary

to have a basic understanding of graphic file formats. This is a broad,
complicated, engrossing, and potentially confusing area. Therefore, it
is important to keep some perspective when approaching this subject
in order to avoid getting too deeply involved in the technical aspects of
digital graphics. Investing too much time, effort, and attention can be
distracting from the core work at hand—the creation of works of art.

What really matters with graphics files is simply that they must be used
and that some of them will permit the artist to realize his or her vision
and others may not. Some formats are compatible with the programs in
which you want to do your work and others are not. Some files allow
for the capture of images that are clear and well defined; others are not
so well defined. Some formats save as large files, an aspect that can slow
down or prevent them from being imported into other applications,
making them difficult to store, or difficult to transfer online.

Visual Arts Units for All Levels 41

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

As with all art resources, the awareness of the artist and his attitude toward their use will
govern much of his success or failure in the use of the digital files. Knowing the format a
piece of art is in at any given part of the process is important, as is knowing which “save as”
format options will be available to choose from when he reaches the end of the process stage
he is working on. In a sense, most of it boils down to size, resolution, and compatibility.

Above all, an experimental attitude is beneficial. Trial and error with file formats will lead
to discoveries and understandings. Comparing notes with others doing similar work and
encountering the same issues is also a fruitful approach.

Some file formats are specialized or related to a particular software type, program, or
device. However there are some common ones that student artists will find necessary and
unavoidable.

During the course of a year or semester a class may find use for many different formats,
but for the sake of classroom management it may be wise to specify certain formats for
specific tasks within the projects. Allowing students freedom of expression is important, but
supporting them by setting parameters that reflect a vetting of what will work and what may
be problematic is important as well. As with all other aspects of the projects modeled in this
book, teachers are encouraged to try all the technical aspects of the production of a work of
art on their own before assigning it to students. Additionally, questions about file formats
should be directed to the school or district technology coordinator who may be able to clarify
format issues easily.

Formats
The following are several simple guidelines to begin an understanding of graphics file
formats. File formats are identified by the three- or four-letter extension at the end of the file
name. Students and teachers preparing technology-supported visual projects will definitely
use common formats that include GIF, JPEG, TIFF, and PDF.

Images intended to be viewed on a screen, particularly those used in Web sites, should be in
JPEG, GIF, or PNG format.

Student work meant to be printed may produce best results if saved as a TIFF. TIFF
is a versatile format and is useful when scanning images and should be explored for its
possibilities.

Note. There are two basic types of graphics file formats: bitmap and vector. Vector files save images by
breaking them into simple shapes and then reconstructing them when the file is opened. These types of
files are not a good choice for the Web. The other type is a bitmap image, which interprets an image as
series of very small squares. Consequently, increasing the size of a bitmap image will reduce resolution
because the squares from which it is composed are forced to increase in size proportionately as well.
Vector images don’t have this drawback.

Another common format encountered in student art projects is PDF. Most closely associated
with Adobe’s Acrobat software, PDF files represent a way to save work in a highly stable and

42 NETS •S Curriculum Series

largely unchangeable format that is relatively small in size and uploadable for sharing via
Web sites. PDFs can be used to produce and share e-books and have many uses for student
projects.

Many other formats exist. Some of these are proprietary or associated by name with specific
software or digital devices. In these cases though, they are usually compatible with one of the
basic types described above, and they behave much the same as the generic format does. A
little Web research will quickly clear up these relationships.

See the Web resources listed at the end of this section for content that goes into deeper
explanation of file formats and working with them.

Converting Files. Essentially, converting an image from one format to another involves opening
it in one application in a given format and then saving it as another file format. Of course,
not every application accepts all formats or gives the ability to save in all formats. Some image
processing software in common use by schools, such as Photoshop Elements, offer a wide
variety of options. However, a simple Web search using the key words “file converter” or
“free file converter” will turn up numerous low-cost or no-cost programs created especially
to aid in the conversion of files. Contacting the software publisher about recommended ways
to convert the file options put out by that software, may prove to be helpful. Alternately, the
Web abounds with discussion forums of application users and graphics enthusiasts. Posting a
question in a forum or blog will likely elicit the help and advice desired.

File Size. You can determine the size of a file by selecting the file’s “properties” function.

A Little Further
As you gain experience, embracing a few refinements of understanding will serve your class
projects well. The following are a few tips that go a little further.

Converting by “Save As” or “Export”

Many software programs will allow file conversion by using the “save as” function and then
simply selecting the type of file format desired, but others may require the file to be saved
first and then “exported” as a different format. If the file format desired is not available as a
save or export option in the program being used, you may want to simply open it in another
program simply for the sake of using that program’s file format options. If no program is
available to do this, try searching the Web for one of the many free or low-cost file converters.

It is important to make certain that files are saved in their original format, as well as the
converted format, in case the conversion is unsatisfactory and the original is needed again.

JPEG versus GIF

Generally it is best to save photos as JPEG and to save line art as GIF. Similarly, black-and-
white images often works best in GIF, and images that require a range of grays work best as
JPEG.

Visual Arts Units for All Levels 43

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Compression of JPEG files

Many software programs allow artists to choose a compression setting in which to save JPEG
files. High compression will produce a small file. However, the lower the compression the
clearer the image quality.

Changing the Dimensions of a Graphic

Much of the difficulty and disappointment in using graphics files is experienced when images
are “sized.” Bitmap images lose quality when their size is changed, but vector graphics don’t
offer as much of a problem in this regard. If the image loss in bitmap is unacceptable (for
most uses a small degree of loss is OK), a better result may be achieved by backtracking and
saving the file after selecting a size close to the one needed in the final product or version.

Web Resources with Information about Graphics Files

All Graphic Design: www.allgraphicdesign.com/graphics/graphicsclip artanimations/
clipartgraphics/fileformats/bitmaprasterimages/graphicsfileformats.html
Scan Tips: www.scantips.com/basics09.html
Timothy Arends—Your Guide to Graphic File Formats:
http://members.aol.com/arendsart/pages/infopgs/filetype.html
Prepressure: www.prepressure.com/library/file-formats
Graphics File Formats: A Quick Reference:
www.Webopedia.com/quick_ref/graphics_formats.asp
Printernational: www.printernational.org/graphic-file-formats.php
How to Create PDF Files:
www.techlearning.com/db_area/archives/TL/2003/05/inservice.php

44 NETS •S Curriculum Series

Sharing
Student Art Work

Producing art work s is but one part of the full spectrum

of learning experiences related to art. Reviewing, evaluating,
and analyzing art, as well as engaging in productive,
enlightening conversations about it, represent another leg
of the journey, and sharing the work through exhibitions,
publishing, or other approaches completes it.

Sharing art work is especially important because much of

art is inherently oriented toward producing something for an
audience. Not only does sharing the work give a sense of comple-
tion—by providing a culminating event—it focuses the work from the
very beginning, giving it a perspective, a filter through which its purpose
and efficacy can be measured.

Finally, as with all communicative products received by audiences,

published or exhibited work invites feedback. This feedback is invaluable
in helping the student artists understand the effectiveness of the selected
theme and their approach to it. It also authentically creates the sense of a
continuous process in which work and the feedback it receives are folded
into further attempts and the processes by which they are best tackled.

Two chapters of this book are devoted to the intricacies of how to

share student art work through a variety of exhibition and publishing
approaches, one is devoted to two-dimensional work and the other to a
variety of three-dimensional projects. These are presented as projects, not
art-producing projects but art-exhibiting and publishing projects. Both of
these include individual, small group, and whole class aspects.

Visual Arts Units for All Levels 45

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

The table below lists the many approaches to sharing student art that are presented as parts of
the instructional units in the book. Many of these projects have applications other than those
specifically cited within the units, so readers are encouraged to look for applications that can
be transferred from one project to another.

Table 5. Approaches to sharing student art

Unit / Project Sharing Approach Comment

Unit 1 Picasa Web Album—used as student-annotated

Still life online thumbnail gallery. Student explanations
can be inserted as captions.

Unit 2 Student works joined together as modules to

Geometric abstraction form a large group work. A digital version of this
can be imported into slide show software such
as PowerPoint in order to project a wall-sized
version of the work.

Unit 3 Distributed as hard copy multiples, traditional

Ukiyo-e exhibition on walls, public slide show, or online
gallery.

Unit 4 Run on a public access kiosk; uploaded to class

Holiday surprise calendar Web site.

Unit 5 A traditional exhibition of hard copy printouts of

Time warp photos the student photos; a kiosk-based digital exhibi-
tion using photo-gallery software; a PowerPoint
slide show of the class’s body of work on this
project; a Web site carrying a photo-gallery
version of the work.

Unit 6 Exhibition on the wall; copy works to CDs and

“Devolving” drawings— distribute or attach as file to e-mail.
animal series

Unit 7 Exhibition on wall enhanced with slide show of

Surrealist landscape details of hard copy work. Slide show e-mailed
as invitation.

Unit 8 Thumbnail gallery using Flickr Web album.

Hard-edge color study

Unit 9 Exhibition on wall or a virtual exhibit via

Enviroscapes (drafting) a thumbnail gallery.

Unit 10 Online video made from stills.

Box sculpture

Unit 11 Exhibit on the wall (flat version, three-dimen-

Mask making sional version, both together); exhibition of
photos of masks in progress.

Unit 12 eBooks; exhibition of diptyches on wall; virtual

Origami reality exhibit.

(Continued)

46 NETS •S Curriculum Series

Table 5. (Continued)

Unit / Project Sharing Approach Comment

Unit 13 Digital photos and captions explaining process

Graphic mobiles (or video); GIF Animation distributed by e-mail
or on disk.

Unit 14 Table-top exhibit; virtual reality exhibit

Drawn sculptures

Unit 15 Virtual reality presented through LCD projector

Stained glass sculpture in public space

Unit 16 Computer lab or kiosks

Digital zoetrope

Unit 17 Theater-style animation festival using LCD

Clay animation projector in public space

Unit 18 Graphics, invitation, poster, etc.

Sharing student art

Unit 19 Distribute hard copies of finished books; project

Digital Storybook digital version (interactive white board) in
public setting or run on computer kiosks; upload
finished books to photo sharing album resource
on Web

Unit 20 Kiosk exhibits of virtual sculpture pieces

Virtual Sculptures

Visual Arts Units for All Levels 47

Assessing
Digital Art Projects

Like prac titioners of other subjec ts, visual art educators

have developed sets of standards to serve as frameworks for
planning and assessing programs, activities, and student
performance. Many sets of standards have been developed,
but generally the professionals who have worked on them
have come to similar conclusions about the dimensions of
teaching, learning, and assessing in this area, and conse-
quently they are often quite similar.

A comparison of visual arts standards (although they may be orga-

nized differently) will reveal that they generally cover student learning
about the materials, techniques, processes, and approaches; as well as the
functions and structures involved in creating art. Standards contextualize
visual art learning through history and cross-cultural connections; and
the address the intellectual structures involved in analyzing, comparing,
criticizing, and communicating about art.

Additionally, attention is paid to learning about the strong and important

connections visual art has with the study and understanding of other
disciplines.

It is not enough for a standards document to simply list all the topics
involved in establishing the content of visual art. If it is to assist in assess-
ment, the document must offer support in determining how much has
been learned and how well. Therefore, a useful framework will include
both “content” standards and “performance” or “achievement” standards.

Visual Arts Units for All Levels 49

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

These standards documents typically “spiral,” which is to say that the same standards are
applied to students across grade- and age-levels, but they offer a different amount of detail
at each level. The specifics of the content and the nature and depth of the performance or
achievement increase as the student progresses through his or her career. This approach is
effective because it enables the students, over time, to sustain familiarity with the broad spec-
trum of ideas and skills involved, giving them the opportunity to focus deeper as they return
to them at a later date. This is also important for bodies of lessons like those in this book,
as all of the projects presented are relevant and worthwhile across the grade levels, although
it is for the teacher to present them in ways appropriate for the level at which students are
functioning.

The standards used in this book are the National Standards for Arts Education (Visual Arts).
The complete standards can be found in appendix B and on The Kennedy Center ArtsEdge
(Thinkfinity–MarcoPolo) Web site at: http://artsedge.kennedy-center.org/. The Web site
states: “The standards outline what every K–12 student should know and be able to do in
the arts.” The standards were developed by the Consortium of National Arts Education
Associations through a grant administered by the National Association for Music Education.

Note: The standards documents referred to in this section make specific references to what are considered
new resources such as: “computer graphics, media technology, digital works, software, and electronic
media.” While it is encouraging that the use of technology is recognized and acknowledged by these
documents as being legitimate and worthwhile, it is presented as a separate category, apart from
more traditional art-making processes like painting, drawing, printmaking, sculpture, and so on.

However, technology has blended with traditional approaches in ways that will never be reversed.
Technology is no longer separate from the traditional techniques but has become part and parcel of
those approaches to making art. Furthermore, technology has changed the study and creation of art,
as well as the horizon of possibilities of every dimension of the world of art in ways that far outstrip
those anticipated by the student achievement found currently. These new dimensions of the use of
technology in the creation of art are reflected fully in the art projects described in this book.

Above all, the use of technology in these pages illustrates not how technology can be added on
to existing art projects and the processes they employ, but how it is inseparable and achieves
something truly new in its approach to making art, while maintaining timeless qualities in the art
produced.

Using Rubrics for Visual Art Projects

The visual art project is a type of student work that requires an assessment approach different
from the written tests that have traditionally been the standard for core academic subjects.
Furthermore, many accomplished art teachers would assert that, if done properly, a model
visual art project will engage, inspire, and enlighten students in ways that truly are their own
reward. In such a situation, grades become a far lesser goal. However, grading is an estab-
lished institution and the grading of art projects must usually be included as part of school
culture.

More than simply an ethical and effective method for assessment, the use of rubrics can add
much to the learning experience. A great many rubrics, including those for visual art, have
been created, and a little research will turn up many examples. Appropriate rubrics can be
used as is or can serve as models for instruments created specifically for the project at hand.

50 NETS •S Curriculum Series

In essence, rubrics are simple. On one hand the criteria or aspects of the student work on
which the grade is to be formed are listed. On the other is a scale of the degree of quality to
which the student has addressed and realized those facets of the project. Usually both dimen-
sions of scoring are annotated and defined so as to aid the scorer in assuring that all project
facets are scored and that the decision as to the level of performance for each is an informed
one. The following section provides a useful, if very general, example.

Going Further…
The New York City Department of Education’s “Blueprint for Teaching and Learning in
the Arts—Grades K–12” is a particularly interesting start. This document embraces the
ideas detailed previously, but it adds additional dimensions that may prove highly valuable
in planning the breadth of visual arts projects as well as in assessing student performance.
It is available as a PDF document at http://schools.nyc.gov/projectarts/Media/Blueprint/
Blueprint intro for art.pdf

This document picks up the thread of the concept of interdisciplinary connections and goes
into particular depth about the connection to learning in the area of literacy. The document’s
overview section states: “Each of the arts has its own vocabulary and literacy, as well as its
own set of skills that support learning across the curriculum. For example, although musical
notation is a language all its own, a student who develops skills in reading musical nota-
tion is at the same time developing skills useful to learning reading. Similarly, the careful
observation of a work of art resembles the close reading of a text—one that includes making
observations and drawing inferences. Generally, the arts provide students with inexhaustible
subjects about which they may read and write, as well as engage in accountable talk.

The full section gives a framework that maps out specific areas in the instructional program
where these ideas can be effectively placed, as well as describing the types of activities
that may be used to bring them to life. The activities fall into the areas of looking at and
discussing art; developing visual arts vocabulary; reading and writing about art; and problem
solving, interpreting, and analyzing art.

As will be seen in the accountable talk section, these approaches not only effectively extend
and enrich visual art projects, but they lay the groundwork for assessment that is based on the
extended process of working and learning, as opposed to simply evaluating the outcome of a
single project expressed as a work of art.

The NYC document explores two other areas of particular interest. One is the community
and cultural resources strand, in which an important dimension of learning relates to
understanding, accessing, and using resources such as museums. Although this was origi-
nally intended for New York City students who have a vast number of museums, studios,
and community-based organizations nearby, the Web presence of the vast majority of such
institutions makes this approach applicable and doable for students in any location with
Internet access. Although many teachers and students would gravitate toward these resources
instinctually, formally making this aspect of visual art learning one of the criteria for doing
and assessing a project lends an important dimension to the experience. One aspect that will
be helpful is the student Web site review form. This form structures and guides the experi-
ence, as well as provides an easy basis for assessment.

Visual Arts Units for All Levels 51

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

The second area of interest is the strand on careers and life-long learning, which includes
“career-building skills learned in arts activities and required in all other fields of endeavor:
goals setting, planning, and working independently and in teams.” Many of the projects
introduced in this book include such skills, and it may prove highly valuable to formalize
this aspect by including a criteria in the assessment rubric to account for them. The use of
technology, which is often accompanied by projects planned around the way that individuals
share resources, establishes a clear, real-world rationale for focusing on these skills.

And Further…
Learning about visual art involves such (visual arts) standards as “recognizing the societal,
cultural, and historical significance of the arts,” “connecting art to other disciplines,” and
“understanding the visual arts in relation to history and cultures.”

Consequently, visual art projects may be seen as providing important vehicles for learning
important aspects of other subject areas. It may prove valuable, therefore, to align visual art
projects with the standards of language arts, social studies, and perhaps other areas. A survey
of popular standards documents in those areas, furthermore, will reveal references to visual
art and technology.

The following table demonstrates how a rubric may be used to assess student art work.
Similarly, its specific application and use have been illustrated in most of the book’s chapters.

52 NETS •S Curriculum Series

Table 6. Suggested rubric for student visual arts projects

Grading Criteria Excellent Proficient Partially Proficient Incomplete

Completion All portions of the project Most portions of the Some important (and Few of the project
of the Project are completed success- project are completed other) portions of the portions are completed
fully at a high level. successfully at a high or project are completed successfully at a satisfac-
satisfactory level. successfully at a satisfactory level.
tory level.

Research and Conducted the needed Conducted the needed Conducted the needed Conducted the needed
Preparation research/preparation in a research/preparation in a research/preparation research/preparation in
way that allows for a full way that allows for a high in a way that allows a way that allows for a
level of participation in level of participation in for a satisfactory level minimal level of participa-
the project. the project. of participation in the tion in the project.
project.

Theme Fully understood the Understood a good Understood some of the Did not adequately
and Concept concepts and goals of the deal of the concepts concepts and goals of the understand the concepts
project. Understood the and goals of the project. Understood the and goals of the project.
contextual background project. Understood the contextual background Did not adequately
content. Understood how contextual background content to a degree. understand the contex-
to apply the above in the content to a high degree. Understood how to apply tual background content.
creation of an original Understood how to apply the above in the creation Did not adequately
work. the above in the creation of an original work to a understand how to apply
of an original work to a degree. the above in the creation
high degree. of an original work.

Technical Demonstrated a very Demonstrated a good Demonstrated a Did not demonstrate

Proficiency high degree of under- degree of understan- satisfactory degree of an adequate degree
standing and mastery of ding and mastery of understanding and of understanding and
the concepts and skills the concepts and skills mastery of the concepts mastery of the concepts
involved in the techniques involved in the techniques and skills involved in the and skills involved in the
required of the project. required of the project. techniques required of techniques required of
the project. the project.

Technology Use Demonstrated a Demonstrated a Demonstrated a Did not demonstrate

very high degree of good degree of satisfactory degree of an adequate degree of
understanding of the understanding of the understanding of the understanding of the
technology concepts technology concepts technology concepts technology concepts
and skills involved in the and skills involved in the and skills involved in the and skills involved in the
techniques required of techniques required of techniques required of techniques required of
the project. the project. the project. the project.

Creativity- Conceived, developed, To a good degree, To a satisfactory degree, Did not conceive and
Expression and executed a work conceived, developed, conceived, developed, execute a work that
of art that is highly and executed a work of and executed a work is original or takes
original and that takes art that is original and of art that is somewhat good advantage of the
full advantage of the that takes full advantage original and that takes medium’s possibilities.
medium’s possibilities. of the medium’s advantage of some of the
possibilities. medium’s possibilities.

Visual Arts Units for All Levels 53

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

The projects in this book are special visual art projects because technology plays a major
role. This difference is easily accommodated in their assessment by including technology-use
criteria as well as the more traditional art criteria listed in Table 6.

Using the rubric to calculate a grade is a relatively simple matter:

1. Assign a point value to each criteria in the left-hand column of the rubric. If there
are 5 criteria, then each may be given a value of 20 points maximum. However, the
teacher (or class) may decide to weight the value of criteria differently.
2. Once the maximum value of each criteria is established, then the rating within
that criteria will receive anywhere from 100% to 0% of that criteria’s portion of the
overall grade, depending on the rating given when moving from left to right across
the rubric.

Several chapters offer additional assessment items that go in different directions, or deeper.
These suggestions are included below for convenience, as they may be applied or adapted to a
variety of projects, in addition to the chapter in which they are found.

From Unit 1: Table Top Still Lifes

Not Sufficiently
Partially Proficient or
Project Components Excellent Proficient Proficient Incomplete

Artistic Growth
The student has used this
activity as an opportunity
to expand his/her under-
standing of art and how it is
made. The variety and level
of the work shows increased
mastery of techniques and
the ability to plan art works.

From Unit 3: New Images from the Floating World

Not Sufficiently
Partially Proficient or
Project Components Excellent Proficient Proficient Incomplete

Graphic Relevance
All graphic elements are easy
to read; the purpose behind
their inclusion is clear; they
add to the visual impact
and help tell the story of the
piece.

54 NETS •S Curriculum Series

From Unit 5: Time Warp Photo Portraits

Requiring the student to explain the process followed and the decisions made will greatly
enrich the assessment dimension of the project. The following chart will facilitate the
assessment.

Explains the Art Work Produced through Participation in the Project

R ating of Expl anation

Prompt Exemplary Satisfactory Unclear

How does the way you posed the

photograph cue the viewer to the time
and place you would like him or her to
perceive in the photo?

What objects, backgrounds, or other

information-giving elements did you
include in your photo to place it within
an historical context?

What photographic qualities did you

give the photo to date it?

What elements did you add to the

photograph as a physical object to make
it appear authentic to the time and place
you selected?

Give examples of authentic photos on

which you modeled yours.

From Unit 7: Surrealist Landscape in Mixed Media

Art as Report
Because one of the purposes of this project is to communicate what’s been learned about a
subject to an audience, treating it as a visual report can enrich its assessment. Accordingly, the
following criteria might be applied to this project.

• Quality of information: Are sufficient details given? Are they accurate?

• Is the information presented in a way that effectively communicates the content?
• Is the theme presented in a way that will effectively interest the viewer?

From Unit 16: Digital Zoetrope: Animated Drawings

The point of a collaborative project is, at least in part, for students to learn about collabora-
tion itself. How well do the students handle themselves in the working team situation,
and how well do they contribute to the group’s efforts? The following rubric (or one that is
similar) will help focus assessment of these dimensions.

Visual Arts Units for All Levels 55

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Partially Not Sufficiently

Aspects of Collaboration Excellent Proficient Proficient Proficient

Contribution to
the group effort
Expends effort; applies
personal talents and abilities
toward completion of the
project.

Assumes responsibility
or leadership
Helps the team direct its
efforts; takes initiative to
complete the project.

Works effectively
with others
Listens to teammates and
values their opinions;
cooperates and shares in the
work; is willing to compro-
mise in order to complete
the project.

From Unit 20: A Virtual Sculpture Exhibit

In addition to learning related to the creation of works of art, sharing art through exhibi-
tions or other methods represents a body of knowledge and understanding that must also be
learned. Items to include in a checklist or rubric to help assess the exhibition of works might
include:

• Was an appropriate piece of sculpture chosen from the student’s overall body of work
as the representative piece for the exhibit?
• Was the piece presented effectively in the photo shoot (i.e., was an effective and
appropriate base and backdrop created)?
• Were the photos taken effectively (properly illuminated, and focused with appropriate
distance of piece from camera, appropriate and effective increments of rotation, etc.)?
• Were the photos effectively incorporated into the VR experience of the sculpture?

56 NETS •S Curriculum Series

Accountable Talk
The Institute for Learning (at the University of Pittsburgh) defines accountable talk with
the following statement: “Talking with others about ideas and work is fundamental to
learning. But not all talk sustains learning. For classroom talk to promote learning it must
be accountable—to the learning community, to accurate and appropriate knowledge, and to
rigorous thinking. Accountable talk seriously responds to and further develops what others
in the group have said. It puts forth and demands knowledge that is accurate and relevant
to the issue under discussion. Accountable talk uses evidence appropriate to the discipline
(e.g., proofs in mathematics, data from investigations in science, textual details in literature,
documentary sources in history) and follows established norms of good reasoning. Teachers
should intentionally create the norms and skills of accountable talk in their classrooms.”

In reviewing and rating a student’s work, the practice of accountable talk can be an important
companion to performance assessments facilitated by the use of rubrics. Having the student
explain the decisions made and the results achieved in the production of a work can give
great insight into the quality of the performance. By directing a series of standard questions
to all members of the class, whose responses will be reviewed in light of the same rubric, the
answers take on the dimension of being accountable to the community of learners. An oral
discussion grade may be given on its own or may be inserted into the rubric as a section.

It should be noted that accountable talk is but one of nine Principles of Learning in the
Institute for Learning’s material, and this component may be best understood as part of an
interdependent continuum of principles: 1) Organizing for Effort, 2) Clear Expectations,
3) Fair and Credible Evaluations, 4) Recognition of Accomplishment, 5) Academic Rigor in
a Thinking Curriculum, 6) Accountable Talk, 7) Socializing Intelligence, 8) Self-manage-
ment of Learning, and 9) Learning as Apprentice.

The form on the following page was developed to aid in the recording, analysis, and assess-
ment of accountable talk and may prove useful as a model upon which teachers can base
similar instruments to aid in their support of learning through visual art projects.

Some other considerations to take into account:

• Include the students in the process of creating rubrics. Brainstorming is a good
approach to their creation. The students will have a far greater stake in the project
and see more validity in their grades if they play a role in creating the grading guide.
• Generally speaking, rubrics function as instruments to facilitate summative assess-
ment. They can, however, be used to give students feedback about their progress in
partially completed projects, assuming a formative function as they cue young artists
to mid-course corrections in their work.

Visual Arts Units for All Levels 57

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Figure 1.
Features and indicators of Evidence of teatures
Principles of learning
accountable talk or indicators Notes
observation sheet—
Accountable Talk Accountable to Learning Community
Participants:
• are engaged in talk
• are listening to one another
• elaborate and build upon ideas and
each other’s contributions
• ask each other questions aimed at
clarifying or expanding a proposition

Accountable to Knowledge
Participants:
• make use of specific and accurate
knowledge
• provide evidence for claims and
arguments
• recognize the kind of knowledge
or framework required to address a
topic

Accountable to Rigorous Thinking

Participants:
• use rational strategies to present
arguments and draw conclusions
• construct explanations and test
understanding of concepts
• challenge the quality of each other’s
reasoning.

Special Dimensions to Grading Visual Art Projects

Art projects, particularly technology-supported ones, are somewhat unique student learning
products. Because many of them involve saving work as digital files, copied and saved easily,
it is possible to retain a record of the various stages of the art work it goes through in its
development. This technique offers the great advantage of getting snapshots of the student
artist’s work process and decisions.

Web Resources
Chicago Public Schools, Instructional Intranet: Tips for choosing rubrics:
http://intranet.cps.k12.il.us/Assessments/Ideas_and_Rubrics/Rubric_Bank/Choosing_
Rubrics/choosing_rubrics.html

58 NETS •S Curriculum Series

Many projec ts in this book involve students searching for

and using reference images as part of the process of producing
their own original work. By doing so they join a vast and
historic body of artists who have made the reference to
and/or the appropriation of images produced by others an
aspect of their own work process.

Famous artists, from Marcel Duchamp to Andy Warhol, have

appropriated images virtually unchanged, presenting them or
incorporating them into their own work. This is an accepted dimen-
sion of making art, and a survey of museum collections will produce
many examples. Although this is legitimate from the artistic point of
view, this practice that has the potential to produce copyright problems.

Wholesale appropriation of images, however, is not an approach taken in

any of the projects described in this book. The practice of using refer-
ence images—images on which new ones may be based or which provide
information for an artist to use in creating original works—is taken in
a few of the projects in this text. Using reference material is not copying
or reproducing anything; it is simply mining graphic information to use
in the production of an original work. This approach has been used by
artists for a long time and was a part of the creation of a broad range of
well-known works that range from famous impressionist paintings to
popular illustrations for books and advertising.

Although this approach is used by artists everyday without problem, it is

still important to have an understanding of intellectual property rights
before embarking on any project in which material produced by another
party is referenced. Copyright principles are a complex body of under-
standing, but two basic rules should be kept in mind:

Visual Arts Units for All Levels 59

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

• It is wise to assume that any content, whether text or image, is protected by copyright,
unless you can verify otherwise.
• The way you use the content affects the way it may or may not be protected.

The worst-case scenario of an artist running into problems by appropriating another’s

image can be seen in artist Robert Rauschenberg’s experience. In a widely documented case,
Rauschenberg used an original photograph made by a professional photographer in collage
elements in several of his own works. When the photographer discovered the use of his work,
he first sued but then settled out of court for a small amount and the right to be credited in
any future catalogs that included the works in question.

To put the case in perspective, however, understand that Robert Rauschenberg is an

immensely successful artist whose works demand high sums. Nevertheless Rauschenberg
made no attempt to gain permission to use the photograph, which was created by a profes-
sional photographer who earns a living selling his images. Also, Rauschenberg used the photo
in a form that left the image highly recognizable as belonging to its creator. Fortunately, this
scenario is not one that teachers and students are likely to find themselves in.

To begin with, most classroom-use reference material will result in the creation of art that
does not seek to present the work of others as belonging to the student—the first rule of
thumb concerning student use of reference materials.

Simply translating an image from one medium to another does not necessarily guarantee that
the creator of the original has no copyright on the derived image. However, it is also true that
while a given photographer can own the rights to a specific image of a tree, for instance, that
doesn’t give the original artist the rights to images of trees in general. A work that bears only
a superficial, passing resemblance (and represents the same subject in only a general manner)
is not a reproduction. Good, fair-minded judgment is important here.

Many of the projects will be shared locally, within the classroom or school community only,
and will not compete in the greater world with the creators of images that may be refer-
enced. Bear in mind that sharing student work through publicly accessible Web sites can be
construed as publishing, but that is not problematic if reference material is used properly.

The Pierce Law Center Web site states: “Copyright encourages the creative efforts of authors,
artists, and others by securing the exclusive right to reproduce works and derive income from
them.” The projects outlined in this book will be produced for the purpose of education and
not offered for sale. This point is important, as cases of copyright infringement most often
involve commercial ventures that compromise the income of the rightful copyright holder.

• It is OK to use copyrighted material in the sense of Fair Use (see Fair Use box)

A number of authorities agree that copyrighted material may be used under the doctrine of
Fair Use for purposes such as criticism, news reporting, research, parody, and teaching and
scholarship. This is especially true if only a portion of the work in question is used and the
originator is credited in any documentation that accompanies the presentation of the derived
work.

60 NETS •S Curriculum Series

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Chapter 8 • Copyright and Intellec tual Propert y Rights

Fair Use
Fair Use describes the guidelines that exempt educators and others from certain
copyright restrictions. Fair use of educational materials allows some media
products to be presented in a limited degree in the classroom. Individual school
districts interpret Fair Use policy differently (taken from the PBS “My Journey
Home” Media Literacy Glossary: www.pbs.org/weta/myjourneyhome/teachers/
glossary.html).

• If, in the judgment of the teacher, copyright infringement is in question, an alternate

approach may be taken. Permission to use the desired images may be requested from
their creators by contacting them directly. Other images found on the Web may bear a
statement about permission being granted without such a request or will give addi-
tional information about who may use the image and how. And finally, a wealth of
images can be found on the Web that are specifically available free of copyright issues.
Numerous repositories of such materials are available for educators and artists to use
without the need to worry about property rights. The following are a few examples,
and simple Web searches should turn up others. More sources are listed in chapter 4,
“Getting Tooled Up.”
• The Morgue File: www.morguefile.com
• bigfoto: www.bigfoto.com
• Flickr Creative Commons area: www.flickr.com/creativecommons/

The principles described so far are only general, and if a project appears to be taking you deep
into this area it might be wise to research it further. The Internet is a good place to begin the
research. Furthermore, school districts are likely to have their own internal rules concerning
the use of content, and it would be wise for teachers to familiarize themselves with such
policies from the start of any project.

Web Resources
About.com: http://painting.about.com/cs/artistscopyright/f/copyrightfaq5.htm
Brad Templeton—10 Big Myths About Copyright Explained:
www.templetons.com/brad/copymyths.html
Study Plans: www.studyplans.com/copyright_laws.htm
Springfield Township High School Virtual Library:
www.sdst.org/shs/library/guidelines.html
Stanford University: http://fairuse.stanford.edu/
Pierce Law: www.piercelaw.edu/tfield/copyVis.htm#avoid
techLEARNING: http://halldavidson.net/TechLearningArticle.pdf

Visual Arts Units for All Levels 61

Copyright 2008, ISTE ® (International Society for Technology in Education), Visual Arts Units for All Levels, Mark Gura.
1.800.336.5191 or 1.541.302.3777 (Int’l), [email protected], www.iste.org. All rights reserved. Distribution and copying of this excerpt is allowed for educational purposes and use with full attribution to ISTE.
Sec tion 1 • Incorpor ating Technology in the Visual Arts Cl assroom

Tree of Life Web Project:

http://tolWeb.org/tree/learn/TreebuilderTools/trcopyright.html#ToLMaterials
U.S. Copyright Office: www.copyright.gov/fls/fl102.html

62 NETS •S Curriculum Series

Mark Gura has been an educator for over three decades. He spent 17 years
as a middle school Visual Arts teacher before moving on to become a
curriculum specialist, staff developer, and eventually Director of Instructional
Technology for the NYC public school system. Mr. Gura is a thought leader
in this emerging field. Currently collaborating with Fordham University’s
Graduate School of Education he draws on his extensive background
as a literacy, science, and arts educator in promoting the creative use of
technology to provide highly motivating, relevant activities for students. He
has done extensive work in preparing teachers to be effective instructors in
the digital age, designing and implementing professional development for
many thousands of teachers.
Gura has been a contributing writer for the New York Daily News, Ed Tech
magazine, T.H.E. Journal and other publications. Currently, he writes regularly
for Converge Magazine, co-hosts “The Teachers Podcast”, a popular education
and technology podcast, and consults on matters of education and
instructional technology throughout the New York City area; He lives with his
wife Maria in Teaneck, NJ.

160 pp. 8 ½ x 11
63 illustrations, 32 tables
Paper
Product code: NETART-927
978-1-56484-242-8

Order now by phone, by fax, or online. Single copy price is $44.95.

ISTE member price is $31.45. Special bulk pricing is available.
Call 1.800.336.5191 or go to www.iste.org/netart/.

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